[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) › c8.60 # Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c8.60 Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c8.60 - **Language:** English ### [c8.60](https://indike.org/pramana/ins.art.gangoly-1935.c8.60) Thus, the vādī note will determine whether a rāga belongs to the Pūrva, or Uttara group, and an analysis of the note-structure will determine during what quarter of the day or night, a particular rāga is fit to be sung. Another determinant element is offered by the use of the note sharpened ‘ma’ (tīvra madhyama). “Most of the rāgas taking a tīvra ma in their construction are rāgas assigned to the period between sunset and sunrise. The note Madhyama (f), therefore is looked upon as an ‘Adva-darśika’ or guiding note.² This function of the note ‘ma’ (f) is very picturesquely illustrated by Vyankatamakhi in his Catur-daṇḍi-prakāśikā: ‘Just as by a drop of curd, a jar of sweet milk is converted to the quality of curd, so by the introduction of the note ‘ma’, a Pūrva rāga melody is turned into an Uttara-rāga melody.”³ Pandit Bhatkhande cites Pūrvī and Bhairava; Kalyāṇa and Bilāwala as practical illustrations of this principle. Thus, the - [Previous: c8.59](https://indike.org/pramana/ins.art.gangoly-1935.c8.59) - [Next: c8.61](https://indike.org/pramana/ins.art.gangoly-1935.c8.61) - [Up: c8](https://indike.org/pramana/ins.art.gangoly-1935.c8) --- Source: [https://indike.org/pramana/ins.art.gangoly-1935.c8.60](https://indike.org/pramana/ins.art.gangoly-1935.c8.60) · Pramāṇa