/rah"geuh/, n.
one of the melodic formulas of Hindu music having the melodic shape, rhythm, and ornamentation prescribed by tradition.
[1780-90; < Skt raga color, tone]

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In the classical music of India and Pakistan, a melodic framework for improvisation based on a given set of notes (usually five to seven) and characteristic rhythmic patterns.

A raga can be regarded as a vocabulary of melodic figures that tend, as a group, to emphasize certain tones of a scale, giving the raga a specific emotional character and implying the kind of music to be improvised. The emphasis on certain pitches effectively divides the scale into primary and secondary tones; the secondary tones serve to ornament the primary tones, thus reinforcing the emphasis. Each scale can have several different ragas, depending on which tones of the scale are made primary. Two additional factors contribute to the artistic potential of the raga: the division of tones between primary and secondary is not always hard and fast; moreover, a tertiary level (ornaments of the ornaments) is often made available to the performer. The concept of raga, introduced sometime before the 9th century, became influential throughout South and East Asia. See also South Asian arts.

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▪ Indian musical genre
also spelled  rag (in northern India)  or  ragam (in southern India) 

      (from Sanskrit, meaning “colour” or “passion”) in the classical music of India, Bangladesh, and Pakistan, a melodic (melody type) framework for improvisation and composition. A raga is based on a scale with a given set of notes, a typical order in which they appear in melodies, and characteristic musical motifs. The basic components of a raga can be written down in the form of a scale (in some cases differing in ascent and descent). By using only these notes, by emphasizing certain degrees of the scale, and by going from note to note in ways characteristic to the raga, the performer sets out to create a mood or atmosphere ( rasa) that is unique to the raga in question. There are several hundred ragas in present use, and thousands are possible in theory.

      To South Asian musicians, raga is the most important concept in music making, and the classification of ragas plays a major role in Indian music theory. In northern India, ragas are classified according to such characteristics as mood, season, and time; in southern India, ragas are grouped by the technical traits of their scales. The two systems may use different names for similar ragas or the same name for different ragas.

      Traditionally, ragas were associated with specific times of day and seasons of the year, and they were thought to have supernatural effects such as bringing rain or causing fire. While some of the seasonal associations are maintained by certain musicians, these restrictions are largely ignored in modern concert life, as most public performances take place in the evening and are concentrated in the cooler parts of the year. Nevertheless, in program notes or verbal introductions, musicians often refer to the traditional associations of time and season.

      A raga performance typically lasts for half an hour or more. It may be entirely improvised, or it may combine improvisation with a memorized composition that also uses only the stipulated tones of the given raga. See also alapa; Carnatic music; Hindustani music.

Bruno Nettl

Additional Reading
A standard work in English on raga is Nazir Ali Jairazbhoy, The Rāgs of North Indian Music (1971). Extensive treatment of raga is included in Bonnie C. Wade, Music in India: The Classical Traditions (1979, reprinted 1987). Also of interest to the general reader are Ludwig Pesch, The Illustrated Companion to South Indian Classical Music (1999); T. Viswanathan and Matthew Harp Allen, Music in South India: The Karnatak Concert Tradition and Beyond (2004); and George Ruckert, Music in North India: Experiencing Music, Expressing Culture (2004).

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Universalium. 2010.

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