I am pleased to contribute to this volume with my new research on kīrtan and pilgrimage in Sikh culture. The readers may be puzzled, however, to find that Pashaura Singh’s response to my essay does not correspond to the authorized version of the paper published in this issue. As clarified with the editors, Pashaura Singh was discussing an earlier draft of my work. I was still in the process of revising my article based on the initial blind-review feedback when his review was published online, unbeknownst to me. It is due to an unfortunate misunderstanding in the editing process that there are discrepancies between his comments and the actual contents of my final article, beginning with the title to several paragraphs cited in the response. It is appreciated that by way of this rejoinder I have been also given the chance to rectify some inaccuracies that appear in the review. One of the issues that I would like to address is the key distinction I made – by contrast – between the gurbānī dhur-pad and the (fixed) song-form of the havelī and darbārī dhrupad, both having notably the following fourfold structure: asthāī, antarā, sanchārī, and ābhog. With this regard, the readers may kindly notice that – as explained in the paper – the four points mentioned by the reviewer are actually related to the arrangement of the kīrtan performance, from the beginning to the end, and not the structure of the individual song-forms. Also, I would like to specify the reason why I discuss dhur-pad and the partāl forms in this essay on pilgrimage. Developed during the Sikh Gurūs era, they carry a distinctive gurbānī signature which seems to translate into music the Sikh literary and philosophical stances on (interior) sacred journeying. Coincidentally, the final version of my article includes a few paragraphs that discuss a prior work by Pashaura Singh which analyzes the panj khands in the process of transformation from manmukh (self-willed being) into gurmukh (Guru-oriented realized self). While I agree with the reviewer that millennial generations of Sikhs in India and abroad are rediscovering kīrtan as a ‘practice’, the point I made is that the contemporary ‘repertoire’ is newly composed by performers who lack knowledge of the puratan song-forms, rāgas and tālas. Modern musical settings of the śabads are now accepted as new normative standards, however, simply saying that ‘all kinds of music are undergoing change’ doesn’t offer a profound scholarly argument. Actual historical and musicological investigation can only provide enough evidence worldwide of scholars and musicians who have been working together to carefully preserve the oral knowledge that was passed on for generations of performers, and it is now in danger of disappearing. The UNESCO Intangible Cultural Heritage project is an example of this scholarship and activism. It is unfortunate that rigorous researches on the Gur-Sikh intangible heritage, and the efforts to preserve it,

中文翻译：

---

Rejoinder 1：当“各种音乐都在发生变化”时，保留口头传统的重要性

我很高兴通过我对锡克教文化中的吉尔丹和朝圣的新研究对此有所贡献。但是，读者可能会感到困惑，发现Pashaura Singh对我的论文的回应与本期发表的论文的授权版本不符。正如编辑所澄清的那样，帕夏拉·辛格（Pashaura Singh）正在讨论我的作品的早期草稿。当我的评论在线发表时，我仍在根据最初的盲目评论反馈来修改我的文章，这对我来说是未知的。由于编辑过程中的一个不幸误解，他的评论与我最后一篇文章的实际内容之间存在差异，从回应中引用的几段标题开始。可以理解的是，通过这种重新结合，我也有机会纠正本评论中出现的一些不准确之处。我要解决的问题之一是，我在gurbānīdhur-pad和hadlī和darbārīdhrupad的（固定）歌曲形式之间做出了关键的区分，两者都具有以下四重结构：asthāī ，antarā，sanchārī和ābhog。就此而言，读者可能会注意到，正如论文中所解释的那样，审稿人提到的四点实际上与基尔坦表演的安排从头到尾都有关，而不是与个别歌曲的结构有关。 -形式。另外，我想指出为什么我在这篇朝圣文章中讨论dhur-pad和partāl形式的原因。在锡克教徒古鲁斯时代开发的 它们带有独特的古尔巴尼（gurbānī）签名，似乎将（室内）神圣旅程的锡克教文学和哲学立场转化为音乐。巧合的是，我的文章的最终版本包含一些段落，讨论了Pashaura Singh的先前工作，该工作分析了从manmukh（自我意愿的人）到gurmukh（面向宗师的已实现自我）的转变过程中的panj khands。我同意审稿人的观点，即印度和国外的锡克教徒的千禧一代正在重新发现吉尔坦语是一种“练习”，但我的观点是，当代的“曲目”是由对紫pur曲形式知识不足的表演者新近创作的，拉加斯和塔拉斯。现在已接受śabads的现代音乐环境作为新的规范标准，但是，仅仅说“各种音乐正在发生变化”并不能提供深刻的学术论据。实际的历史和音乐研究只能为全世界的学者和音乐家提供足够的证据，他们一直在努力地认真保存传给一代又一代表演者的口头知识，而现在这种知识正处于消失的危险中。联合国教科文组织非物质文化遗产项目就是这种奖学金和行动主义的一个例子。不幸的是，我们对古尔-锡克教徒非物质遗产进行了严格的研究，并为保护这一遗产做出了努力，实际的历史和音乐研究只能为全世界的学者和音乐家提供足够的证据，他们一直在努力地认真保存传给一代又一代表演者的口头知识，而现在这种知识正处于消失的危险中。联合国教科文组织非物质文化遗产项目就是这种奖学金和行动主义的一个例子。不幸的是，我们对古尔-锡克教徒非物质遗产进行了严格的研究，并为保护这一遗产做出了努力，实际的历史和音乐研究只能为全世界的学者和音乐家提供足够的证据，他们一直在努力地认真保存传给一代又一代表演者的口头知识，而现在这种知识正处于消失的危险中。联合国教科文组织非物质文化遗产项目就是这种奖学金和行动主义的一个例子。不幸的是，我们对古尔-锡克教徒非物质遗产进行了严格的研究，并为保护这一遗产做出了努力，