he has explained the meaning of ragas but has not given any coherent definition of the word.
In his work 'Natya Shastra' written in the third century A.D. The names of some established raags have changed with time and the characteristics/ definitions of raags also are not as rigid as claimed in theory.īharata is considered to be the earliest authority on Indian Music. Some of the latter are raags with their own distinct characteristics whereas other creations are a combination of one or more existing raags. Many raags are polished forms of a family of regional folk melodies while others have been created through the imagination of musicians. The manner in which raags originate is a fascinating subject. First the raag is introduced with a note or group of notes, and then the improvisation progresses to a more melodically and rhythmically complex form. A recital explores a raag in an non-metered form and/or within the confines of a cyclical rhythmic structure, using intricate ornamentation of notes. The melodic performer utilizes a raag as the foundation for improvisation. The meaning of the raga revolves around three basic elements: The root word for the term 'Raga' is the Sanskrit word 'Ranja' meaning to please, to colour or to tinge. The definition and meaning of raga has changed many a times over the long period of history and mythology. The music and ragas also have their roots in the Hindu mythology e.g., Shiv's tandav dance, and Narad's and Saraswati's playing of divine musical instruments are legendary evidences of the existence of music in the world of gods. Indian classical music is based on raga system, which has continuously evolved over the millenniums, from pre Aryan period until today. A raag consists of required and optional rules governing the melodic movements of notes within a performance. In music, these descriptions apply to the impressions of melodic sounds on both the artist(s) and listener(s). Raag, in the Sanskrit dictionary, is defined as "the act of coloring or dyeing" (the mind in this context) and "any feeling or passion especially love, affection, sympathy, vehement desire, interest, joy, or delight". The Indian Classical Music has three built in pillars called elements of music, they are: Malaar - State of separated and united soul Raamkali - to give up the life of a wandering Jogi. Tilang - many words from the vocabulary of Islamic origins are used, sadness, beautification. Gauri - Principles, serious, thoughtfulness, composedĭevgandhari - Merging with spouse, self - realizationīihaagra - Yearning due to separation of soul and happiness due to meeting the Lord.īairagi - motivation to sing praises of Lord Maajh - yearning to merge with Lord, giving up of negative values. The soul being away from the House of Lord and the joy of meeting the true husband.īilaaval - beautification of soul, happiness. Vadhans - vairaag, loss (that is why Alahniya is sung in this Raag when someone passes away) It denotes feeling of beautification and yearning.īhairav - seriousness, brings stability of mind Tilang - this is a favourite Raag of Muslims. Todi - this being a flexible Raag it is apt for communicating many feelingsīhairaagi - sadness, (Gurus have, however, used it for the message of Bhakti) Jaitsree - softness, satisfaction, sadness Gujri - satisfaction, softness of heart, sadnessĭevgandhari - no specific feeling but the Raag has a softness