Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.60

c6.60

Even from the time of Bharata, the melodies were used and they naturally developed in association with the different sections of the body of a drama. Thus, in a passage of Bharata quoted by Matanga (Bṛhad-deśī, p. 87), it is laid down that the madhyama-grāma melodies should be used in the mukha (opening of the drama), the ṣaḍja-grāma melodies in the pratimukha stages (progression), the sādhārita melodies in the garbha (development) stages, and the pañcama-jāti melodies for the vimarśa (pauses) and so on.²