[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) › c6.38 # Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.38 Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.38 - **Language:** English ### [c6.38](https://indike.org/pramana/ins.art.gangoly-1935.c6.38) “After expressing the Kaiśika (V) in the presence of all the notes, where (the melody) terminates in the madhyama, there arises “Kaiśika-madhyama” (VI) where the Kākalī (?sharp Niṣāda) is seen and the pañcama predominates. Kaśyapa calls it “Kaiśika”, born of the “Madhyama grāma” (VII), (11th śloka). - [Previous: c6.37](https://indike.org/pramana/ins.art.gangoly-1935.c6.37) - [Next: c6.39](https://indike.org/pramana/ins.art.gangoly-1935.c6.39) - [Up: c6](https://indike.org/pramana/ins.art.gangoly-1935.c6) --- Source: [https://indike.org/pramana/ins.art.gangoly-1935.c6.38](https://indike.org/pramana/ins.art.gangoly-1935.c6.38) · Pramāṇa