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<p class="C1">&#65279K&#298RTAN (from Skt. <i>k&#299rti</i>, i.e. to praise, celebrate or glorify), a commonly accepted mode of rendering devotion to God by singing His praises, is a necessary part of Sikh worship. Music plays a significant role in most religious traditions. In Sikhism it is valued as the highest form of expression of adoration and counts as the most efficacious means of linking the soul to the Divine Essence. <i>K&#299rtan</i> in the Indian tradition can be traced back to the Vedic chant in the second millennium B.C., the impulse behind it being the realization of the effect on the individual of joining the sound of music to the religious text. In Vedic rites, recitation was employed emphatically to bring out the meaning of the verses. <i>K&#299rtan</i> as we now understand it was popularized in medieval India by Vai&#7779&#7751ava <i>bhaktas</i> and S&#363f&#299 saints who sang usually their own compositions which not only produced in them a feeling of spiritual ecstasy but also led their followers into a mood of fervour. Jayadeva, a twelfthcentury Bengali poet who composed the famous <i>G&#299t&#257 Govinda</i>, is generally considered to be the first in line, although centuries earlier Vai&#7779&#7751ava poetsaints of South India, the &#256lv&#257rs, had earned much popularity with their devotional songs, called <i>N&#257l&#257yiradivyaprabandham</i>. Along with the Vai&#7779&#7751avites of the Bhakti cult who sang lyrics about the sacred love of K&#7771&#7779&#7751a and R&#257dh&#257, appeared holy men of the Sant tradition like Jñ&#257nadeva (12751296) and N&#257mdev (1270-1350), who addressed their songs and adoration to the Formless God. In Islam in India, S&#363f&#299 mystics such as Shai<u>kh</u> Far&#299d (11731265) composed and sang songs to express their longing for the Divine Being. The Vai&#7779&#7751avite saint Chaitanya (14851533) and his contemporary S&#363f&#299 saints also popularized <i>sa&#7749k&#299rtana</i> and <i>qaww&#257l&#299</i>, respectively, as forms of group singing.</p>
<p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;	Gur&#363 N&#257nak, founder of the Sikh faith, and the succeeding Gur&#363s promulgated, besides repetition and contemplation of the Divine Name, <i>k&#299rtan</i> as a form of worship. Gur&#363 N&#257nak in one of his verses thus figured forth the ecstasy of <i>k&#299rtan : "R&#257g ratan par&#299&#257 parv&#257r, tisu vichi upajai amritu s&#257r</i> --- music is a jewal born of the (supernatural) fairy family; from it rises the essence of nectar" (GG, 351). But warning men against the voluptuous indulgence in music, he said, "<i>G&#299t r&#257g ghan t&#257l si k&#363re, trihu gu&#7751 upjai binsai d&#363re, d&#363ji durmati dardu na j&#257i, chh&#363&#7789ai gurmukhi d&#257r&#363 gu&#7751 g&#257i</i> --- false are such songs, musical measures and the many rhythmic beats as bind one to the three modes of M&#257y&#257, resulting in one's alienation from God. By wilfulness one does not annul suffering. They who follow the Gur&#363's instruction are saved. The remedy lies in chanting God's praises" (GG, 832). Likewise, Gur&#363 Amar D&#257s, N&#257nak III: "Singing of R&#257ga Bil&#257val will become acceptable only when through it the holy Word finds utterance. Music and melody excel as they by the holy Word lead to concentration and serenity. Were one to devote oneself to serving the Divine, one would attain honour at the Lord's court even without having recourse to melody and music" (GG, 849). In Sikh <i>k&#299rtan</i>, music, though an essential element, is subordinate to the holy Word. Musical embellishment and ornamentation are permitted, but what is of real essence is <i>gurb&#257&#7751&#299</i> or the scriptural text. Technical virtuosity for its own sake will have little meaning.</p>
