Chapter VI

THE RAGA-RAGINI
Classification under
Different Mathas

p
 Chapter VI

In Sadraga Chandorodaya, Pundarika Vittala mentioned in the introductory

stanzas, while referring to the purpose of his writing the book, that he is giving
explanation about the prevailing mathas (schools of thought),
(p.4) namely, Bharata, Hanuman’and Arjun.

Generally, matha means 'ones own opinion’.

In all the ancient treatises upto Sarangdeva, there were many names of
ancient musicologists mentioned in the benidictory verses. These were Bharata,
Kohala, Dattila, Sardula, Visvavasu, Durga Sakthi, Hanuman, Yastilka Matanga,
etc. These were all great musicologists, who had contributed well to the
development of music. They had also written about their opinions in their
respective treatises and their opinions were called as mathas - Bharata’s opinion
or matha, Yastika’s matha, Hanuman’s and Matanga’s mathas.

After Bharata (2nd - 4th century AD) many desi ragas had evolved. Later
on, many musical varieties, like, music for dance, music for instrument, music for
vocal rendering, etc., got evolved. So in practice, some musicologists gave
importance of tala, some gave importance to the svaras, and some to purity of
ragas. Some others to the style in the method of singing and rendering gitis, etc.
 The Raga-Ragini Classification under Different Ma thas

Cr

This appears to be the basis for the formation of different schools of music or
mathas.

In the medieval period, 13th Century AD onwards, music was almost fully
developed and the older classification of ragas like, Grama, Murchana, Jati was
waning away, and different styles of music came into being. 'Drupad' was
invented by Mansing Tomar (15th century AD) and Khayal by Sultan Hussin
Sherky (15th century AD) and Amir Khusrau invented many ragas mixing Indian
ragas with Persian Muquams and mela system of classification of ragas
developed in the South.

The mathas mentioned by Pundarika Vittala, namely, Bharata, Hanuman,

and Arjun, by name, appears to be very ancient, but must have been started and
named by their respective disciples after their time and continued by their
respective disciples. The classification of ragas by these mathas, it seems, was
under Raga-Ragini-Parivara system.

The classification of ragas into pursha and stri, seems to be very old.
During the time of Pundarika Vittala a new kind of classification of ragas called as
'Mela' had started. There were many ragas which were popular in his time. So
in the north he classified the then prevailing old ragas by the new method of
classification called mela, which were based on svaras. The musicians of south
classified the ragas under the mela system, but in the north the classification
under the mela system was not accepted upto the 20th century. During the
°mideval period Pundarika Vittala's disciple, Sri Kanta, who was in the darbar of
Raja Shathru Shalya of Jamnagar classified the then prevailing ragas into 10
. melas but these were not popular. In the twentieth century V.N. Bhatkhande.
popularized the thata system.

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The Raga-Ragini Classification under Different Ma thas

Beside this, some of the mathas like 'Siva Matha' which has been
mentioned in Sadraga Chandrodaya (in the 2nd Chapter-Svara Mela Prakarana,)
classified ragas under suddha, salaga, and sankeema which were the'bases for
the raga, ragini, parivara classification.

Moreover in Mankuthuhal by Mansing.Tomer (15th century AD), he says that

suddha ragas were six in number, similar to ragas of raga-ragini classification.
These were Bhairav, Malkauns, Hindiola, Deepak, Sri and Mega. The sankeerna
ragas were those ragas which were related to or similar to that of ragini, and
putras. The salanga ragas were related to the gitis which were developed by the
then composers or acharyas.

6.1 Bharata Matha

It was well known that Bharata, the author of Natya Sastra, lived during the period
2nd to 4th century AD. It was also known that the ragas as understood in later
time were not evolved during his time. But Bharata’s descendent Kohala who was
among the ones who analysed ragas into male and female, was also considered
as one of the Pancha Bharatas. May be, later on, followers of Kohala named their
school as Bharata Matha.

Mankutuhal translated into Persian by Fakirullah, mentions that Mansing

Tomar was the follower of Bharata matha.
\

Sangita Darpan by Damodara also refers to the Bharata matha.

wifr 3PRTO

(S.D.-p.1 v.1)

Mankuthhal while describing Bharata matha, mentions that there were 6

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The Raga-Ragini Classification under Different Ma thas

ragas and for each raga there were 5 raginis and 8 putras, except for Sri Raga
which had 6 raginis and 8 putras but names were not given completely. A few of
the raginis and also sons were missing for some ragas. Some names were
repeated. For this the author himself explains that though the names are the
same they have different svaras.

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(M.K - p 62-64)

The classification of ragas according to Mankuthukal is given in Table 6.1.

