[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) › c6.79 # Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.79 Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.79 - **Language:** English ### [c6.79](https://indike.org/pramana/ins.art.gangoly-1935.c6.79) But the most important data, furnished by this text, is the origin of the distinction between rāgas and rāgiṇīs. Here, we have for the first time a classification of the melodies into masculine and feminine groups, thus initiating the differentiation between rāgas and rāgiṇīs. In fact, Nārada gives three classifications, viz., Masculine melodies (pum-liṅga-rāgāḥ), Feminine melodies (strī-rāgāḥ) and Neuter melodies (napuṃsaka-rāgāḥ). The principle of classification is according to the character of the feeling (rasa) - [Previous: c6.78](https://indike.org/pramana/ins.art.gangoly-1935.c6.78) - [Next: c6.80](https://indike.org/pramana/ins.art.gangoly-1935.c6.80) - [Up: c6](https://indike.org/pramana/ins.art.gangoly-1935.c6) --- Source: [https://indike.org/pramana/ins.art.gangoly-1935.c6.79](https://indike.org/pramana/ins.art.gangoly-1935.c6.79) · Pramāṇa