Write about different types of classification in ragas in 200 words
Answers
"The classification in ragas is called as Raga Vargikaran. There are new ragas being introduced by the musicians from time to time. The classification will help to study about the topic.
In Ancient period, the ragas are classified as Jati Vargikaran, Gram Raga Vargikaran, Ratnaker Raga Vargikaran and Pure shadow and complex or mishra. And, in the medieval period, the ragas are classified as pure raga, shadow raga and complex raga, Raga Ragini Vargikaran and Mela raga Vargikaran.
The modern period ragas are classified as Pure, shadow and complex raga, Raga ragini Vargikaran, Ragang Vargikaran and Thaat Raga Vargikaran. The raga-ragini scheme comprises of 6 ragas and 36 raginis.
The six ragas include- Bhairav raga, Shree raga, Hindol raga, Malkaus raga, Deepak Raga and Megh Raga. The Thaat system of classifying ragas will have seven notes with the change in shuddha, komal and teevra, which is called as Thaat. The 10 Thaat’s that are classified include: Bilaval, Khamaj, Kafi, Asavari, Bhairavi , Bhairav, Poorvi , Todi , Marwa and Kalyan. The Ragas based on emotions include Sringaram , Hasyam , Raudram , Karunyam , Bibhatsam , Bhayanakam , Viram , Adbhutam and Santam.
The ragas will be portrayed critical messages to the artists and people who are listening to ragas. They have personality as well as emotion and also close connection with each other.
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The North Indian Rāga system is also called Hindustani, while the South Indian system is commonly referred to as Carnatic. The North Indian system suggests a particular time of a day or a season, in the belief that the human state of psyche and mind are affected by the seasons and by daily biological cycles and nature's rhythms. The South Indian system is closer to the text, and places less emphasis on time or season.
The symbolic role of classical music through rāga has been both aesthetic indulgence and the spiritual purifying of one's mind (yoga). The former is encouraged in Kama literature (such as Kamasutra), while the latter appears in Yoga literature with concepts such as "Nada-Brahman" (metaphysical Brahman of sound). Hindola rāga, for example, is considered a manifestation of Kama (god of love), typically through Krishna. Hindola is also linked to the festival of dola, which is more commonly known as "spring festival of colors" or Holi. This idea of aesthetic symbolism has also been expressed in Hindu temple reliefs and carvings, as well as painting collections such as the ragamala.
In ancient and medieval Indian literature, the rāga are described as manifestation and symbolism for gods and goddesses. Music is discussed as equivalent to the ritual yajna sacrifice, with pentatonic and hexatonic notes such as "ni-dha-pa-ma-ga-ri" as Agnistoma, "ri-ni-dha-pa-ma-ga as Asvamedha, and so on.
In the Middle Ages, music scholars of India began associating each rāga with seasons. The 11th century Nanyadeva, for example, recommends that Hindola rāga is best in spring, Pancama in summer, Sadjagrama and Takka during the monsoons, Bhinnasadja is best in early winter, and Kaisika in late winter. In the 13th century, Sarngadeva went further and associated rāga with rhythms of each day and night. He associated pure and simple rāgas to early morning, mixed and more complex rāgas to late morning, skillful rāgas to noon, love-themed and passionate rāgas to evening, and universal rāgas to night...