ABSTRACT

COMAPARATIVE STUDY OF HINDUSTANI AND

CARNATIC RAGAS

In the present study, “Comparative study of Hindustani and Carnatic Ragas” is an

attempt made by the researcher to describe the facts related to the Raaga system of
Indian music before and after bifurcation, and to place them holistically within the
Indian cultural matrix.

In the very first chapter Researcher emphasized on the evolution and

development of Indian classical music till 13th Century A.D., researcher gave a clear
picture on the conditions, traditions of Pre-Vedic period and post Vedic period in a
chronological order. This description reveals the fact that the people in pre-Vedic period
itself were civilized and artistic.

Post Vedic period and the evolution of one note in the very beginning of the
Vedic period, then two swaras, three, five swaras etc from Vedas i.e. the Rig-Vedic
hymns are chronologically described, which provided us insight into the utpatti (origin)
of swaras in a comprehensive manner.

Therefore these earlier facts show that the pre-vedic and post vedic periods stood
as the fountain heads in the development of classical music in our country. The culture
and tradition of Indian classical music is completely based on the earlier history, where
the sages and Muniswaras used to practice sound as a medium to reach God.

It has been acknowledged almost by all historians, that the Vedas are the oldest
scriptures of this Universe. The development of classical music took its origin from
Vedas only. Earlier history of Indian music is like a pillar and a path to the present
culture. The study of ancient history of music enabled researcher to know the fact that
both the raga systems in the earlier period were one and the same.

For Example:

In Narad Sangeet Makrand1 raga classification, the list of ragas shows that there
is a mixture of both Carnatic and Hindustani ragas which are still in use and sung in both


Bifurcation means classification of Indian music system into Hindustani and Carnatic

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systems like Sankarabharanam, Vasanta raagas in Carnatic music and Bhoopali,
Dhanashree in Hindustani music.

As it was mentioned before that Vedas, especially Samaveda was the fountain
head and the common source of music for both of North and South India. The
musicologists unanimously admit that the Samhitas, Brahmanas, Shiksha, and
Pratishakshyas and other Vedic literature are the main source of South Indian music as
well as North Indian music.

Later, Researcher stepped into the only important early work in Sanskrit,

Bharata Natyasastra a base granth for Indian music. This granth can be treated as the
nucleus of Indian classical music.

Apart from this, the ancient source book of South Indian music, is the Tamil epic
‘SILAPPADIKARAM’2 (a contemporary work to Bharata Natya sastra and Duttilam)
written by Ilango between 2nd and 5th Century A.D an authoritative work in poetry,
music and dance of Tamilnadu. In this granth the writer used Tamil word Pan which is a
synonym to Indian raag. There are many facts written in this granth which are very
important for the comparison of present music system of both North and South.

For example:

Some of the ragas in this grantha are classified based on Shuddh, Chhayalag and
Sankeern Jaatis and Some of the ragas (Pans) are classified based on the time theory.
The list of raga (Pans) that are sung based on the time are given in a table in Chapter-3.
Infact Shuddh, Chhaya lag, Sankeern raga classifications are very important in the
present Hindustani ragas and also Time theory is very important in the present
Hindustani music system. This kind of raga classification is rarely found in the present
Carnatic music system. Sankeern Taala Jaati among 5 Taala jaatis exists in Carnatic
system. Similarly Time theory is also not so significant in the present Carnatic music
system.

Many South Indian ragas correspond with these Pans (ragas). The culture of
Southern music is also influenced by this treatise and the period when Pallava, Cholas
etc ruled the Deccan in 5th century A.D. at this time more enthrallment to fine arts and


Bharata Natyasastra, writer Bharatmuni (period 2nd century A.D.) is an extensive granth on Indian
Drama, in connection with drama it covers various subjects like literature, kavya, ras etc, also Painting,
Music (vocal, instrumental, Taal padhati, Dance etc)

2
many instruments were added, which developed the culture of Southern India. Detail
study of the above mentioned grantha is given in chapter-3.