<p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;	Contents of the Gur&#363 Granth S&#257hib, the Holy Book of the Sikhs, can alone be sung in Sikh <i>k&#299rtan</i>, more accurately <i>&#347abda-k&#299rtan</i>. The only other approved canon for this purpose is the compositions of Gur&#363 Gobind Si&#7749gh which do not form part of the Gur&#363 Granth S&#257hib but are anthologized in a separate book, the <i>Dasam Granth</i>, and of Bh&#257&#299 Gurd&#257s and Bh&#257&#299 Nand L&#257l. The text comprising the Gur&#363 Granth S&#257hib is organized according to <i>r&#257gas</i> or musical measures, 31 in number, with further variants in many of them, to which the hymns were composed. The Gur&#363s themselves were well versed in music. At places in their hymns they have described themselves as "bards of the Lord." Gur&#363 N&#257nak kept with him as a constant companion a Muslim musician, Mard&#257n&#257, who played the <i>rab&#257b</i> or rebeck as the Gur&#363 rendered the hymns composed by himself. Gur&#363 Arjan, who compiled the Gur&#363 Granth S&#257hib, was an accomplished musicologist, who is said to have designed a new string instrument, <i>sarand&#257</i>, for use by <i>r&#257g&#299s</i> or performers of <i>k&#299rtan</i>. The Gur&#363s employed professional <i>rab&#257b&#299s</i> (rebeck-players) and <i>r&#257g&#299s</i> (musicians) to perform <i>k&#299rtan</i> in their presence. <i>&#7692h&#257&#7693&#299s</i>, using small hand-drums called <i>&#7693ha&#7693s</i> and a stringed instrument sang <i>v&#257rs</i> or ballads. Gur&#363 Arjan encouraged lay Sikhs to train as <i>k&#299rtan</i>-singers. <i>Rab&#257b&#299s</i> as a class of hereditary musicians were almost exclusively Muslims and groups of them continued to recite the sacred hymns inside Harimandar, the Golden Temple, until the partition of 1947 when they migrated to Pakistan. <i>&#7692h&#257&#7693&#299</i>-singers specialize in heroic balladry rather than in <i>&#347abda k&#299rtan</i>.</p>
<p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;	It is the <i>r&#257g&#299</i> ensemble which now performs <i>k&#299rtan</i> in <i>gurdw&#257r&#257s</i> and at congregations held on religious and festival occasions. Gurdw&#257r&#257 music begins in the early hours of the morning. In the Harimandar at Amritsar, <i>k&#299rtan</i> starts around 2 in the morning in summer months and around 3 in winter and is continued by a relay of <i>r&#257g&#299 jath&#257s</i> or choirs till late in the evening. At other places, it may be intermittant or limited to morning and evening hours. Traditionally, there are four <i>chauk&#299s</i> or services of <i>k&#299rtan</i>. They are : (1) &#256s&#257 k&#299 V&#257r at early morning; (2) Charan Kamal or Bil&#257val <i>chauk&#299</i> in the forenoon (for 4 hours after sunrise); (3) Sodar <i>chauk&#299</i> at sunset; and (4) Kaly&#257n <i>chauk&#299</i> in the evening about an hour and a half after sunset. A <i>r&#257g&#299 jath&#257</i> commonly comprises three members --- a lead singer nowadays usually playing the harmonium, a companion also at harmonium, and a <i>tabl&#257</i> player (<i>tabl&#257</i>, a pair of drums). The more elaborate ensembles may have one or more additional singers playing traditional string instruments such as <i>t&#257&#363s, t&#257np&#363r&#257</i> or <i>sarand&#257</i>. The <i>r&#257g&#299s</i> sit on the ground or on a platform but always lower than, and usually to the left of where the Holy Book is seated. Smaller localities depend on local talent and simpler instruments such as a, <i>&#7693holak&#299</i>, a harmonium, cymbals and <i>chim&#7789&#257</i> (tongs fitted with jingling metallic discs). The performance follows the basic design of the classical tradition. Only permissible texts are rendered, with no extra words or syllables added. Every hymn is sung, as far as possible, in its correct <i>r&#257ga</i> and performed in appropriate <i>lai</i> (tempo), <i>sur</i> (melody), <i>t&#257n</i> (tune) and <i>t&#257l</i> (rhythm). The <i>k&#299rtan</i> commences with an <i>al&#257p</i> (long-drawn vocal tune) setting the pattern and tone of the music. The tempo is slow and words are pronounced in a mood of reverence and devotion. The refrain is presented in the first place by the lead singer and is repeated in chorus by the other <i>r&#257g&#299s</i>. Then the harmoniums