Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c2.1

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In this volume, an humble, though a pioneer attempt has been made to trace the beginnings and the later evolution of the rāga-system of Indian Music—from authoritative sources, many of which are still buried in unpublished and rare manuscripts. Orthodox music practitioners, opposing any manner of new developments and innovations—on the belief that Indian Music is a stereotyped system hidebound by strict rules and conventions prescribed by ancient musical Sages, to depart from which is to assail the individuality of Indian Musical thought—and, therefore, a musical crime, may find in this Volume much material which will contradict such a belief. Indeed, the history of the rāgas, of which a bare outline, is, here presented demonstrates that in all periods of its development—Indian Music has grown and progressed by assimilating new ideas from non-Aryan and aboriginal musical practices—and that the Classical Rāga-System is firmly based on and is heavily indebted to Primitive Folk-music, having never disdained from borrowing and assimilating new data from alien or foreign sources. Yet the Indian Rāga-System—has a structure of peculiar form—having fundamental rules and conventions of its own—which must be understood—in its essential character—before any innovation or a new development can be initiated. In the coming new order of things, Indian Music is destined to play a great part in vitalizing national culture. It is hoped that the free liberalizing rôle of music should not be restricted and subordinated by being harnessed to political propaganda. Both the necessity of saving Indian Music from such slavery and of extending its rôle—in a larger expansion of national life—in forms of new applications to newer needs—it is necessary for all kinds of votaries,—the Practioners, the Connoisseurs, the Innovators, the Reformers, and the Students—to have a thorough knowledge of the basics of Indian Music, its grammer and conventions, the secrets of its peculiar charm, and its power of intense emotional expressiveness—both in its thematic and abstract applications. It is believed that from this point of view—this monograph may offer valuable educational data. In many of the Indian Schools of Music—the syllabus includes not only a knowledge of the practice of the Rāgas—and their differentiations—but also of some rudiments of the theories on which they are based. But very often authoritative data is not readily available to the average teacher—who has no time to undertake independent researches to dig out the facts bearing on the history of Indian Music-theories. It is humbly claimed—the data put forward in this Volume may go in some way to provide this essential materials for the study of Indian Music. The Political Life—and the freedom to coin our new political destiny—may be imitated in the sphere of Music. As the history of Indian Music demonstrates—our musical authorities have never opposed innovations—but have welcomed fresh ideas—and have assimilated them according to the fundamental principles of Indian Music. In this conception, it is useful to recall the remark of Plato in his *Republic*: "The introduction of a new kind of music must be shunned as imperilling the whole State; since styles of music are never disturbed without affecting the most important political institutions."