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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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Sikh Sikhi Sikhism
Mathematics In Scripture?
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<blockquote data-quote="roopsidhu" data-source="post: 126882" data-attributes="member: 3162"><p><span style="color: blue"><span style="font-family: 'Verdana'">SSA,<?"urn:<img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite9" alt=":eek:" title="Eek! :eek:" loading="lazy" data-shortname=":eek:" />ffice<img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite9" alt=":eek:" title="Eek! :eek:" loading="lazy" data-shortname=":eek:" />ffice" /></span></span></p><p><span style="color: blue"><span style="font-family: 'Verdana'">Originally quoted by Narayanjot Kaur ji</span></span></p><p><span style="color: blue"><span style="font-family: 'Verdana'">All I was asking was for your opinion of those two paragraphs as I continue to be ambivalent, and don't know what to make of them. Your opinion is still welcome.</span></span></p><p><span style="font-family: 'Verdana'">Yes I totally agree with these both paragraphs. The two way effect of music cannot be denied. You have put it very nicely in these two paragraphs. Yes the whole idea revolves around the “resonance” and specially <span style="color: red">“acoustic resonance”. </span>That is the tendency of a sound system to absorb more energy when it is forced or driven at a frequency that matches its own natural frequency of vibration. As you have explained same thing happens to the human (living creature) minds also. During listening to the music when acoustic resonance takes place, when the frequency of vibration of any particular musical note or set of notes matches the frequency of the vibrations produces by mind ,then a great resonance occurs, that is the state of mind when the notes or the word flow directly to the inner mind. That is the state of mind which is termed as “ Beta stage of mind” by mind control experts, that is the state of Manan (a Sanskrit word) came in SGGS ji as “ Manney” ( maney surat hovey man budh) or let’s say that’s the stage of mind which is “Ikagarta”. So the acoustic resonance is very important part of music especially sacred music.</span></p><p><span style="font-family: 'Verdana'">Now let’s see what gurus have given us as gurbani. (I had tried to explain same in my essay at <a href="http://www.likhari.org/" target="_blank"><span style="color: #0000ff">www.likhari.org</span></a>). Gurbani divided into 31 ragas and also the statement “ kalyug meh kirtan pardhana”. This statement of guruji may have the logic of resonance behind it. Please note that Bani cannot be written in raags. Bani can be sung in raags. Bani is not written in ragas, bani in written in different poetic styles. But has been classified into 31 raaga based on the “Ras bhav” (prakriti) because same as a writing has a particular RAS ( prakriti) the ragas also have the specific prakritis. So based on the “ras bhav” ( prakriti) of the bani it might has been divided into 31 raagas. The set of notes of different ragas will produce the different frequency of vibrations depending upon the ras bhav of the bani, and when resonance will be in effect that bani will travel to the deeper most layers of mind and will have permanent effect on the mind. Then only the surat will meet the prime source (God)</span></p><p><span style="font-family: 'Verdana'">Singing contains two parts, lai and taal ( tune and rythem). Supposing the Lai (the tune being the most important part for creating resonance) when guru ji divided the bani in ragas the most important part of Tune was taken care of. But still, as the remaining part Taal (rhythm) was remaining. I believe to complete the process in full parts of gurbani were specified by Ghar (rhythm) also. It seems that when the music is created in particular raag and is being sung in particular ghar (rythem) it might be creating the best possible resonance with the minds of the listeners. WOW the fine scientific occurrences like acoustic resonance has been taking care of while compiling gurbani. When I think about this my head bows further towards the feet of satguru.</span></p><p><span style="font-family: 'Verdana'">But are we singing the gurbani as detailed (raag wise + ghar wise) in SGGS ji ?. If not, then why? If not then why our beloved gurus had divided the gurbani on basis of raga and ghars? Seems as, if I was carried away by emotions and gone off the track, but could not sustain myself.</span></p><p><span style="font-family: 'Verdana'">May waheguru bless us with the power to abide by the instructions put up by gurus in gurbani.</span></p><p><span style="font-family: 'Verdana'">Roopsidhu</span></p></blockquote><p></p>
[QUOTE="roopsidhu, post: 126882, member: 3162"] [COLOR=blue][FONT=Verdana]SSA,<?"urn::office:office" />[/FONT][/COLOR] [COLOR=blue][FONT=Verdana]Originally quoted by Narayanjot Kaur ji[/FONT][/COLOR] [COLOR=blue][FONT=Verdana]All I was asking was for your opinion of those two paragraphs as I continue to be ambivalent, and don't know what to make of them. Your opinion is still welcome.[/FONT][/COLOR] [FONT=Verdana]Yes I totally agree with these both paragraphs. The two way effect of music cannot be denied. You have put it very nicely in these two paragraphs. Yes the whole idea revolves around the “resonance” and specially [COLOR=red]“acoustic resonance”. [/COLOR]That is the tendency of a sound system to absorb more energy when it is forced or driven at a frequency that matches its own natural frequency of vibration. As you have explained same thing happens to the human (living creature) minds also. During listening to the music when acoustic resonance takes place, when the frequency of vibration of any particular musical note or set of notes matches the frequency of the vibrations produces by mind ,then a great resonance occurs, that is the state of mind when the notes or the word flow directly to the inner mind. That is the state of mind which is termed as “ Beta stage of mind” by mind control experts, that is the state of Manan (a Sanskrit word) came in SGGS ji as “ Manney” ( maney surat hovey man budh) or let’s say that’s the stage of mind which is “Ikagarta”. So the acoustic resonance is very important part of music especially sacred music.[/FONT] [FONT=Verdana]Now let’s see what gurus have given us as gurbani. (I had tried to explain same in my essay at [URL="http://www.likhari.org/"][COLOR=#0000ff]www.likhari.org[/COLOR][/URL]). Gurbani divided into 31 ragas and also the statement “ kalyug meh kirtan pardhana”. This statement of guruji may have the logic of resonance behind it. Please note that Bani cannot be written in raags. Bani can be sung in raags. Bani is not written in ragas, bani in written in different poetic styles. But has been classified into 31 raaga based on the “Ras bhav” (prakriti) because same as a writing has a particular RAS ( prakriti) the ragas also have the specific prakritis. So based on the “ras bhav” ( prakriti) of the bani it might has been divided into 31 raagas. The set of notes of different ragas will produce the different frequency of vibrations depending upon the ras bhav of the bani, and when resonance will be in effect that bani will travel to the deeper most layers of mind and will have permanent effect on the mind. Then only the surat will meet the prime source (God)[/FONT] [FONT=Verdana]Singing contains two parts, lai and taal ( tune and rythem). Supposing the Lai (the tune being the most important part for creating resonance) when guru ji divided the bani in ragas the most important part of Tune was taken care of. But still, as the remaining part Taal (rhythm) was remaining. I believe to complete the process in full parts of gurbani were specified by Ghar (rhythm) also. It seems that when the music is created in particular raag and is being sung in particular ghar (rythem) it might be creating the best possible resonance with the minds of the listeners. WOW the fine scientific occurrences like acoustic resonance has been taking care of while compiling gurbani. When I think about this my head bows further towards the feet of satguru.[/FONT] [FONT=Verdana]But are we singing the gurbani as detailed (raag wise + ghar wise) in SGGS ji ?. If not, then why? If not then why our beloved gurus had divided the gurbani on basis of raga and ghars? Seems as, if I was carried away by emotions and gone off the track, but could not sustain myself.[/FONT] [FONT=Verdana]May waheguru bless us with the power to abide by the instructions put up by gurus in gurbani.[/FONT] [FONT=Verdana]Roopsidhu[/FONT] [/QUOTE]
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