Before the raga system came into existence, Jaati-gram moorchhana was in
practice. The usage of Jaati-Gram-Moorchhana padhati in Ramayan and Maha bharat
period itself shows that the Arts were advanced in the Treta and Dwapara Yug and the
values for music and Arts are spiritual.

Later, Bharatmuni expounded the Jaati-Gram-Moorchhana classification in his

work Bharata Natyasastra. In 5th century A.D. Duttila also described Gram-Moorchhana
padhati in his granth ‘Duttilam’.

Later in 7th century A.D., Matangmuni described the word Raag while classifying
Gram-Raagas in his work “Brihaddesi”. So, he may be called as the pioneer of Raga
system. He has developed a new concept of word ‘Raag’ and defined Raag as the Swar –
Samudai (group of notes) that brings out Ranjakata to a raag.

“DESHE DESHE JANANAM YADRUCHYA HRIDAYARANJAKAM

GAANAM CHA VADANAM NRITYAM TADDESHITYABHIDHIYATTE”||3

Meaning: Music, that was composed and set to tunes by the experts of different
times and places, to meet the common needs of the masses, to enable them to get mental
peace and happiness are said to be Desi sangeet. This new concept of raag had been
constantly evolving with ever increasing popularity in both systems and replaced the
Jaati gram Moorchhana padhati.

Between 7th and 11th century A.D. in the granth Naarada, Sangeeta Makrand
usually known as Narada mata for the first time classified raagas into 3 main heads
namely: Masculine raag, Feminine Raag and Neuter Raag. The names of these ragas are
also stated. Unfortunately author (Narad) neither defined the raga swarasthanas nor
discussed anywhere in his text the three types of Raagas. But, after examining the list of
raagas given by Naarad it is clear that there are many raagas in the list that belong to
Carnatic music and Hindustani music system. Even today the raga names classified by
Narad muni are found in the present raga system of North and South, but the raga
swarasthanas are not clear, therefore one cannot claim that these ragas are same:

3
For example:

Few raga names listed by Narad muni are given below:

‘Shree’ Raag is a popular raag in Hindustani as well as in Carnatic music system

but, the swarasthanas differ according to the present style in both systems and ‘Vasanta’
is a South Indian raag still popular in South. Also, raagas like Bhairavi, Naarayani, Desi,
Kurunji, Lalita, Dhanashree, Saaveri, Sankarabharanam etc.

Further over a long period of time, Raag-Raagini classifications attempted by

many scholars similar to the classification used by Narad Muni has been discussed in
chapter 2.

But, South Indian classical music system did not accept and followed the Raag –
Raagini classification. In southern music history, very less description and discussions
are found about Raag-Raagini raag classification, where as in North Indian music the
Raag- Raaginis were very popular in the medieval period.

After 13th century A.D. the Indian music evolved into two streams :

Indian music

Hindustani Carnatic music

Music system Music system of
Of North India South India

The cause for the bifurcation was that in North India there was a series of
invasions from Central Asia, West Asia and later on Europeans, their culture influenced
Hindustani music in the process of its evolution. The affect was considerably less in
South, as the invaders could not penetrate so much in South.

The Persians and Mughal brought with them many artists, musicians and musical
instruments. Due to their influence Hindustani music gradually evolved many new styles
in singing and instrumental music like Khyal, Qawwali, Tarana,Thumri, Dadra etc, and
in instrumental, Sitar, Tabla, Sarangi etc. Many musicians like Amir Khusro, Sultan
Hussain Sharque, Niyamat Khan (‘Sadarang’, ‘Adarang’) etc., contributed immensely to
the North Indian classical music amongst others.

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 Later on, in 19th century Pt. V.N. Bhatkhande and Pt. Vishnu Digambar Paluskar
contributed immensely in the development of Hindustani music by

 Writing books
 Establishing music schools
 Organizing conferences and discussions to bring about systems in music.