and/or string instruments repeat the tune to be followed by a vocal recitation. <i>r&#257ga</i> phrases may be presented in their entirety or divided to suit the text and the tune. In either case, the phrase will end with a chorus. Interludes in the development section, i.e. melodic material from both <i>sth&#257&#299</i> (refrain) and <i>antar&#257</i> (crescendo), may occasionally be done by <i>tabl&#257</i> alone or sung with a vowel sound to the same melody instead of a repetition by a reed or string instrument. If a full classical development of a <i>r&#257ga</i> is not attempted, a lighter classical style may be employed, especially for <i>&#347lokas</i> and <i>pau&#7771&#299s</i> of a <i>v&#257r</i>. Explanatory or amplificatory passages, again out of permissible texts alone, may be inserted in the main composition and presented in a related <i>r&#257ga</i> or in a recitative musical style. The lead singer generally introduces all new texts and musical material but the others may join in during the latter part of the phrase.</p>
<p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;	<i>&#346abda -k&#299rtan</i> has some limitations placed upon it traditionally in order that the religious structure of the performance is not compromised. In no case must the holy text be garbled, not even for musical effect. Every single word must be accurately pronounced. The message must reach the listener through clearly enunciated words. Hymns should be sung with affirmation in a full voice. <i>Gamaks</i> or musical ornaments should be limited to those essential to the correct performance of a <i>r&#257ga</i> such as glides between notes to maintain a connected melodic line. However, creative faculties of the performers should not be inhibited. Hand gestures, clapping and dancing are prohibited. No appreciation may be shown to the <i>r&#257g&#299s</i> during the performance.</p>
<p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;	The <i>Sikh Rahit Mary&#257d&#257</i> or code of conduct published under the authority of the Shiroma&#7751&#299 Gurdw&#257r&#257 Parbandhak Committee, statutorily elected religious body of the Sikhs, defines <i>k&#299rtan</i> as rendition of <i>gurb&#257&#7751&#299</i> or Scriptural texts in (appropriate) <i>r&#257gas</i>. For illustration, verses from Bh&#257&#299 Gurd&#257s and Bh&#257&#299 Nand L&#257l could be used. Even when singing the hymns in open religious tunes, i.e. when they are not being rendered by the <i>r&#257g&#299</i> ensemble in prescribed <i>r&#257gas</i>, with the entire congregation participating or forming an alternate chorus, the purity of line and phrase has to be maintained, eschewing additional words or syllables. Only a line from the hymn in question may be used as the refrain.</p>
<p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;	Combining discourse with <i>k&#299rtan</i> is sometimes resorted to generally by the lead <i>r&#257g&#299</i>, but it is not favoured by connoisseurs of music, or by lovers of <i>gurb&#257&#7751&#299</i> who prefer <i>nirol</i>, i.e. unadulterated <i>&#347abda-k&#299rtan</i>. Lately, <i>k&#299rtan darb&#257rs</i>, continuous sessions in which several choir groups take turns at singing Sikh hymns, <i>akha&#7751&#7693</i> (uninterrupted) <i>k&#299rtan</i> or <i>r&#257i&#7751 sab&#257&#299</i> (night-long) <i>k&#299rtan</i> have come into vogue. They not only cater to the aesthetic and spiritual needs of the devotees, but also help widen the scope and appeal of Sikh <i>k&#299rtan</i>.</p>
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<p class="BIB">
BIBLIOGRAPHY<p class="C1"><ol class="C1"><li class="C1"> Deva, B.C., <i>Indian Music</i>. Delhi, 1974<BR>
<li class="C1"> Avt&#257r Si&#7749gh and Gurcharan Si&#7749gh, <i>Gurb&#257&#7751&#299 Sa&#7749g&#299t</i>. Patiala, 1979<BR>
<li class="C1"> Sundar Si&#7749gh, Bh&#257&#299, <i>Gurmat Sa&#7749g&#299t</i>. Amritsar, n.d.<BR>
<li class="C1"><i>Si&#7749gh Sabh&#257 Patr&#299k&#257</i>. February-March 1978<BR>
</ol><p class="CONT">Gurbachan Si&#7749gh T&#257lib<br></p><BR>
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