[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) › c6.60 # Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.60 Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.60 - **Language:** English ### [c6.60](https://indike.org/pramana/ins.art.gangoly-1935.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 - [Previous: c6.59](https://indike.org/pramana/ins.art.gangoly-1935.c6.59) - [Next: c6.61](https://indike.org/pramana/ins.art.gangoly-1935.c6.61) - [Up: c6](https://indike.org/pramana/ins.art.gangoly-1935.c6) ## Cites (2) - [Nāṭyaśāstra](https://indike.org/pramana/in.art.natya.bharata.natyasastra) — Bharata, Sanskrit - [Bṛhaddeśī](https://indike.org/pramana/in.art.sangita.prachina.brhaddesi) — Mataṅga, Sanskrit --- Source: [https://indike.org/pramana/ins.art.gangoly-1935.c6.60](https://indike.org/pramana/ins.art.gangoly-1935.c6.60) · Pramāṇa