This resulted into bringing forth a class of very well learned great musicians.
Gharanas played very important role in the development of Indian music. The vocal
music Khyal singing is very important and popular in different Gharanas.

After 15th century Pt.Ramamatya, Lochan Kavi and Ahobal introduced many
scales. Later on Pt. Venkata makhi’s 72 Melakarta scheme became a basis to both
systems. The Melakartas introduced by Pt.Venkatamakhi in the present Carnatic music
system accepts 16 swaras which are called as ‘Shodasaswaralu’. This tradition don’t
exist in Hindustani system. They only sing with 12 swaras.

Example: In the following Melakartas like ‘Kanakangi’, ‘Ratnangi’,

‘Gaanamurti’, ‘ChalaNaata’ extra four notes are used apart from 12 swaras, the notes
are:

 SHATSHRUTI RISHABHAM
 SUDDHA GANDHARAM
 SHATSHRUTI DHAIVATAM
 SUDDHA NISHADAM

NOTE: The ragas that are selected for the analysis in chapter-4 are pertaining to
Hindustani Thaats, in Carnatic music there are ragas and Melakartas that use 16
swaras. Such ragas have not been analysed in the present study, since Hindustani music
does not have the theory of Shodasa swaras.

Later the 10 Thaats invented by Pt. V.N. Bhatkhande, became the 10 main parent
scales in Hindustani music system. But there are some ragas which do not come under
these 10 Thaats like, Gorakh Kalyan, Bhairav Bahar,Madhu kauns etc.

In chapter-2, Raag Vargeekaran before and after bifurcation of two systems, the
researcher has given the classification of raagas based on three ages Ancient, Medieval,
Modern. This reveal the fact that in the earlier period Gram – Moorchhana- jaati were in

5
use till the period 7th century A.D. Then Matanga muni for the first time invented Grama
– ragas. Later Ratnakar’s raga classification of Bhasha ragas etc are explored.

This enabled researcher to know the different stages of development in the raga
system before 13th century. It was also found that the ancient classifications and theories
are still in practise in the present Carnatic music system For Example: In Carnatic ragas,
Sangeet Ratnakar’s “Bhashanaga, Upanga ragas, Alankaras, Taala Jaatis etc are still in
use.

The Classification of ragas after 13th century A.D.

a) Raag – Raagini
b) Mela – Raag Vargeekaran

Modern period Raga classification:

1. Thaat raag system

2. Raagaang Vargeekaran

In Hindustani music the special features on which the ragas are based are:

Thaat, Varjit swar, visesh swar-sangatis, Aaroh-Avaroh, Time theory, Vaadi-

Samvaadi, Ras prakriti etc. Similarly in Carnatic music the special features on which the
ragas are based are: Melakarta, Aarohana-Avarohana,Bhashanga,Upaang, Jeeva swar or
raga chhaya swar,Swara sancharas, Rasa, Samvaadis etc.

1. While analyzing the similarities and differences in both the systems, the
researcher found that, the interpretation of Samvaadi swaras in Hindustani music
is different from that in Carnatic music.

Example: Samvaadi of Hindustani music denotes, an important swar that is used

after a Vaadi swar in a raag. Whereas Samvaadi swaras in Carnatic music are S-
G, S-M, S-P i.e. 7, 9, 13 intervals in 22 sruti frequencies.

2. Bhashang – Upaang terms are still used in Carnatic music system. Whereas in the
present Hindustani music these terms are not used.

3. Similarly the raagas in Hindustani music are sung based on the time theory. Time
theory plays very important role in Hindustani music. Especially the Gharana
Ustads & Musicians follow time theory strictly before practicing or performing
any raag.

