[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources](https://indike.org/pramana/ins.art.gangoly-1935) › c5.2 # Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c5.2 Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c5.2 - **Language:** English ### [c5.2](https://indike.org/pramana/ins.art.gangoly-1935.c5.2) The starting note (\*graha\*) and the terminating note (\*nyāsa\*) have now almost lost their significance. But the \*amśa\* (predominant note) is of great importance. It is also called the \*vādī\* (lit. the speaker, or announcer) \*i.e.\* the note which indicates, manifests, or expresses the peculiar character of the rāga, and receives the greatest emphasis in the structure of the rāga. It is also called the \*jīva\*, or the soul of the rāga. Just as the \*vādī\* note determines the general character of a rāga, the \*vivādī\*, or the dissonant note, distinguishes and differentiates it from other forms of rāgas, by avoidance of the \*vivādī\* note. For, this dissonant note destroys the character of the melody. The \*vivādī\* note gives the negative element, and, the other three, the positive determining elements of a rāga.² Every rāga has its special - [Previous: c5.1](https://indike.org/pramana/ins.art.gangoly-1935.c5.1) - [Next: c5.3](https://indike.org/pramana/ins.art.gangoly-1935.c5.3) - [Up: c5](https://indike.org/pramana/ins.art.gangoly-1935.c5) --- Source: [https://indike.org/pramana/ins.art.gangoly-1935.c5.2](https://indike.org/pramana/ins.art.gangoly-1935.c5.2) · Pramāṇa