Understanding the Raga

An aspirant to the appreciation of Hindustani music will generally start with two questions in his mind: What is a Raga? And, how do I differentiate one Raga from another?

What is a Raga? A renowned music critic once observed that writing about music was as useful as dancing about architecture. So, critics and musicologists have their limitations as cultivators of public taste.  There are as many definitions of the Raga as there are authors on the subject. None of them is a substitute for direct encounters with Raga-ness.

How do I differentiate one Raga from another? Once a listener gets a reasonable grip on what a Raga is, the differentiation of one Raga from another becomes possible through exposures to multiple Ragas.

The first step, then:  Take any one Raga.  Start with a simple Raga, like Malkauns. Go out and get ten recordings of the Raga by ten different musicians performing the same Raga, preferably in different genres. A few in Khayal vocalism. A few in instrumental music.  A few in Dhrupad or Dhamar. Listen to each recording several times. Your musical mind will begin to identify what is common to all the recordings. And that, which is common to all of them, is the Raga-ness of Malkauns.

Second step:  Now, take another Raga, an allied Raga like Chandrakauns.  In this Raga, you could find Khayal, instrumental, Dhrupad, and even Ghazal recordings. Repeat the same procedure as followed for Malkauns. Your musical mind will now identify the Raga-ness of Chandrakauns. In addition, it will tell you how the Raga-ness of Malkauns differs from that of Chandrakauns.  These differentiators are what constitutes the Raga-ness of Ragas. 

If such a procedure is repeated across several Raga-s – whether purposively or otherwise -- your musical mind will also identify the dimensions of Raga-ness: the various attributes by which Raga-s are distinguished from one another.  And, from this point on, you have taken an important step towards becoming a connoisseur. 

Appreciating Hindustani music

The joys of any art grow with the awareness of its governing principles. This is true also of Hindustani music.

A Hindustani musician  shapes his rendition under the discipline of two governing forms. The first is the Raga which constitutes its “Commanding Form”. But, though the Raga is a definitive and recognizable form, it is a “formless Form” in the sense of not being a composition. It  manifests itself in  communicable form through the appropriately sequenced movements (the architecture) of the second regulatory form – the genre in which it is performed. 

A connoisseur of Hindustani music has intimate knowledge of both these forms – the Commanding Form and the Manifest Form. Through an understanding of these two, he is able to gain insights into the individualistic manner in which the Commanding Form has been visualized by the musician for communication. It is these insights that are the source of his delight in the exposure to Hindustani music, and differentiate him from the average music lover.

The aspirant to the status of a connoisseur needs therefore to cultivate his understanding of two facets of the tradition -- Raga-ness as the principle of aesthetically coherent and emotionally suggestive creation, and of the various genres, as the principle for the organisation of musical material. Neither of these facets is satisfactorily understood by reading books on music.  They may be partially understood by undergoing a decade or two of training in music under a competent Guru.  For those who do not have this benefit, but have the sharp ears and cultivated mind as the basic equipment, appreciation can be cultivated by an intensive and extensive exposure to performances and recordings. 

Is Hindustani music your kettle of fish?

Hindustani music is obviously not music for everyone. Music industry sources have reported that, for several decades, the share of this segment of the market has remained stable at between 1.5% and 2%. They also observe that the audience for Hindustani music primarily middle-aged and senior (45+). This is understandable because the appreciation of this music requires two basic qualifications at a respectable level of sophistication – pitch differentiation and pattern recognition. Age need not be a barrier except in the sense that it could define music lovers who have outgrown frivolous music, which elicits only an animated physical response.

In simple language, this music demands sharp ears, and a cultivated mind. If these minimum conditions are satisfied, the aspiring aesthete still has to commit time, intellect and emotional energy over a period of time to the refinement of receptivity. 

And, what are its rewards? 

Like any art, Hindustani music is a pathway to a richer emotional life. The aesthetic exposure to a wide range of emotional experiences (Sagunatmaka)  brings within reach the experience of pure delight that transcends everyday notions of pleasure (Nirgunatmaka). According to the Indian tradition, it even takes you towards bliss, which belongs to the territory of mystical experience. If these rewards have any appeal for you, you can train yourself to receive them. 

Hindustani Music and Aesthetics Today

Sushil Kumar Saxena
First Edition 2009
Sangeet Nataka Akademi
in association with
Hope India Publications
Pages: 471. Hard cover: Rs. 995/-


This book has no precedent.  It is a pioneering attempt to look at Hindustani music in the way of contemporary aesthetics. The ways we talk about experience, or evaluate music. as also its  composition and overt performance, have been given due attention in this work.

In other words. reflection on music here proceeds along the three major ways in which aesthetics is being pursued (in the West) today - that is. not only the linguistic-analytic and phenomenological approaches, but the one that looks at art as a kind of world-making.

Correspondingly. the contents of this book can be put under three different heads: (a) an attempt to determine  the full aesthetic significance. as against the  traditionally specified (verbal) meanings of the key words that are used in respect of the elements and different genres of our music; (b) discussion of concepts like aesthetic attitude. experience. and point of view as they relate to Hindustani music; and (c) analysis of the devices through which the structure and actual singing of a Dhruvapad, Dhamar, Khayal, or Tarana is (or can be) invested with some extra appea l- all duly buttressed with notational analysis of some actual compositions.

The author is incisive in his discussion of problems such as: (a) Is musical time different from, or identical with, time as we experience it in daily life; (b) How can we distinguish the form from the content of a work in the region of an occurent art like music or rhythm, (c) Can rhythm be regarded as an autonomous art and (d) How can our music be said to be spiritual?

This book may be expected to encourage readers to think about Hindustani music along lines that have not been systematically explored so far. 

Sushil Kumar Saxena (1920-2013), formerly Professor of Philosophy  at Delhi University, was amongst the most respected and original thinkers on the aesthetics of Hindustani music, rhythm and Kathak dance, with several pioneering works to his credit. He was a Fellow of the Sangeet Natak Akademi and of the Indian Council of Philosophical Research. He was also decorated with the Padma Bhushan by the President of India.