[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) › c7.13 # Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c7.13 Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c7.13 - **Language:** English ### [c7.13](https://indike.org/pramana/ins.art.gangoly-1935.c7.13) ³ According to Mataṅga (Bṛhaddeśī, T. S. S. p. 98) Mālava-Kaiśika is so called because it is derived the Kaiśikī-jāti melody’ (“Kaiśikī-jāti-sambhūtiḥ rāgo Mālava-kaiśikaḥ”|| (346). The term ‘Kaiśikī’ (literally—‘hair breadth’) is derived from the theory of Śrutis (microtones). Thus, ‘Kaiśikī nī’ is nikhāda (B) less by one Śruti. - [Previous: c7.12](https://indike.org/pramana/ins.art.gangoly-1935.c7.12) - [Next: c7.14](https://indike.org/pramana/ins.art.gangoly-1935.c7.14) - [Up: c7](https://indike.org/pramana/ins.art.gangoly-1935.c7) ## Linked texts (1) - [Bṛhaddeśī](https://indike.org/pramana/in.art.sangita.prachina.brhaddesi) — Mataṅga, Sanskrit --- Source: [https://indike.org/pramana/ins.art.gangoly-1935.c7.13](https://indike.org/pramana/ins.art.gangoly-1935.c7.13) · Pramāṇa