EMOTION IN SIKH MUSICOLOGY

Recent studies in Sikh musicology have focused on its history and theory. However, there is an absence of theoretical research which focuses on the role of emotions in Sikh music. In this paper, we contribute to this research by investigating key issues relating to emotions in Sikh musicology. We explore theories which propose that a rāga will evoke a particular emotion/mood in the listener and that there are a number of factors which influence this process. In particular, we focus on two parallel theories which we term the ‘one rāga one emotion’ and the ‘one rāga multiple emotions’ theories. We consider these theories within the context of the shabads (We are adding an ‘s’ for Punjabi plural words such as shabads and rāgas although the plural in Punjabi in this case would be Shabad or rāga. By Anglicising the words in this way we hope that it makes the paper easier to read), in particular rāgas of the Guru Granth Sahib which convey a number of emotions/moods. In this paper, we explore the problem of how to approach the interpretation of rāgas within the context of the emotions/moods presented in the shabads of those rāgas whilst adhering to the musical structure of the rāga. We use rāga Sirī to exemplify and focus the discussion. We challenge the ‘one rāga one emotion’ theory and propose that a rāga can be performed to evoke a number of emotions/moods but that certain considerations have to be taken into account by the performer during the rendition of the rāga.