ABSTRACT Through a comparative analysis of sound and pilgrimage in Bhakti, Sufi and Sikh cultures, this paper examines their musical repertoires and divergent views from the standpoint of sacred journeying. While the Gurū Granth Sāhib is critically inclusive of Bhakti and Sufi voices, the musical setting and the performance of the hymns incorporated into the Sikh scripture suggest a distinct function of the gurbānī kīrtan practice, associated with the process of inner transmutation from a self-willed being (manmukh) into a Gurū-oriented realized self (gurmukh). The gurbānī repertoire also includes various types of ancient songs-forms (like chhants, prabandhs, dhur-pads and partāls) of historical and musicological importance. This article focuses on two of them which, developed during the Sikh Gurūs era, reveal a unique construction that seems to translate into music the Sikh literary and philosophical stances on sacred journeying. Applying Turner’s concepts of communitas and liminality, Sikh kīrtan is here interpreted as a shared experience for a potential transformation, a sonic form of ‘introverted pilgrimage’ leading to a state of blissful equanimity (sahaj).

中文翻译：

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声音朝圣。探索锡克教文化中的吉尔坦和神圣之旅

摘要通过对巴克提，苏菲和锡克教文化中的声音和朝圣进行比较分析，本文从神圣旅程的角度审视了他们的音乐曲目和分歧观点。尽管古鲁·格兰思·萨希卜（GurūGranthSāhib）严格地包含了巴克提（Bhakti）和苏菲（Sufi）的声音，但锡克教经典中的音乐环境和赞美诗的演奏暗示了古尔班·基尔坦（Gurbānīkīrtan）习俗的独特功能，与自我意志的内部trans变过程相关被（manmukh）变成一个面向古鲁的已实现自我（gurmukh）。gurbānī曲目还包括具有历史和音乐重要性的各种类型的古代歌曲形式（例如chhant，prabandh，dhur-pads和partāls）。本文重点介绍锡克教徒古鲁斯时代开发的其中两个，揭示了一种独特的结构，似乎将锡克教徒在神圣旅程中的文学和哲学立场转化为音乐。锡克教徒运用特纳的社区和合法性概念，被解释为一种潜在的转变的共同经验，一种声音形式的“内向朝圣”导致幸福的平静（sahaj）。