Ragas at different times of the day

vijay · Post by **vijay** » 17 Feb 2009, 16:13

As far as CM is concerned, I think the time theory, if it ever existed, is a thing of the past. No doubt, a Kalyani or a Hindolam has more charm in the evening but appropriateness is one thing and "rules", quite another....

Why they were discarded? As above, not sure how binding they were in the CM scenario to being with but if it did happen, the reason would be the sheer impracticality of it, in a situation where concerts are predominantly in the evening

As for HM, there are some specific rules that centre on the swaras employed. Komal Rishabh (Ri) for example I thik is primarily meant for mornings and afternoons. There too, there are some who believe that the time theory has outlived its welcome. One rarely gets to hear ragas like Multani, Lalit etc...it is invariably some variety of Yaman or a Malkauns that one gets to hear...I, for one, would be happy to see the backs of the stuffed shirts who keep the theory alive...

vainika · Post by **vainika** » 17 Feb 2009, 17:17

What Vijay writes is true for CM on the concert platform, but as srinivasrgvn points out, time-specificity of rAgas exists in relation to nAgaswaram played for circadian temple rituals; such as bhUpALam heralding the sacred awakening of the diety, lalitA and navarOj for night worship, and nIlAmbarI for the bed-chamber ritual. Ramaswami Dikshitar was apparently the one who established the time-specificity of rAgas played at the temple at tiruvArUr, according to Professors Raghavan and T Sankaran.

Refs:

Raghavan, V (1975) Muttuswami Dikshitar National Centre for the Performing Arts

Sankaran, T (1976) The Nagaswaram Tradition Systematized By Ramasami Dikshitar Indian Musicological Society: 16-21

coolkarni · Post by **coolkarni** » 17 Feb 2009, 18:15

srinivasrgvn · Post by **srinivasrgvn** » 17 Feb 2009, 20:24

Thank you for the link Coolkarni. It was really superb!

cmlover · Post by **cmlover** » 17 Feb 2009, 20:32

Thanks coolkarni
for that superb reference...
(Are there any research papers?)

coolkarni · Post by **coolkarni** » 17 Feb 2009, 20:35

knandago2001 · Post by **knandago2001** » 17 Feb 2009, 20:53

"One must wonder whether conclusions drawn are from pure observation, or if rules are crafted in order to impose structure upon and to demystify an otherwise enigmatic practice!"

coolkarni · Post by **coolkarni** » 17 Feb 2009, 21:03

vainika · Post by **vainika** » 17 Feb 2009, 21:17

I am forwarding the URL http://guruguha.org/nagasvaram.php#traditions which lists all the rAgas associated with the periya melam in daily temple rituals - thanks to Vidya for the link.

This listing and other details are to be found in the following article:
Terada, Yoshikata (2008) Temple Music Traditions in Hindu South India : Periya Melam and Its Performance Practice Asian Music vol. 39 (2) pp. 108-151

cmlover · Post by **cmlover** » 17 Feb 2009, 22:10

Many thanks for the references. There are vedic injunctions as to the time of the day when they should be chanted. For example the daily ritual of sandhyavandanam has to be done as popularly ordained ( kANAmal, kONAmal, kaNDu (i.e., just before sunrise, when sun is in the zenith and before sunset)). Again many stotras have injunctions on the time of the day ( prAtaH stotram, sAyam stavam etc.,). Grihya sutras lay down the rules for these prayers. In fact here are time rules for even rituals. For example the word ^Ritvij for the priest is derived from the sutra ^Ritau yajatE iti (one who performs sacrifice based on the seasons). Accordingly since music evolved as convention says from sama veda there should be time constraints on the notes. Worth investigating scientifically...

vganesh · Post by **vganesh** » 18 Feb 2009, 10:10

CoolJi, A great link. The obvious question is there any research academy for CM also. There may be a lot but I am a complete novice. So please do not pounce on me =|

PUNARVASU · Post by **PUNARVASU** » 18 Feb 2009, 12:00

I am reminded of the song from 'sampoorNa rAmAyaNam' wherein 'ravaNa' sings about the various ragAs which are appropriate for various times and moods.