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 The present Carnatic system does not follow the time theory very strictly while
singing raagas. But, there are some raagas that suit the atmosphere Eg: Raag Bhowli is
mostly sung and played in the early hours and these notes are very enchanting at that
time. Similarly there is a concept of rain inducing raagas in Carnatic music Eg: Raag
Amritavarshini like Malhaar Ang in Hindustani music.

Similarly, Carnatic music has different style in singing. South Indian music
follow a different tradition in singing. While performing or expounding a raag in
Carnatic music, artists explore the essence of a raag in a Kriti or Keertana mainly
emphasizing on Raagalaapana and improvise a raag eloquently singing Taanam, Pallavi,
Neravul, Swarakalpana ( like the concepts in classical Hindustani music while
performing a Vilambit Khyal Aalaap, Badhat or swar bant, Taane) shows the tradition
of classical Carnatic music. They sing a raag or a swara giving more vowel extensions
and oscillations which is the original sampradaya of Carnatic music and they emphasize
more on srutis (very difficult and authentic tradition) highlights the pure classical
tradition of Carnatic music. The theory of Dwavimsati srutis (Chapter-3, pg no:) reveal
the fact that the music and the tradition of singing each swara is pure and flawless in
Carnatic music. The raga system and culture in Carnatic music is still conserved due to
the Kritis (in Telugu script) and Keertanas that are pre-composed by the Trinities (Sri
Tyagaraja, Muttuswamy Dikshitar, Sri Syama Sastri) after 16th centuryA.D. of Carnatic
music in various ragas cannot be changed by any of the present artists. These Kritis are
sung with same notation in the classical Carnatic performances with great respect by the
present classical artists of South (Tamilnadu, Andhra Pradesh, Karnataka, Kerala).

While singing a raag in the tradition of Hindustani music, they give more
emphasis on Vilambhit Khyal, they perform a raag with Vilambit Aalaap, Jod Aalaap,
then gradually increasing the laya they improvise raag with swarbhant and with Taane
they end the outstanding performance.

North Indian music has got special feature in singing, it possess different styles
in singing. Based on the form of composition the style of singing changes in Hindustani
music

For example:

The style of singing the notes in DHRUPAD differ from KHYAL gayan.

7
 In Dhrupad more Gamak is applied and the usage of Meend between the swaras
are more. A composition in Dhrupad and Dhamar is divided into four Angs i.e. Sthayi,
Antara, Sanchari, Abhog Where as in Khyal singing, the notes are sustained which is
called in Hindustani music as (TEHRAV), the composition in Khyal is divided into two
steps (Angs): Sthayi and Antara. This is equivalent to ‘Pallavi’, ‘Charanam’ in Carnatic
music system. Kriti and Keertana compositions are divided into three steps: Pallavi,
Anupallavi (in addition in Carnatic music we have Anupallavi which is the first opening
stanza of Pallavi), Charanam in Carnatic music system.

It is to be noted that, even Dhrupad is sung with Tehrav but Gamak and Meend
are more used in Dhrupad.

Similarly DADRA and THUMRI compositions are sung wih Murkhi, Khatka (in
Carnatic music the same concept is called as Spuritam, Ravva) without Tehrav. TAPPA
of Hindustani music is an another brilliant form of composition which is almost based on
Taane that is very difficult to sing. Tappa do not have Tehrav on the notes.

CAHAPTER – 4

In this Chapter, researcher analyzed the ragas in Hindustani & Carnatic music
system in detail categorizing raagas into four groups.

Category -1

Findings :

Ragas bearing different raga names with similar raaga swarasthanas:

Researcher found and listed many ragas under this category. This is one of the
most important categories in which the practical analysis and singing styles were
analysed in detail, based on the swara combinations of both systems. All the 10 Ashray
ragas derived from 10 Thaats in Hindustani music were compared and analysed with
Carnatic Melakartas in PART-A of category-1

Apart from the 10 thaats few ragas derived from these 10 Thaats were also
analysed and compared with Carnatic ragas pertaining to PART-B of same category.

