GI on Music Theory Print

Giddha

Mon, 01 Jan 0001 00:00:00 +0000

History#

Giddha is said to be originated from the ancient ring dance which was dominant in Punjab. Giddha displays a traditional mode of performing Punjabi femininity, as seen through dress, choreography, . Since the Partition of India in 1947 and the division of Punjab into West Punjab (Pakistan) and East Punjab (India), folk dances of Punjab on both sides of the border have been consolidated, staged, and promoted as iconic expressions of Punjabi culture. While the form of giddha was not seriously affected by Partition, Gibb Schreffler writes that it has been classified as the women’s dance counterpart to the male form bhangra, despite that not entirely being the case.

Gigue

Mon, 01 Jan 0001 00:00:00 +0000

Etymology#

An early Italian dance called the giga probably derives its name from a small accompanying stringed instrument called the giga. Historians, such as Charles Read Baskerville, claim that use of the word in relation to dancing took place in England prior to such usage on the Continent. Giga probably has a separate etymology.

Pachelbel’s Canon and Gigue#

Pachelbel’s Canon by the German Baroque composer Johann Pachelbel was originally paired with a gigue under the title Canon and Gigue for 3 violins and basso continuo. Both movements are in the key of D major. The gigue is set in time and consists of 2 equal sections of 10 bars each. Unlike the canon, the gigue neither has a repeating bass voice nor a set chord progression. The gigue exhibits fugal writing, with each section introducing a brief melodic statement which is then imitated in the other voices.

Ginans

Mon, 01 Jan 0001 00:00:00 +0000

History#

Recited in Jama’at Khanas throughout the world, Ginans were preached by Ismaili Pirs and Sayyids in the South Asian region. The Ginans are a unique as literature because while they were meant to spread the Ismaili doctrine and basic theological principles to South Asians, they incorporated local elements of the region which inadvertently included what we now label as Hindu references. Perhaps the clearest connection to Ginans and what we now conceive of as Hindu tradition is the theme of Kalki which is the tenth incarnation of Vishnu (Dasa Avatara). In Ginan literature, the first Shia Imam, Ali, cousin and son-in-law of Muhammad, is likened to this tenth incarnation which is re-labeled as Nakalanki. It is because of these pluralistic elements in the Ginans that Khojas identified neither as Hindus nor as Muslims which lead to complications as the modern conception of religion created rigid boundaries of these religious identities. Ismailis view Ginans as a means through which to understand the message of the Qur’an and get closer to the essence of the Divine Light. Therefore, even though Ginans are often an outwardly practice (zahir), they provide the vessel through which the inner meaning (batin) can be understood. According to Wladimir Ivanow, a prominent Russian scholar on Ismailism, Ginans hold a profound significance for Ismailis, representing the Haqiqah or the ultimate truth. As such, the inner essence of Ginans is revered as supreme knowledge within the Ismaili tradition. This esteemed knowledge is believed to have been bestowed upon the family of Muhammad, known as the Ahl al-Bayt, so that the exclusive authority to impart guidance through Ginans lies with the Imams (direct descendants of Muhammad) or the Pirs (supreme representatives of the Imam). Some Ginans are also written in the style of the Virahini; that is in the perspective of a woman who is waiting with desire to be meet and be united with her beloved who is a metaphor for God. There are many important figures in the tradition of Ginans. These include Pir Shams, Pir Sadr ad-Din, Pir Hasan Kabir ad-Din, Nur Muhammad Shah, Imam Begum Shah, etc. These individuals wrote and actively contributed to the Ginan tradition. While the message and text of Ginans remains important, important academic has been done to demonstrate that just as the text, theological importance, and ritualistic practice is important to Ginans, the musicality and performance level of Ginans as a rite in Jama’at Khanas is significant as well.