[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [The Music and Musical Instruments of Southern India and the Deccan](https://indike.org/pramana/ins.art.day-1891) › c8.34 # The Music and Musical Instruments of Southern India and the Deccan c8.34 The Music and Musical Instruments of Southern India and the Deccan c8.34 - **Language:** English ### [c8.34](https://indike.org/pramana/ins.art.day-1891.c8.34) Since the early days of Indian music the essential conditions under which the râgas were composed and performed have altered greatly. Formerly, we learn, the râgas in performance were divided into four parts or movements, called respectively the Sthâyi, (2) the Antâra, (3) the Sanchari, (4) the Abhoga. The precise meaning attached to these terms, when applied thus,³ seems to have been lost in obscurity. At the present time, however, it matters little, for the modern theory teaches that in the performance of râga as a solo, two movements only are taken into consideration. These movements are known as the Alâpa and the Madhyamakâla, and answer approximately to the Adagio (perhaps rhapsody would convey a nearer meaning) and Scherzo of a sonata. - [Previous: c8.33](https://indike.org/pramana/ins.art.day-1891.c8.33) - [Next: c8.35](https://indike.org/pramana/ins.art.day-1891.c8.35) - [Up: c8](https://indike.org/pramana/ins.art.day-1891.c8) --- Source: [https://indike.org/pramana/ins.art.day-1891.c8.34](https://indike.org/pramana/ins.art.day-1891.c8.34) · Pramāṇa