For Example:
Raga Bhimpalsi is equivalent to raag Abheri in Carnatic music. The notes of
these raagas correspond to each other. Singing styles were analysed based on the swara
vistaar and swara combinations in both systems, which revealed that Vaadi, Samvaadi of

8
Hindustani Bhimpalasi are different from raga chhaya swaras of Carnatic Abheri raag.
Though the swarasthanas are similar the way of singing the swar-sangatis are different.
The analysis reveals that raag Abheri in Carnatic music is a mixture of Dhanashree and
Bhimpalasi ragas of Hindustani music. Some of the swara combinations are also
different in both systems.

In this category, Researcher studied few ragas of Naradmuni’s raag classification,

which are still in use with same name in both systems, because Naaradmuni has not
mentioned swarasthanas. So, Researcher has discussed these ragas according to the
present scale system.

In this manner while observing every aspect in a raag, Researcher found many
dissimilarities & similarities especially in their singing styles, swar sangatis & Raga
swarup.

Another Example: Raag Mohana in Carnatic music is equivalent to Bhupali

raag in Hindustani music. Raag Mohana is derived from Sankarbharanam Mela (Bilawal)
and Bhupali is derived from Kalyan Thaat.

Bhupali is a poorvang pradhan raag. Similarly there is an another raag called

Deshkaar equivalent to Bhupali in Hindustani music derived from Bilawal Thaat.
Dhaivat note is Vaadi in Deshkaar. Deshkaar is an Uttaraang Pradhan raag and always
the swar sancharas are taken in Uttarang. After analyzing these factors most of the
Prayogas that are used in Deshkar resemble more with Carnatic Mohana raag & their
parent scales are also similar. This made clear that Deshkaar would be more near to
Mohana rather than Bhupali. Also it reveals that Mohana is a mixture of both Bhupali
and Deshkaar ragas, because Mohana is sung in all the three saptaks (Sthayis).

Hence, Researcher in the present study tried to show that due to the singing
styles and swar combinations produce different shades though the notes in a particular
raag in both systems are equivalent.

Another example: The swarasthanas of raag Bhairav in Hindustani and

Mayamalava gaula in Carnatic music are same but due to the swar combinations and
stylized differences these two ragas produce different shades. Detail Analysis – chapter-4
Page no: Analysis of raagas in this manner, in all the categories extracted many facts
related to the ragas of both the systems.

9
Category -2

Raagas bearing same name with different raaga swarasthanas.

Under this category researcher analysed 28 raagas. Researcher emphasized more on the
names of ragas and has come out with many measures while analysing ragas. Practical
dissimilarities always exist in both the systems. An interesting aspect in this category is
that, there are many raaga names found absolutely similar in both systems and now a
question may arise when the swarasthanas of these ragas are different then how come the
raga names are similar? This similarity is of two kinds:

1. The names of the ragas are absolutely same. For Example:

Hindustani Carnatic
Todi Todi

2. The names of the ragas are more or less similar with slight differences Example:
Kafi- Kaphi, Basant – Vasanta.

Researcher dwells here into the possibilities or Etiology of the fact that
“existence of Raagas with same names but different swarasthanas”

The possible four reasons could be:

1. The phenomenon of cultural exchange between North and South facilitated by

the performing artists in Royal courts of different regions, on invitation.

2. The existence of various granthas with raga classification system without the
specification of swarasthanas Example: Naradmuni raga classification lists ragas
like Neelambari, Shree etc. exists presently in both systems.

The alleged destruction of granthas during the ethnic clashes from the erstwhile
Central Asian invaders caused significant loss of relevant information.

3. The single ancient music system of India had undergone bifurcation in 13th
Century A.D. Post bifurcation, the previously popular raga names evolved under
the influence of local, regional and cultural factors. These changes are even
discussed by Prof.P.Sambamurthy6 as, “A study of the names of the raagas
reveals certain interesting facts that:—

There are ragas which suggest a provincial origin as Dravida Gujjari,

Dakshina Gujjari, Maharashtra Gujjari and Saurashtra Gujjari, Karnataka

10
 Bangala; Dravida Gauda; Andhri, Shadjandhri; Turushka Gauda and Turushka
Todi; Nepala, Nepala Gauda; Kalinga; Telugu Kambhoji.

