Whilst the term Gurmat Sangeet has come to be used as a name for all Sikh kirtan performed as per the prescribed ragas found within the Sikh scripture, Inderjit Kaur believes a more fitting term for the raga genre is "rg-dhrit shabad krtan".[1] She further believes that the Sikh musicology as a whole should be referred to as "gurmat sangt shstar/vigyn", of which, raga kirtan is a genre found within.[1]
Musical expression has held a very important place within the Sikh tradition ever since its beginning, with Guru Nanak and his faithful companion, Bhai Mardana.[1] Textual traditions connecting Guru Nanak and Mardana to music include the Janamsakhis and the Varan of Bhai Gurdas.[1] There are also artistic depictions of Guru Nanak and Mardana as musicians amid various 18th and 19th century paintings, where Guru Nanak is shown singing whilst Mardana is playing his instrument.[1]
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Mardana was a player of the rabab (plucked lute), and would travel alongside Nanak and play the instrument when Nanak spoke his teachings.[4][1] As a result of this, Mardana is credited as establishing the rababi tradition in Sikhism. When Guru Nanak received a revelation, he would exclaim: "Mardaneya! Rabab chhed, bani aayee hai" ['Mardana, play the rabab, bani (sacred composition/verse) has occurred to me'].[5][1]
After Guru Nanak settled down in the locality he founded, known as Kartarpur, the accompanying verse compositions to the music him and Mardana conjured was recorded in various pothis, of which, the Guru Harsahai Pothi claims to be an extant text of this kind.[1]
During the time of Guru Nanak, the predominant musical tradition of the era was the dhrupad and dhamar, which ended up influencing this early Sikh musical expression.[5] Later, other musical traditions, such as khayal, tappa, and qawwali, began to influence the Sikhs.[5]
According to popular Sikh tradition, Guru Arjan was a player of the sarand (waisted bowed lute) and is also remembered as the inventor of the upright j (drum pair), which he had derived from an older instrument known as the mridang.[1] Guru Arjan was also the one who compiled the Adi Granth, the first edition of what would become the Guru Granth Sahib later-on, which was and remains the main source for Sikh religious musical theory and practice.[1] Guru Arjan is further credited with establishing the practice of there being five kirtan chauks (sittings) at the Harmandir Sahib shrine in Amritsar.[1] The five sittings of kirtan that was established by him are as follows:[1]
In a case of mythology interacting with history, various instruments' origin is credited to Sikh gurus.[5] The taus and dilruba is ultimately of Iranic origins, with the taus designed into a unique peacock shape and introduced into Sikh music by Guru Hargobind and the later dilruba invented by Guru Gobind Singh.[5] The saranda is traced back to Guru Amar Das and Guru Arjun.[5] Furthermore, the Sikh gurus actively patronized and encouraged the musical development of professional kirtan performers.[1]
The first decline of Sikh musical traditions began following the death of Guru Gobind Singh and execution of Banda Singh Bahadur in the early 18th century.[1] After the death of Banda, the Sikhs had to disperse to places of safe haven during state persecution and thus their established musical institutions could not easily be sustained whilst they were fighting for survival.[1] At many points during the 18th century, no kirtan was being performed at the central Sikh shrine of Harmandir Sahib in Amritsar due to the reigning governments' genocidal policies enacted against the Sikhs.[1] However, later on the same century, Jassa Singh Ahluwalia, who himself was a renowned kirtankar, restarted many Sikh musical traditions that had been on the brink of extinction.[1] The various Sikh states (especially Patiala, Nabha, and Kapurthala) of the 19th century also did their part on ensuring the smooth passing of Sikh musical tradition throughout the generations by patronizing many Sikh musicians.[1]
In the early 19th century, the harmonium began to be used amongst local musicians, eventually including Sikhs, in the Indian subcontinent, its adoption would have devastating impacts on native Sikh instruments.[1] The harmonium was easy to learn and play, plus it was easily transported, which led to it becoming popular and eventually replacing many local Sikh instruments.[1] However, the harmonium is unsuited for playing traditional raga music because of its rigidness, fixed-state, and equal-temperament tuning that cannot create the microtonal inflections and ornaments required within raga music.[1]
