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Guru Granth Sahib
Composition, Arrangement & Layout
ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
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Interfaith Dialogues
The Castrated Choir Boys
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<blockquote data-quote="aristotle" data-source="post: 190909" data-attributes="member: 11816"><p>The castrati - they were male singers with the power of</p><p>a man’s body but with a boy’s voice. The era of the</p><p>castrati was indeed a sad one. Who were they? The</p><p>answer has to do with a shocking practice-mutilation</p><p>in the name of religion.</p><p></p><p>Singing has played an important role in Eastern</p><p>Orthodox and Roman Catholic liturgy, the mainstay of</p><p>a church choir being boy sopranos. A boy’s voice,</p><p>though, breaks in his early teens. How could the</p><p>church overcome the constant change in personnel</p><p>and the training it entailed? True, a somewhat</p><p>colorless higher range of voice known as falsetto was</p><p>often employed, but this was not an acceptable</p><p>replacement for the boy soprano.</p><p></p><p>In 1588, Pope Sixtus V banned women from singing on</p><p>stage in any public theater or opera house. This ban</p><p>was reiterated by Pope Innocent XI about 100 years</p><p>later. "The disapproval of female theatrical performers</p><p>and the coupling of their name with that of prostitution</p><p>and licentiousness was an ancient tradition, going</p><p>back to the days of St Augustine and even earlier,"</p><p>observes researcher Angus Heriot. By taking this</p><p>inflexible stand, however, the church opened up the</p><p>way to another, more serious problem-castrati!</p><p></p><p>Castrati rapidly gained popularity. Pope Clement VIII</p><p>(1592-1605), for example, was greatly impressed with</p><p>the flexibility and sweetness of their voices. Even</p><p>though anyone known to have connection with the act</p><p>of castration was supposed to have been</p><p>excommunicated, a steady influx of young boys</p><p>became available as the musical needs of the church</p><p>prevailed.</p><p></p><p>Shops were said to advertise, "Qui si castrono ragazzi</p><p>(Boys are castrated here)." One barbershop in Rome</p><p>proudly proclaimed: "Singers castrated here for the</p><p>papal chapel choirs." It is claimed that during the 18th</p><p>century, some 4,000 Italian boys may have been</p><p>castrated for this purpose. How many died in the</p><p>process is not known.</p><p></p><p>Pope Benedict XIV himself referred back to the Council</p><p>of Nicaea’s decision and acknowledged that castration</p><p>was unlawful. But in 1748 he firmly rejected a</p><p>suggestion from his own bishops that castrati be</p><p>banned, for he feared that churches would become</p><p>empty if he did. Such was the appeal and importance</p><p>of church music. So castrati choristers continued to</p><p>sing in Italian church choirs, in St. Peter’s, and in the</p><p>pope’s own Sistine Chapel.</p><p></p><p>(Source: <a href="http://www.dankalia.com/archive/1000/1169.htm" target="_blank">www.dankalia.com/archive/1000/1169.htm</a>)</p></blockquote><p></p>
[QUOTE="aristotle, post: 190909, member: 11816"] The castrati - they were male singers with the power of a man’s body but with a boy’s voice. The era of the castrati was indeed a sad one. Who were they? The answer has to do with a shocking practice-mutilation in the name of religion. Singing has played an important role in Eastern Orthodox and Roman Catholic liturgy, the mainstay of a church choir being boy sopranos. A boy’s voice, though, breaks in his early teens. How could the church overcome the constant change in personnel and the training it entailed? True, a somewhat colorless higher range of voice known as falsetto was often employed, but this was not an acceptable replacement for the boy soprano. In 1588, Pope Sixtus V banned women from singing on stage in any public theater or opera house. This ban was reiterated by Pope Innocent XI about 100 years later. "The disapproval of female theatrical performers and the coupling of their name with that of prostitution and licentiousness was an ancient tradition, going back to the days of St Augustine and even earlier," observes researcher Angus Heriot. By taking this inflexible stand, however, the church opened up the way to another, more serious problem-castrati! Castrati rapidly gained popularity. Pope Clement VIII (1592-1605), for example, was greatly impressed with the flexibility and sweetness of their voices. Even though anyone known to have connection with the act of castration was supposed to have been excommunicated, a steady influx of young boys became available as the musical needs of the church prevailed. Shops were said to advertise, "Qui si castrono ragazzi (Boys are castrated here)." One barbershop in Rome proudly proclaimed: "Singers castrated here for the papal chapel choirs." It is claimed that during the 18th century, some 4,000 Italian boys may have been castrated for this purpose. How many died in the process is not known. Pope Benedict XIV himself referred back to the Council of Nicaea’s decision and acknowledged that castration was unlawful. But in 1748 he firmly rejected a suggestion from his own bishops that castrati be banned, for he feared that churches would become empty if he did. Such was the appeal and importance of church music. So castrati choristers continued to sing in Italian church choirs, in St. Peter’s, and in the pope’s own Sistine Chapel. (Source: [url]www.dankalia.com/archive/1000/1169.htm[/url]) [/QUOTE]
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