Each one of the six basic RAGAS has a natural correspondence with
a certain hour of the day, season of the year, and a presiding
deity who bestows a particular potency. Thus, (1) the HINDOLE RAGA
is heard only at dawn in the spring, to evoke the mood of universal
love; (2) DEEPAKA RAGA is played during the evening in summer, to
arouse compassion; (3) MEGHA RAGA is a melody for midday in the
rainy season, to summon courage; (4) BHAIRAVA RAGA is played in the
mornings of August, September, October, to achieve tranquillity;
(5) SRI RAGA is reserved for autumn twilights, to attain pure love;
(6) MALKOUNSA RAGA is heard at midnights in winter, for valor.
The ancient rishis discovered these laws of sound alliance between
nature and man. Because nature is an objectification of AUM,
the Primal Sound or Vibratory Word, man can obtain control over
all natural manifestations through the use of certain MANTRAS or
chants. {FN15-7} Historical documents tell of the remarkable powers
possessed by Miyan Tan Sen, sixteenth century court musician for
Akbar the Great. Commanded by the Emperor to sing a night RAGA
while the sun was overhead, Tan Sen intoned a MANTRA which instantly
caused the whole palace precincts to become enveloped in darkness.
Indian music divides the octave into 22 SRUTIS or demi-semitones.
These microtonal intervals permit fine shades of musical expression
unattainable by the Western chromatic scale of 12 semitones.
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