ASSEB HS Skill Sattriya Vocal Music (Borgeet) key terms

A classical dance and music tradition of Assam that developed in the Vaishnava sattras (monasteries) founded by Srimanta Sankardeva and Madhavdeva. It includes dance, vocal music, and instrumental music, and was recognized as a classical dance form by the Sangeet Natak Akademi in 2000.

A devotional song composed by Srimanta Sankardeva or Madhavdeva, sung in Assamese, characterized by a slow, ornate melody (raga) and a specific rhythmic cycle (tala). Borgeets are central to Sattriya vocal music and are performed in sattras and namghars.

A 15th–16th century Assamese saint, scholar, and social reformer who founded the Ekasarana Dharma (Vaishnavism) in Assam. He composed numerous Borgeets, devotional plays (Ankiya Naat), and translated Sanskrit scriptures into Assamese, shaping Sattriya culture.

A chief disciple and successor of Srimanta Sankardeva, who expanded the Borgeet repertoire with compositions known for their emotional depth and musical sophistication. He also wrote the Namghosa and played a key role in institutionalizing sattra practices.

The monotheistic Vaishnava faith propagated by Srimanta Sankardeva, emphasizing devotion (bhakti) to Krishna alone and rejecting caste distinctions and elaborate rituals. It is the theological foundation of Sattriya music and the sattra institution.

A monastic community or monastery in Assam established by Sankardeva and his followers, serving as a center for religious learning, performance, and preservation of Sattriya arts. Sattras are headed by a satradhikar and follow distinct musical and ritual traditions.

The prayer hall within a sattra or village where communal worship, including the singing of Borgeets and recitation of the Namghosa, takes place. It is the primary performance space for Sattriya vocal music and congregational chanting.

The spiritual head or abbot of a sattra, responsible for maintaining its traditions, initiating disciples, and overseeing the performance of rituals and music. The satradhikar's lineage often traces back to Sankardeva or Madhavdeva.

A collection of devotional hymns composed by Madhavdeva, recited or sung in namghars. It is distinct from Borgeets in musical setting and is often performed in a responsorial manner during congregational worship.

One-act devotional plays written by Sankardeva and Madhavdeva, performed in sattras. They incorporate Borgeets as songs within the narrative and are a major context for Sattriya music and dance.

A melodic framework in Indian classical music consisting of a scale, characteristic phrases, and ornamental patterns. Borgeets are set in specific ragas, which guide the melodic improvisation and emotional mood of the song.

A rhythmic cycle in Indian music, defined by a fixed number of beats (matras) and specific accent patterns. Borgeets use talas that are often played on the khol, and the vocalist must align the melody with the cycle.

A barrel-shaped, two-headed drum used in Sattriya music to accompany Borgeets and dance. Its playing style involves complex finger techniques and produces deep, resonant tones that support the rhythmic structure.

A beat or unit of time in a tala cycle. In Borgeet performance, the singer and khol player must maintain precise matra divisions to keep the composition rhythmically intact.

The tempo or speed of a rhythmic cycle. Borgeets are typically sung in a slow laya, allowing for elaborate melodic ornamentation and clear pronunciation of the lyrics.

A musical note or pitch in Indian music. In Borgeet singing, accurate swar production is essential, and singers practice exercises to develop control over pitch and intonation.

The concept of pitch or tune in Indian music, often used to describe the correctness of a singer's intonation. Good sur is a primary requirement in Borgeet performance and is cultivated through dedicated practice.

The systematic training of the voice for singing, including breath control, posture, resonance, and vocal exercises. In Sattriya vocal music, voice culture helps singers sustain the slow, ornamented phrases of Borgeets without strain.

The use of the diaphragm and abdominal muscles to control airflow during singing. Proper breath support enables a steady tone, accurate pitch, and the long phrases required in Borgeet renditions.

The body alignment maintained while singing, typically an upright, relaxed stance that allows free movement of the diaphragm and unobstructed airflow. Correct posture is fundamental to Sattriya vocal technique and is emphasized in training.

Regular, disciplined practice of music, including vocal exercises, raga phrases, and tala patterns. In Sattriya vocal music, riyaz is essential for developing voice culture and mastering the Borgeet repertoire.

Devotion or loving surrender to God, particularly Krishna, as taught in the Ekasarana Dharma. Bhakti is the central emotional and spiritual theme of Borgeet lyrics and performance.

The Hindu deity who is the focus of devotion in Sattriya music. Borgeet lyrics often describe Krishna's childhood exploits, his flute playing, and the devotee's longing for him.

The Indo-Aryan language in which Borgeets are composed. Its phonetic and grammatical features shape the poetic meter and rhyme of the songs, and correct pronunciation is essential for authentic performance.

The collection of Borgeets composed by Sankardeva, Madhavdeva, and other historical composers. It is classified by raga, tala, theme, and composer, and forms the core syllabus for Sattriya vocal students.

The performance of a Borgeet by a single vocalist, often with khol and cymbal accompaniment. Solo singing allows for individual expression and is a common format in sattra rituals and concert presentations.

The performance of Borgeets by a chorus of singers, typically in a namghar or sattra setting. Group singing emphasizes unity, precise coordination of tala, and collective devotional expression.

The traditional pair of singer (gayan) and drummer (bayan) in Sattriya performance. The gayan leads the vocal rendition while the bayan plays the khol, maintaining the rhythmic cycle.

The narrator or director in Ankiya Naat performances, who introduces the play and often sings Borgeets. The sutradhar's role combines storytelling, singing, and stage direction.

A teacher or spiritual guide who transmits the Sattriya tradition to students. In Borgeet learning, the guru provides oral instruction in raga, tala, pronunciation, and the correct interpretation of lyrics.

The dance component of Sattriya tradition, performed with Borgeet accompaniment. It shares the same raga and tala framework as vocal music and is often presented together in sattra festivals.

A traditional Assamese theatrical performance of Ankiya Naat plays, featuring Borgeets, dance, and dialogue. Bhaona is a major public context for Sattriya music and is staged in namghars and open spaces.

The classification system of ragas into families (ragas and raginis) in Indian music. Borgeets are often categorized according to the raga in which they are composed, and knowledge of raga characteristics is essential for performance.

The eight types of heroines in classical Indian literature, a concept sometimes reflected in Borgeet lyrics describing the devotee's relationship with Krishna. Understanding these archetypes aids interpretation of the songs' emotional content.

A lively rhythmic pattern or dance sequence performed in sattras, often accompanying Borgeets or independent instrumental music. It is characterized by fast tempo and energetic khol playing.

A hymn or devotional song, often used interchangeably with Borgeet in some contexts, but more specifically referring to the hymns of the Namghosa. The term highlights the devotional intent of the lyrics.

The musician who plays the khol drum in Sattriya performances. The khol player must know the tala cycles and respond to the singer's phrasing, making the role collaborative rather than merely accompanimental.

The singing tradition of Sattriya, centered on Borgeets and other devotional songs. It emphasizes pure intonation, clear pronunciation of Assamese lyrics, and adherence to raga and tala conventions.

The branch of Hinduism focused on the worship of Vishnu and his avatars, particularly Krishna. The Ekasarana Dharma of Sankardeva is a distinct Assamese Vaishnava tradition that shapes Sattriya music.

The established rules and practices for presenting Sattriya music and dance, including the order of items, use of specific talas, and interaction between singer and drummer. These conventions vary slightly among sattras.