Time and again we come across a raga that has two (or more) different versions. Quite often there are drastic differences between the two versions. A classic example is that of Abheri which in some versions takes the
Chatusruthi Dhaivata (D2) while in others it takes the Suddha Dhaivata (D1). Some people refer to the D2 version as Karnataka Devagandhari. There are examples of many other ragas like this, where there is a confusion. Others may wish to list them.
It would be good if the experts committee of the Music Academy took leadership in these areas and developed a standard and consistent nomenclature for ragas. This would result in clarity so for example, the janya raga of Kharaharapriya with arohana/avarohana of s g2 m1 p n2 S -S n2 d2 p m1 g2 r2 s , would be called karnataka devagandhari.
Consistent nomenclature for ragas
-
prashant
- Posts: 1658
- Joined: 03 Feb 2010, 09:01
IMO there is no reason for the experts committee to interfere in this since one of the 'supreme experts' 
Sri Dikshitar has codified clearly the difference between AbhEri and dEvagAndhAram [recently known as karnATaka dEvagAndhAri] by including the rAga mudras in his krithis.
vINAbhEri is the AbhEri krithi and panCAshatpITha [rAga mudra is in the line 'dEvagAndhAra rAga tOSiNi '] is one of the krithis is dEvagAndhAram.
Since AbhEri and dEvagAndhAram are two clearly separate rAgAs, the current trend of singing nagumOmu ganalEni in dEvagAndhAram is quite sad.
Sri Dikshitar has codified clearly the difference between AbhEri and dEvagAndhAram [recently known as karnATaka dEvagAndhAri] by including the rAga mudras in his krithis. vINAbhEri is the AbhEri krithi and panCAshatpITha [rAga mudra is in the line 'dEvagAndhAra rAga tOSiNi '] is one of the krithis is dEvagAndhAram.
Since AbhEri and dEvagAndhAram are two clearly separate rAgAs, the current trend of singing nagumOmu ganalEni in dEvagAndhAram is quite sad.
-
vijay
- Posts: 2522
- Joined: 27 Feb 2006, 16:06
The specifics of Abheri/K Devagandhari notwithstanding Mohan has a point about classification. Perhaps a group of experts can be set up for the task which might perhaps result in a modern version of the SSP in he raga domain.
OTOH, there is a certain delightful ambiguity in the structure/nomenclature of certain ragas which makes me a little apprehensive about straightjacketing the whole issue. Maybe we can just leave it to the musician's intepretration and vote with our tickets or rants/raves on this forum!
OTOH, there is a certain delightful ambiguity in the structure/nomenclature of certain ragas which makes me a little apprehensive about straightjacketing the whole issue. Maybe we can just leave it to the musician's intepretration and vote with our tickets or rants/raves on this forum!