Then around the turn of the 20th century, a group of Sikh scholars, namely Charan Singh, Kahn Singh Nabha, and Vir Singh, promoted traditional Sikh music as part of the religious community's "identity, culture, and society."[1] During the partition of Punjab in 1947, one of the three Sikh traditional music institutions, the Rababis, would suffer a deathblow it has not since recovered from, as many former Muslim rababis who had performed at Sikh shrines moved away to Pakistan and future performances by Muslim rababis at Sikh sites was barred by the Sikh clergy due to changing sociocultural norms.[1][5] The Muslim rababis did not have any Sikh patrons in the newly-formed Pakistan, as the local Sikhs also left for India, leaving their traditional art in decline.[1]
These reoccuring disturbances also led to the decline of many aspects of Sikh musical tradition.[1] Sikh music performed as per the musical modes, melodies, and forms prescribed as per the Guru Granth Sahib declined greatly.[1] This was accompanied by a decline in the usage of traditional Sikh instruments, especially stringed-instruments (such as the rabab, saranda, and ts [bowed fretted lute]) which were mostly supplanted by the introduced harmonium by the early-to-mid-20th century.[1] Additionally in the same time period, traditional drum instruments, such as the mridang and jori, also became scarce amongst the Sikhs, having been replaced by the tabl.[1]
In recent times, the traditional raga based Sikh musical tradition (including singing the partal with a complex array of taals) has fallen out of favour and been replaced with "semi-classical, light, light, folk or even filmy" styles.[5] However, efforts are being undertaken to revive traditional Sikh raga musical expression.[5] Traditional Sikh instruments have been supplanted by the harmonium, violin, mandolin, and electronic keyboard, and are at risk of extinction.[5]
Some scholarly work has been conducted to identify original raga traditions that were invented and performed by the Sikhs.[1] The Punjabi University of Patiala conducted work in 1979 for this purpose, analyzing the musical traditions practiced by the eleventh-generation familial ragi brothers, Gurcharan Singh and Avtar Singh, eventually publishing their study of 500 shabad executions plus the notations by the two brothers under the title Grbni Sangt: Prchn Rt Ratnval.[1] In 1991, during the traditional Sikh musicology campaign by the Ludhiana Jawaddi Kalan (Sikh school of music), an audio-recording effort of traditional Sikh ragi families' performances, in-order to document and preserve the Sikh music tradition, was overseen by Sant Succha Singh.[1] A committee was formed for the purpose of identifying the authentic Sikh raga traditions and renditions of various raga types, known as the Rag Nirnayak Committee.[1] The findings of the committee were commended upon by Gurnam Singh in 2000.[1] A later and updated edition of the Grbni Sangt: Prchn Rt Ratnval provides the views of the late Bhai Avtar Singh Ragi on the subject of autochenous Sikh raga traditions and styles.[1] Greater investigation is needed to look at the issue in further-depth, such as viewing the diverse rag-form and notation material, and also the identification of different rag versions with different taksls (schools of music).[1] Inderjit Kaur's research on ghar variants of different ragas links the usage of many of them to the Sikh gurus, which could legitimize their usage in contemporary Sikh musical performances.[1]
The Adi Granth compiled by Guru Arjan and completed in 1604 included musical verses from fifteen bhagat saints who belonged to varying religious backgrounds, along with his own works and that of his predecessory gurus.[1] The second edition of the Adi Granth was completed by Guru Gobind Singh, whom added the works of his father, the previous guru, Guru Tegh Bahadur.[1] It is the second edition of the text that was renamed as the Guru Granth Sahib and given the mantle of being the guru of the Sikhs.[1] Sikh musical tradition derives mostly from this scripture.[1]
Traditional Sikh kirtan only sings verses sourced from either the Guru Granth Sahib, the Dasam Granth, the Varan of Bhai Gurdas, or the Ghazals of Bhai Nand Lal.[1] No other literary work is allowed to be a source for Sikh religious kirtan.[1] However, an exception exists for the dhadi tradition, which sing heroic ballads not sourced from the above texts.[1]
The central Sikh sacred text, the Guru Granth Sahib, contains 6,000 shabads, with most of them arranged methodically to music and authorship by their title, known as the sirlekh.[1] Within the shabads, there are musical notations contained within them, known as rahu (chorus) and ank (verse).[1] The text itself provides the structure of the metre and rg-dhyn shabads provide information on the aesthetics of the music.[1]
The musical lineage of Bhai Mardana continued after Mardana's death and his descendents carried-on with serving the Sikh gurus as musical performers.[1] Some examples of descendents of Bhai Mardana who worked as musicians in the durbar (court) of the Sikh gurus include:[1] 152ee80cbc
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