Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.51

c6.51

Matanga regards *rāgas* as one of the seven classes of songs (*gītis*) current in his time. He cites Yāṣṭika, an earlier authority, according to whom the *gītis* were of five classes: *śuddha*, *bhinna*, *vesara*, *gauḍa*, and *sādhārita*. At the time of Matanga, the *gītis* were of seven varieties.² (1) *śuddha* (2) *bhinnaka* (3) *gauḍika* (4) *rāga-gīti* (5) *sādhāraṇī* (6) *bhāṣā-gīti* (7) *vibhāṣā-gītis*. The *rāga-gītis* are fourth in Matanga’s list (*rāga-gītis-caturthikā*). He defines the various classes of *gītis*, and describes *rāga-gītis* as follows: “Attractive note compositions, with beautiful and illuminating graces are known as *rāga-gītis*. Where the four *varṇas* (probably the four characters of values of duration, ascent, descent, and movement) are met with in