Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c15.s3: Appendix 3

Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c15.s3

Language: English

Appendix 3 c15.s3.2

Into Rāga-gītis, Sādhāraṇa-gītis, Bhāsā-gītis, Bibhsá-gītis

According to Brhaddeśī by Matanga (Circa 5th to 7th Century,) melodies, known under the generic name of gītis, or folk-songs, or airs, were of seven varieties, one of which represented the rāga-gītis or melodies proper The melodies had their derivatives known as bhāsās, the latter being subdivided into Vibhāsās The bhāsās & vibhāsās, correspond to rāginīs of later times

c15.s3.4

[Brhaddeśī (Trivandrum Edition) p 82-133 The Author follows two earlier authorities Yāstika & Sārdūla ]

c15.s3.5

GĪTIS

c15.s3.6

1 Suddha- 2. Bhin- 3 Goud- 4 Sādha- 5. Rāga- 6 Bhāsā- 1. Vibhāsīgītis naka-gītis ikā-gītis ranī-gītis gītis gītis gītis

c15.s3.7

SĀDHĀRANA-GĪTIS

c15.s3.8

1 Saka 2 Kaku- 3 Hat- 4 Rūpa- 5. Gānd- 6 Sadjabha māna- sādhārita hāra- Kaiśika Pañcama Pañcama

c15.s3.9

These were later accepted in the classes of rāga proper, affiliated to the earliest rāga system.

c15.s3.10

RĀGA-GĪTIS

c15.s3.11

1. Takka 2. Souvīra 3. Mālava- 4. Khā- 5 Malava-6. Votta- 7. Hindo- 7. Takka- (-Tanka) Pañcama dava kaiśika Rāga loka Kaiśika

c15.s3.12

BHĀSĀ-GĪTIS

c15.s3.13

Ascribed to each of the rāgas

c15.s3.14

1 TAKKA-RĀGA

c15.s3.15

1. Travanā 5. Mālavesarikā 9. Vesarikā 14. Kolāhalī
2. Travanod- 6. Gūrjarī 10. Pañcamākyā 15. Madhyamabhava 7. Sourāstrī 11. Ravi-Candrā grāmikā
3. Veranjikā 8 Saindhabhī 12 Amvā-herī 16 Gāndhāra-
4. Chevātī 13. Lalitā pancama