Calling a centuries-old raga like Ananda Bhairavi (which has folk antecedents) a ‘janya’ of the Natabhairavi melakartha raga makes little sense, and sells Ananda Bhairavi short. The first is that ragas did not develop as a pedantic exercise of permutation and combination. This system, while dominant, and followed by the composer Thyagaraja among others, has its detractors. All other ragas, are derivatives (‘ janya’ or born from)of one of these 72 ragas, through the selection and combination of notes within a particular melakartha raga’s seven-note super-set. Without getting into too much detail, his was essentially a permutation-combination exercise, resulting in 72 melakartha ragas, each with seven notes on the ascent ( aarohana) and descent ( avarohana). The late 17th century-early 18th century musicologist Govindacharya standardized this system. One such system is known as ‘ Melakartha’. Background note on the two schools of raga categorization (feel free to skip)Ĭarnatic music has developed ways of categorizing ragas according to the notes which comprise them. ![]() Did he give the Pa-Da-Ni-Pa-Ma phrase special treatment? A.
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