Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.272

c6.272

But the most important feature of this work is the recognition of the place of as many as sixteen Persian melodies and relating them to the Indian melodies by their nearest equivalents. Most probably these imported melodies had already obtained a place in current Indian music of the North and the author only confirmed the practice by including them in his work and by indicating their characters by assigning them to their places in relation to the Indian models. As Professor Bhatkhande remarks that the use of the locative case termination of the Indian rāgas named “is intended to show that the Persian melody is not exactly the same as the Indian but that the two are founded on the same scale.” He accepts them as part of the Hindusthāni system though he