[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) › c6.96 # Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.96 Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.96 - **Language:** English ### [c6.96](https://indike.org/pramana/ins.art.gangoly-1935.c6.96) to each of which five or six minor melodies are related and assigned.) According to this text, the major melodies, or rāgas proper, come in the following order: "First comes Mālava, the king of the rāgas, then comes Mallāra, and after it comes Śrī-rāga and then Vasanta, Hindola and Karṇāṭa coming next,—these are the rāgas known by fame, and they are dressed as males."¹ We have, here, for the first time, the minor, or the derivative melodies designated as the 'wives of the rāgas' (rāga-yoṣita) and the word 'rāgiṇī' is used in the text, for the first time. They are assigned to their appropriate rāgas in a scheme given in Appendix 13. - [Previous: c6.95](https://indike.org/pramana/ins.art.gangoly-1935.c6.95) - [Next: c6.97](https://indike.org/pramana/ins.art.gangoly-1935.c6.97) - [Up: c6](https://indike.org/pramana/ins.art.gangoly-1935.c6) ## Cites (1) - [Vasant](https://indike.org/pramana/in.vernacular.hindi.sant.kabir.vasant) — Kabīr, Hindi --- Source: [https://indike.org/pramana/ins.art.gangoly-1935.c6.96](https://indike.org/pramana/ins.art.gangoly-1935.c6.96) · Pramāṇa