Indian Classical Music And Sikh Kirtan by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982 Kirtan: A Distinct Tradition of Sacred Indian Music |
| Kirtan: A Distinct Tradition of Sacred Indian Music Though it may not be correct to call kirtan a distinct school of Indian music, it is certainly a distinct tradition and a new contribution to sacred Indian music. It uses both the classical Hindustani music and desi(folk) music for divine praise and glorification, and employs the local idiom and poetic forms so as to intensify its appeal to the masses. Its objective is spiritual inspiration and its medium is the emotional appeal of both pure and popular music. By combining the purity of raga and tala with correct intonation and feeling, its appeal extends even to highbrow musicians. Undoubtedly, the Sikh school of music established by the Gurus adopted some elements of the existing devotional music-the bhajan and kafi-of different religious sects of India. However, the Gurus added a new dimension to the current forms of music by harmonising the Hindustani and Karnataka styles under the forms of Dakhni. They used the existing ragas in different ghars and dhunis. As such they made a distinct contribution to Indian music. Dr. A.S. Paintal remarks in this connection: “The Sikh sacred music, through its intimate sharing of the spirit of classical Hindustani music and its artistic assimilation of the popular and folk styles of music for its aesthetic-emotional needs, evolved new modes and patterns of devotional music based on, and intimately related to, the well-known indigenous forms and styles of devotional music, characteristic of other religious faiths. Here we discern a synthesis that so truly governs the catholicity of the Sikh religion whose contribution to devotional music is not only of outstanding merit, but is also a part and parcel of the great heritage of this country in its religious and devotional modes of expression and appeal.” |