Names of ragas like Kuranji, Erukalakambhoji and Velavali reveal a tribal

origin. Such ragas as Tritiya Saindhavi, Chaturtha Saindhavi and Dvitiya
Kedaram suggest that these are slightly different forms of Saindhavi and
Kedaram ragas respectively.

The names of some ragas have undergone a slight change. Dhanyasi is

referred to in earlier works variously as Dhannasi, Dhanasi, Dhanasi, Dhanasri,
Dhanasari and Dhanyasi. Yadukulakambhoji is referred to as Erukalakamboji,
Yarakalakambodhi, and Edukula-Kambodi. Madhyamadi became
Madhyamavati in later times. Nadanamakriya is referred to as Nadaramakriya-in
earlier work. Phalamanjari is referred to Patamanjari and Padamanjari in earlier
works”.

4. Visiting Kashi was in vogue in the ancient times, and the Scholars like
MuthuSwami Dikshitar from South are good examples of how the introduction of
Ragas and their names in other regions happened with adoption of Ragas from
other regions as well.

Category -3

Ragas bearing same name and same swarasthanas.

Findings :

Raag Gauri (Bhairav Thaat) in Hindustani music is equivalent to raag Gowri of

Carnatic music. Both parent scales are also same. Except for a few swar-sangatis, like S
R G, R G R S .N , D N, D N S R G, G M G R G, G M P P M G, R S N Mandra Nishad
prayog is more taken in Gouri of Hindustani music. There are very few ragas found in
this category in both the systems.

Category -4

Ragas adopted from Hindustani music system by the Carnatic music system
and Ragas adopted from Carnatic music system by the Hindustani
musicians.

This is one of the most interesting categories in the whole analysis.

11
Findings:

It is already discussed in the earlier descriptions that best cultures and traditions
are always incorporated from region to region and place to place due to the tastes &
popularity of a raga swarasthanas. While analyzing, researcher listed many ragas under
this category. Especially the ragas adopted from Hindustani music to Carnatic music are
more in number. Due to the melodious notes and wondrous raga swarasthanas, many
raagas are being incorporated by Carnatic semi – classical, light musicians. Most of the
raagas that are incorporated from Hindustani to Carnatic system are sung in semi –
classical, light, Bhajan compositions. Few ragas like Khamas, Hameer Kalyani,
Brindavani Saarang are sung in classical Carnatic music.

There are beautiful bhajan compositions in the ragas like Rageswari, Bageshwari,
Gorakh Kalyan, Piloo, Maand, Shiv ranjani, Bihag, Pahaadi, Durga, Desh Tilang, Miyan
ki saarang etc which are given with notation in chapter-4, under 4th category.

Semi – classical, light music artists and musicians of South India composed beautiful
Bhajans, Keertanas and songs in Hindustani ragas, which sometimes appear as if they
really originated in South.

Darbari Kanhada which is a classical raag and a Gambheer Prakriti (serious in

nature) raag in Hindustani music is sung in Carnatic music as a semi classical and light
composition and rarely sung in classical kritis.

Similarly there are raagas that are adopted from Carnatic music to Hindustani
music system like Charukesi, Saraswati, Vasanta mukhari , Hamsadhwani etc., These
raagas are also sung in Vilambit khyal in Hindustani music. There are beautiful
compositions in these ragas composed by North Indian classicalists. Raag Hamsadhwani
which is a classical sampradaya raag invented by Ramaswamy Dikshitar7 father of
Muthuswamy Dikshitar in Carnatic music has now acquired more popularity in
Hindustani music system.

