[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries](https://indike.org/pramana/ins.art.bhatkhande-comparative) › c5.55 # A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c5.55 A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c5.55 - **Language:** English ### [c5.55](https://indike.org/pramana/ins.art.bhatkhande-comparative.c5.55) Mela assumed three different forms namely "odava" "shadava" and "sampurna," because it had to produce three definite kinds of ragas. The definition of the Mela says nothing of the Aroha and the Avaroha. It was the 'murchhana' which brought these into the Mela. A raga necessarily required the aroha and the avaroha. Hence the presence of the murchhana was absolutely necessary for the production of the raga. In fact it stood midway between the mela and the raga. The mela remaining the same, it was quite possible to obtain different Ragas by a mere change of the 'murchhana'. Sri Nivasa says — - [Previous: c5.54](https://indike.org/pramana/ins.art.bhatkhande-comparative.c5.54) - [Next: c5.56](https://indike.org/pramana/ins.art.bhatkhande-comparative.c5.56) - [Up: c5](https://indike.org/pramana/ins.art.bhatkhande-comparative.c5) --- Source: [https://indike.org/pramana/ins.art.bhatkhande-comparative.c5.55](https://indike.org/pramana/ins.art.bhatkhande-comparative.c5.55) · Pramāṇa