Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c9.19.4

c9.19.4

The special feature of the Indian system of melodies arises from the fact that while in Western music—there is room for more than one moods in the same composition,—each Indian melody has for its theme one definite mood—which must not be departed from, or variegated, or tinctured by the shade, or colour of any other feeling. Each melody is, as it were, —dedicated to its own theme,—its ethos, its presiding genius, —its devatā. And it is by the prayer of the musician,—the singer, or the interpreter,—who has to immerse and identify himself in the theme,—that the devatā—the spirit of the melody is made visible (mūrtimanta) in the symphonic form,—the nādamaya rūpa. Before he can call up the devatā of any rāga—by his prayers,—the interpreter (the worshipper of the rāga) has to visualise the image in his mind. For this purpose,—the dhyānas for contemplations appear to have been formulated.