TAAL PADHATI

The significance of the Taal system in the Raag gaayan of both Hindustani and
Carnatic sangeet padhati is more. In both systems the Taal padhati is considered as the
grammar of a raga system.

12
 The Taal padhati and Taalas in both systems play a very important role. But the
practical differences are more between both systems. Hindustani system has got different
style in playing Tabla in the raag gaayan and in Carnatic music “Mridangam” has got a
different pattern. The Taal concepts in Hindustani music are wide. There is no limit in
improvising the concepts of Taal in Hindustani music.

In Hindustani music there are innumerable numbers of Taal varieties. There are
nearly Taalas from 6 maatra to approximately 28 maatra. Some of the Taalas are also
composed in 9, 11 matraas.

The Taal system and few Taalas that are popular in Hindustani music system are
given in Chapter – 2 in detail.

Similarly the scope of Carnatic Taal padhati is also vast. The five jaatis namely
CHATURASHRA, TISHRA, KHANDA, MISHRA and SANKEERNA form the
complete Taala System of Carnatic Music. The SULADI SAPTA TAALAS in Carnatic
music are the DHRUVA, MATHYA, EKA, TRIPUTA, JHAMPE, AATA and RUPAKA
Taalas. These Taalas show the beat value. Applying each of the 5 jaatis to the 7 Taalas
results in 35 Taalas, and recombining these 35 Taalas with the 5 Jaatis results in a total
of 175 Taala permutations. These calculations and the evolutions are explained in
chapter-3 in detail.

Both systems follow different signs and symbols to denote the beat value.

CHAPTER - 5

Indian classical music is considered as the spiritual music, swaras of Indian

classical music took birth from the Vedic chants. It originated out of the divine thinking
of the sages and Muniswaras. The sages and Muniswaras disclosed the divinity in their
sacred granthas. In the very beginning or in the earlier period Indian classical music is
supposed to be Hindu Music, only Brahmins use to teach and sing the classical music.
Later due to the impact of other cultures as described previously, various changes
occurred in classical music.

Here the theme is, whatever may be the form of music, ultimately Indian music
is related with spirituality. Both systems possess equal spiritual history and importance.
The soul of a raag is Ras in both the systems. That is why Ras is compared with
“BRAHMANAND SAHODAR”. The artists before singing a raag meditate the pure

13
swaras. Hence Hindustani Raagas and Carnatic raagas are compared with Gods and
Goddesses.

Similarly in Carnatic music also there are great saints and vaggeyakaras who
contributed a lot to devotional music. The present study on Raagas, would be incomplete
without relating it with spirituality.

Therefore, chapter-5 is an attempt made by the researcher to describe the spiritual

essence in ragas, and to place it holistically within the Indian cultural matrix. Usually the
spiritual essence is explored through literature but in the present study an attempt has
been made by the researcher to bring that essence through ragas and their svar
combinations.

Music and spirituality are inseparable elements. They are very strong elements.
Besides this materialistic life spirituality should be the ultimate goal of every one’s life.
To acquire spirituality or spiritual thinking in each individual one needs concentration
and bhakti bhava. So this concentration can be drawn through the rendition or listening
to mellifluous ragas which suit the situation. In this study researcher tried to bring such
essence in the selected ragas, though spiritual essence exists in all the ragas of Indian
music. Evidently these thoughts are even proved by taking the opinions and spiritual
experiences from the great artists, learned professors, who expressed their opinions on
the selected raagas.

 To conclude, this chapter highlights the essence of spirituality present in ragas.

 Man can derive spiritual ecstasy through rendition of ragas performed with deep
concentration and with purity of mind.

 The sublime divine themes of prayer, meditation and spiritual upliftment can be
obtained through music to a considerable extent.

