[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) › c6.73 # Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.73 Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.73 - **Language:** English ### [c6.73](https://indike.org/pramana/ins.art.gangoly-1935.c6.73) The author then gives a series of verses describing the structure of the following melodies : Śrī-rāga, Soma-rāga, Mālava-kauśika, Harṣa-purī(?) Hindola, Deśi-Hindola, Bhairivī, Mahlāra, Sāverī, Valiti (? Vahuli), Vaṅgāla, Karṇāṭa-Vaṅgāla, Gurjarī, Saurāṣṭrī, Pun-nāṭa, Kaiśiki, Śuddha-varāṭī, Karṇāṭa-varāṭī, Drāviḍa-varāṭī, Śuddha-naṭī, Megha-rāga, Āhirī, Chāyānaṭī, Toḍi, (?), Dullī-Toḍī, Vahlānā, Vahuri, Velā-ullī, Chāyā-velā-ullī, Cundī, Haṃsa, Kham-bhārī, Kāmoda, Siṃhalī-Kāmoda, Deśanaka (? Deśākhya), Danthibhi(?), Kolāhala, Saindhavī, Dāṃva-kṛti, Rāmakṛti, and Nuṇḍa-(? Tuṇḍa)-kṛti. This is an interesting list and helps us to realise that many of the melodies had come into existence of a century before Śārṅgadeva wrote his treatise. The different varieties of Toḍis are of interest. The original form of the name Velā-ullī, apparently an aboriginal melody, later sanskritized into Velāvalī, also deserves notice. - [Previous: c6.72](https://indike.org/pramana/ins.art.gangoly-1935.c6.72) - [Next: c6.74](https://indike.org/pramana/ins.art.gangoly-1935.c6.74) - [Up: c6](https://indike.org/pramana/ins.art.gangoly-1935.c6) ## Linked texts (1) - [Saṅgītaratnākara](https://indike.org/pramana/in.art.sangita.sangraha.sangitaratnakara) — Śārṅgadeva, Sanskrit --- Source: [https://indike.org/pramana/ins.art.gangoly-1935.c6.73](https://indike.org/pramana/ins.art.gangoly-1935.c6.73) · Pramāṇa