The Concept of Raga

 

The musical concept of raga was first defined in the Bṛhaddeśī (BD), text attributed to Mataṅga who is believed to have lived between the fourth and eighth centuries. (Rowell, 1987: 139) ​

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In this connection, [there are two defintions of rāga,] first: In the opinion of the wise, that particularity of notes and melodic movements (svaravarņaviśeṣeņa), or that distinction of melodic sound (dhvanibhedena), by which one is delighted (rajyate), is rāga. Alternatively: That particularity of melodic sound (dhvanviśeṣa), adorned with notes and melodic movements (svaravarņavibhūṣita), which is pleasing (rañjaka) to the minds of men, is declared to be rāga. The definition [of rāga] is considered to comprise two elements : "generality" (sāmānya; i.e. those features common to all rāgas) and "particularity" (viśeṣa; i.e. those features peculiar to individual rāgas). "Generality" is of four parts; "particularity" [means] Predominant and other [features]. Thus the etymology of the word rāga is explained. Rāga derives from rañjana (colouring): the etymology is stated. (BD, 280-283, as translated by Widdess, 1995: 41) 

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The concept of raga can be defined as a set of musical rules structured in a distinct melodic entity that functions both as a matrix of melodies and as a reference against which the melodies may be validated. In this sense, a raga has two dimensions: a normative and a creative dimension. The normative dimension determines the identity of a raga and allows preservation through the multiple interpretations of each musician. The creative dimension pertains to the individuality of the musician; the musical heritage, talent and creative potential of each artist. These two dimensions of the raga maintain a relation of reciprocity since the components of each raga are directly involved in performance and, conversely, the existence of each raga depends on its various interpretations in time.

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The different components that defines the musical concept of raga were clearly stated in the Saṅgītaratnakāra of Śāraṅgadeva (written between 1210 and 1247). These components have been standardized into the musical system of hindustani music as we know it today in the early 20th century by musicologist Vishnu Narayan Bhātkhaṇde. According to this system, each raga is characterized by a fix number of notes (svara), by a defined ascending and descending scale (āroha / avaroha); by some target notes (vādī/samvādī); by a region to be favoured for melodic developments (pūrvāṅga/uttarāṅga), by the time of the day when it should be performed (prahara), and by certain key phrases and distinct melodic movements (pakaḍa, calana). Finally, the majority of the raga of hindustani music can be classified into one of the ten great families (ṭhāṭa) of ragas.

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Further reading:

• Bor, J. et al. (2002). The Raga Guide: A survey of 74 Hindustani Ragas. Netherlands: Nimbus : Rotterdam Conservatory of Music.

• Kaufmann, W. (1968). The Ragas of North India. Bloomington, London: International Affairs Center by Indiana University Press.

• Moutal, P. (2012). Comparative Study of Hindustānī Rāga-s: volume 1 (New edition). Aubagne: Patrick Moutal Editeur.

• Raja, D. (2016). The Rāga-ness of Rāgas: Rāgas Beyond the Grammar. D.K. Print World Limited.

• Widdess, R. (1995). The Rāgas of Early Indian Music: Modes, Melodies, and Musical Notations From the Gupta Period to 1250. Oxford: Clarendon Press.