In the words of PARAM GURU HUZUR MAHARAJ7, in Prem Patra Part-4,

65th Bachan :

“ALL THE MUSICAL INSTRUMENTS FOUND IN THE WORLD HAVE BEEN

MADE BY YOGIS AND YOGESWARAS, AFTER LISTENING TO THE INTERNAL
SOUND AND MUSIC WITHIN THEMSELVES, i.e., THE DIVINE SOUND. UNDER
THE CIRCUMSTANCES HOW GREAT WOULD BE THE CHARM AND SWEETNESS
OF THE REAL SOUND WHICH IS ABSOLUTELY SPIRITUAL, i.e., WHICH

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EMANATES FROM THE CURRENT OF THE SPIRIT AND HOW GREAT WOULD BE
THE ECSTACY AND ABSORPTION PRODUCED BY IT WITHIN THE MIND AND
THE SPIRIT”.

To conclude the researcher would like to say that while today the Hindustani
music system and Carnatic music system are classes of their own, but before 13th century
the music system in India was one. Even today all the musicians of North and South
quote Sarang Dev to describe many facets of their music.

The unique feature of Indian music system is that spirituality is the soul of
classical music. This is the submission of both Hindustani as well as Carnatic music
system. Also the researcher found that today both Hindustani and Carnatic music
systems appreciate the music systems of each other and they adopt the features (ragas
and singing style etc) which they like.

Another factor made the researcher feel that the epic Silappadikaram (an ancient
Tamil granth) written by Ilango between 2nd and 5th century A.D. has the classification as
under.

1. He has classified pans into three categories8

- Shuddh

- Chhayalag

- Sankeern

2. Similarly he has emphasized the importance of Time theory in his Granth

The reasearcher would like to point out that as per the Tamil scriptures Pans are
synonyms of Raga or a tune in Tamil poem

In Hindustani music the Time theory and Shuddh, Chhaya lag, Sankeern
classification of ragas are still followed. But in Carnatic music, the Time theory has
faded out and so is the Shuddh, Chhaya lag, Sankeern classification (Although it is still
mentioned in the books, in practice it is not followed)

In the end, the researcher would like to conclude that these two streams of Indian
music (Hindustani and Carnatic music) have some similarities but several differences.
However, the soul of both forms of music system is one and i.e. spirituality. Hence both
the forms of music will keep influencing each other and both forms of music system will
keep on evolving and developing in new dimensions.

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REFERENCES :

1. Bandyopadhyaya.S, “INDIAN MUSIC THROUGH THE AGES” 2400 B.C. TO

THE PRESENT ERA”, B.R. publishing Corporation, Delhi-110052, pg no: 21 &
22, 1985.

2. ‘Raam Avtaar Veer’, “BHARATIYA SANGEET KA ITIHAS”, PART-2 (1st

century A.D. to 1986), Radha Publications, pg no: New Delhi – 2006.

3. Sambamurthy.P, “SOUTH INDIAN MUSIC” Book-VI, 9th Edition, The Indian

Music Publishing House, New 23A, Sripuram First Street, Royapettah, Chennai-
600014,pg no: 85, 2006.

4. ‘Raam Avtaar Veer’, “BHARATIYA SANGEET KA ITIHAS”, PART-2 (1st

century A.D. to 1986), Radha Publications, New Delhi – pg no: 2006.

5. Bhatkhande Vishnu Narayan (Vishnu Sharma), Bhatt Sri Vishwambharnath,

Dube Sudama Prasad, Sangeetacharya,” “BHATKHANDE
SANGEETSHASTRA Part-1”, Sangeet karyalai,Hathras (U.P.), pg no: 1964.

6. Sambamurthy.P.,“SOUTH INDIAN MUSIC” Book-IV, 8th Edition, The Indian

Music Publishing House, New 23A, Sripuram First Street, Royapettah, Chennai-
600014, pg no: 95, 2007.

7. ‘PARAM GURU HUZUR MAHARAJ’, “PREM PATRA-4”, published by

Radhasoami Satsang Sabha, Dayalbagh, Agra, pg no: 323, 1960.

*****

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