i. The poems of Appar, Sambandar and Sundarar form the Tevaram, a collection that was compiled and classified in the tenth century on the basis of the music of the songs.
ii. These kings introduced the singing of Tamil Shaiva hymns in the temples under royal patronage, taking the initiative to collect and organise them into a text (Tevaram).
iii. Sufi’s ziyarat is the use of music and dance including mystical chants performed by specially trained musicians or qawwals to evoke divine ecstasy.
iv. The Sufis remember God either by reciting the zikr (the Divine Names) or evoking His Presence through sama‘(literally, “audition”) or performance of mystical music. Sama‘ was integral to the Chishtis, and exemplified interaction with indigenous
v. devotional traditions.
vi. The message of Baba Guru Nanak is spelt out in his hymns and teachings. These suggest that he advocated a form of nirguna bhakti.
vii. The fifth preceptor, Guru Arjan, compiled Baba Guru Nanak’s hymns along with those of his four successors and other religious poets like Baba Farid, Ravidas (also known as Raidas) and Kabir in the Adi Granth Sahib. These hymns, called “gurbani”, are composed in various languages.