This article needs additional citations for verification .(February 2024) |
Thaat | Bilaval |
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Type | Audava-Sampurna |
Time of day | Evening |
Vadi | Ma |
Samavadi | Sa |
Hindustani classical music |
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Concepts |
Genres |
Thaats |
Raga Asa is a Sikh raga (composition) that emerged in the Sikh tradition from Punjab. It is part of the Gurmat Sangeet musical tradition, which includes ragas used by Sikh Gurus for Gurbani. It is used in the Guru Granth Sahib, the Sikh holy scripture. [1] It is not used in other Indian traditions. "Majh Khamaj" raga appears in Hindustani Sangeet, but it does not resemble the Asa of Gurmat Sangeet. "Asa" is part of the daily prayers conducted in Sikh Gurdwaras. In composing a tune, every raga follows rules that govern the number of notes that can be used, which notes can be used, and their interplay.
In the Guru Granth Sahib, the Sikh holy Granth (book), 60 ragas appear and are of equal and independent status. Numerous Shabad Reet compositions base based on these ragas are popular in the tradition. The Gurbani hymns under raga Asa appear in Sri Guru Granth Sahib.[ citation needed ]
Asa offers emotions of inspiration and courage. This raga gives the listener the determination and ambition to put aside any excuses and to proceed with necessary actions to achieve the aim. It generates feelings of passion and zeal to succeed, and the energy generated from these feelings enables the listener to find the strength to achieve success. The determined mood of this raga motivates the listener to be inspired.[ citation needed ]
Asa appeared during the 16th century. It was introduced in the classical singing styles of Gurmat Sangeet by Guru Nanak Dev Ji, the founder of Sikhism. The raga originated from popular folk tunes of Punjab (northern India). Raga Asa belongs to Bilawal Thaat. Asa was used by Guru Nanak, Guru Angad, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur.
The order of notes that can be used on the ascending and descending phase of the composition and the primary and secondary notes are:
Asa is a crooked (vakra) raga requiring approaches to certain notes be made from a set position[ clarification needed ]. Its variants, as given in the Guru Granth Sahib, are Kafi and Asavari, both of which have many features in common with Asa.[ citation needed ]
Gauri is an India musical raga that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. there are Gouris of the Bhairav, Poorvi and Marwa thats with additional qualifiers such as the Shree-anga Gouri, Bhairav-anga Gouri, Poorvi-anga Gouri and so on. These are not considered ‘big’ ragas.
The Guru Granth Sahib is the central holy religious scripture of Sikhism, regarded by Sikhs as the final, sovereign and eternal Guru following the lineage of the ten human gurus of the religion. The Adi Granth, its first rendition, was compiled by the fifth guru, Guru Arjan (1564–1606). Its compilation was completed on 29 August 1604 and first installed inside the Golden Temple in Amritsar on 1 September 1604. Baba Buddha was appointed the first Granthi of the Golden Temple. Shortly afterwards Guru Hargobind added Ramkali Ki Vaar. Later, Guru Gobind Singh, the tenth Sikh guru, added hymns of Guru Tegh Bahadur to the Adi Granth and affirmed the text as his successor. This second rendition became known as the Guru Granth Sahib and is also sometimes referred to as the Adi Granth.
Sorath is an India musical raga that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. In the Guru Granth Sahib, the Sikh holy Granth (book) there are a total of 60 raga compositions and this raga is the twenty fifth raga to appear in the series. The composition in this raga appear on a total of 65 pages from page numbers 595 to 660.
Sikh music, also known as Gurbani Sangeet , and as Gurmat Sangeet, or even as Shabad Kirtan, is the classical music style that is practised within Sikhism. It exists in institutional, popular, and folk traditions, forms, and varieties. Three types of Sikh musicians are rababis, ragis, and dhadhis. Sikh music exists in various melodic modes, musical forms, styles, musicians, and performance contexts.
A Granthi is a person, female or male, of the Sikh religion who is a ceremonial reader of the Guru Granth Sahib, which is the holy book in Sikhism, often read to worshipers at Sikh temples called a Gurdwara.
The principal Sikh scripture is the Adi Granth, more commonly called the Guru Granth Sahib. The second most important scripture of the Sikhs is the Dasam Granth. Both of these consist of text which was written or authorised by the Sikh Gurus.
This is an India musical raga (composition) that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib or Guru Granth Sahib for short. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. In the Guru Granth Sahib, the Sikh holy Granth (book) there are a total of 31 raga compositions and this raga is the ninth raga to appear in the series. The composition in this raga appear on a total of only 2 pages from page numbers 719 to 721.
Bihagara is an Indian musical raga (composition) that appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes and their interplay that has to be adhered to for the composition of a tune. The Guru Granth Sahib consists of 60 ragas and this is the twenty-second raga to appear in the series. The composition in this raga appears from page 537 to 557.
Shree is a very old North Indian raga of the Purvi thaat, and has traditionally been associated with Laxmi. It also appears in the Sikh tradition from northern India, and is a part of the Guru Granth Sahib, the holy text of the Sikhs. The Guru Granth Sahib composition comprises 31 ragas where Shree is the first raga to appear. The raga appears first on 14th page of the composition.
Basant or Vasant is a Hindustani classical raga.
Bilaval or Bilawal is a raga and the basis for the eponymous thaat in Hindustani classical music. Raga Bilaval is named after Veraval, Gujarat.
Devagandhari is a raga in Indian classical music. In carnatic classical music, Devagandhari is a janya raga, whose melakarta raga is Shankarabharanam, 29th in the 72 Melakarta raga system. This is not to be confused with Karnataka Devagandhari, which is a janya of Kharaharapriya similar to Abheri.
Dhanasree is a raga. It prominently appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib.
This is an India musical raga (composition) that appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune.
A Ragi is a Sikh musician who plays hymns (shabads) in different ragas as prescribed in the Sri Guru Granth Sahib.
Dhadi, also spelled as Dhadhi, is one who sings ballads using Dhadd and Sarangi, the folk instruments of Punjab. According to Kahn Singh Nabha's Mahan Kosh the definition of dhadhi is "One who sings ballads of warriors playing Dhadd". Dhadis are a distinct group performers emerged in the time of Sikh gurus.
Sidh Gosti, also spelled as Sidh Goshti, Sidh Gosht, or Sidh Gosat, is a famous spiritual interfaith dialogue between Guru Nanak and Nath Siddhas. The composition is present from Ang 938 to 946 in the Adi Granth. The composition has 73 stanzas, written in Ramkali Raga. Prominent Sidh and Naths present during discussion were Charpatnath, Bhangarnath and Loharipa. The popular belief is that this discourse happened at Achal Batala. Other than that Guru Nanak had discourses with Sidhas at various places mainly at Gorakhmatta, Achal Batala and Mount Meru. The discussion explains the differences of Gurmat with Yoga.
Suhi, a very old North Indian raga.: it also appears in the Sikh tradition from northern India and forms part of the Guru Granth Sahib. In the Guru Granth Sahib, the composition appear in 62 ragas and this is the thirty first raga to appear in the series. The composition in this raga first appear on Ang number 728.
Jaitsri is an Indian classical raga that appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib. It provided the setting for hymns by Guru Ram Das, Guru Arjan and Guru Tegh Bahadar for a total of 30 hymns.
Balbir Singh was a Sikh Hazuri Ragi who sang and performed at the Golden Temple in Amritsar for 36 years. He was one of the last masters of traditional Sikh gurbani kirtan of the Golden Temple.