Characteristics of ragas

AROHANA - AVAROHANA IN RAGA LAKSHANA: R. S. Jayalakshmi; M.R.I. Padhippagam, 3434, Gayatri Nagar, Bangalore-560021. Rs. 75.

THIS IS a thesis by the author, which relates to the evolution of the characteristics of ragas from early times to the present day, basing her findings on several musical treatises like ``Sangita Parijatha'' of Ahobilar, Venkatamakhi's ``Chaturdandi Prakasika'', Shahaji's ``Raghalakshanamu'', ``Sangita Sampradaya Pradarsini'' and others. She has taken up discussion on the classification of ``Sampurna'' ragas with a proper ascending and descending scale and ``Varja'' ragas. Under ``vakra arohana'' and ``avarohana'' ragas, she analyses whether the crookedness lies in the ``swaras'' or ``prayogas''.

In the first category of ``Sampoorna'' ragas, she deals with Sankarabharanam, Harikambhoji, Kalyani, Shanmukhapriya and Todi. Under ``Shadava oudava'' ragas she has referred to Sriranjani, Andolika, Mohanam, Hindolam, Madhyamavati and Hamasadwani. For Varja ragas she has Kambhoji. As regards Oudava-sampoorna, Saveri, Aarabhi, Kedaragowla are discussed . For the reverse of sampoorna arohana and oudava avarohana ``Garudadwani'' and ``Saramati'' are mentioned.

While studying the handling of these ragas she has also taken into consideration special prayogas and characteristic sangatis found in the compositions of the Trinity. A wide field of raga study has been undertaken by the author which will be of interest to theoreticians and learners as well.

SVK

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