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In the early 19th century, the harmonium began to be used amongst local musicians, eventually including Sikhs, in the Indian subcontinent; however, its adoption would have devastating impacts on native Sikh instruments. [1] The harmonium was easy to learn and play, plus it was easily transported, which led to it becoming popular and eventually ...
The instrument has a medium-sized sitar-like neck with about 20 metal frets, which are meant to guide the hand placement of the player. The neck holds a long wooden rack of 12-15 sympathetic strings. The dilruba has four main strings, all made of metal. [7] The soundboard is a stretched piece of goatskin similar to what is found on a sarangi ...
One distinctive Sikh instrument is the Taus. The head of the instrument is shaped like a peacock. The 10th Guru of the Sikhs, Guru Gobind Singh Ji, named the instrument "Taus" as the word is Persian for peacock. [44] This instrument was originally created by Guru Hargobind Sahib Ji. It is significantly larger than other Sikh instruments.
The dilruba was created some 300 years ago by the 10th Sikh guru, Guru Gobind Singh, who based it on the much older, and heavier, Taus. [2] [3] This made it more convenient for the Khalsa, the Sikh army, to carry the instrument on horseback. [1] According to the folklore, the esraj was created by Ishwari Raj, a musician who lived in Gayadam.
The following list consists of concepts that are derived from both Sikh and Indian tradition. The main purpose of this list is to disambiguate multiple spellings, to make note of spellings no longer in use for these concepts, to define the concept in one or two lines, to make it easy for one to find and pin down specific concepts, and to provide a guide to unique concepts of Sikhism all in one ...
Musical instruments of the Indian subcontinent can be broadly classified according to the Hornbostel–Sachs system into four categories: chordophones (string instruments), aerophones (wind instruments), membranophones (drums) and idiophones (non-drum percussion instruments).
The last of the line of rababis was Bhai Chand. During the 20th century CE the instrument's use in Sikh kirtan was eclipsed by the harmonium but it has been revived. [9] Sikh rababis used to perform kirtan regularly at Amritsar before the partition of India in 1947, after which many of the rababis migrated to what became Pakistan. [10]
In the Sikh scripture, the texts are attached to a rāga and are sung according to the rules of that rāga. [ 49 ] [ 50 ] According to Pashaura Singh – a professor of Sikh and Punjabi studies, the rāga and tala of ancient Indian traditions were carefully selected and integrated by the Sikh Gurus into their hymns.