Table 6.1: Classification of ragas according to Bharata Matha (Mankuthukal)

Ragas Ragini Son

(i) Bhairava (1) Bangaie (2) Bhairavi (1) Bangala (Sampurna) (2)
(Sampurna) (3) Bhillaval (4) Banki Madhumad (3) Harsha (4) Vishaka '
and (5) Sahanki (5) Lalita (6) Bilaval (7) Madu
(ii) Malkauns (1) Gounda (2) Kannadi (3) Shivari (1) Maru (2) Vada (3) Prabala (4)
(4) Andiyali (5) Dhannasri (audava) Sathanka (5) Chandra Kosh (6) Bhor
(7) Nandana (8) Kokar
(iii) Hindola (1) Tailangi (2) Devagiri (audava) (1) Mangala (2) Chandrarajn (3)
(3) Vasanti (4) Sinduri (5) Abhari Subhaga (4) Ananda (5) Vibhas (6)
Pargana (7) Basakta (Sanpurna)
(iv) Deepak (1) Kumodini (2) Pata manjari (3) (1) Kola (2) Kusha (3) Kanarlya (4)
Todi (4) Gurjari (5) Kampili Kanmala (5) Krulanda (6) Lalhata
(7) Champaka (8) Himala
(v) Sri (1) Virari (2) Karnaiaki (3) Saneri (1) Saindava (2) Madhava (3)
(4) Gouri (5) Ramkali (Sampurna) Gauda (Sampurna) (4) Kumbara (5)
(6) Sinduri Guna sagra (6) Vikata (7) Kalyan
(vi) Mega (1) Malari (2) Sorati (3) Asavari (4) (1) Nara Narayana (2) Kanada (3)
Kamakshani (5) Mukudavari Saranga (Sampurna) (4) Kedara (5)
Gounda (6) Maliar (7) Jalandara (8)
Sankara

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The Raga-Ragini Classification under Different Ma thas

In the above classification the name malkauns has been seen for the first
time. This must be the colloquial name for malava kaisika, and may be the
foreigners were not able to pronounce lengthy names and hence the change in
name. (Sadja grama has been written as Karaj grama). Many ragas, dhannasi,
tailangi, vibhas, abheri, saveri, gouri, kedara, kalyan, saindavi etc., continued to
be used. Moreover the chandrakauns (Hindustani raga) has been mentioned as
son of malkauns. It also shows that the malkauns and hindola are different ragas
at that time, which is even now so in the north India but malkauns raga has been
called hindola in the south.

In an earlier para it has been mentioned about the Bharata matha referred
to by Damodara. Another Bhratha matha was established in later period in 18th
century. This Bharata matha's ragas are mentioned in O.C Ganguli's book 'Raga
Ragini'. It says that these were borrowed from Radha Mohan Sen's Sangita
Taranga (1813 published by Vangavasi Press.Calcutta, p.123-125). The ragas
of Bharata matha from O.C Ganguli's book are given in Table 6.2:

The names themselves show that this Bharata matha was evolved in the
recent past. Most of the names are even now prevalent in Hindustani music. The
devagandhari raga was very old. Here a deogandhara, son of bhairava, has been
mentioned. In Hindustani music also there is a deogandhara, it takes 2 gandharas
(it is like asavari). May be that devagandhara, which is an old raga was called as
deogandhara. Another raga godagir mentioned as malkauns son's wife is a new
name. Other modern ragas like kapi, adana, muitani bhimplasi iman, jayjayanti
Qayjayvanti) can be seen in the table below.

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The Raga-Ragini Classification under Different Ma thas

Table 6.2: Bharata matha - 18th century (from O.C. Ganguly’s Book P 217)
Ragas Raginis Sons Son's wives
I Bhairava (1) Madhumadhavi (1) Velaval (1) Ramkali
(2) Bhairavi (2) Panchama (2) Suho (Suhai)
(3) Vangali (3) Desakh (3) Sugharai
(4) Varari (4) Deogandhara (4) Patamanjari
(5) Saindhavi (5) Vibhasa (5) Todi
II Malkosa (1) Gunakali (1) Soma (1) Sorathi
(2) Khamvati (2) Parasan (2) Triveri
(3) Gujari (3) Vadahamsa (3) Kamati
(4) Bhupali (4) Kakubha (4) Asaveri
(5) Gouri (5) Vangala (5) Godagir
III Hindola (1) Velavali (1) Rekhav hamsa (1) Kedara
(2) Desaki (2) Vasanta (2) Kamodi
(3) Lalita (3) Lokhasa (3) VehagarS
(4) Bhimaplasi (4) Gandharbha (4) Kaphi
(5) Malavi (5) Lalita (5) Paraja
IV Dipaka (1) Nata (1) Suddha Kalyana (1) Vada Hamsa
(2) Mallari (2) Soratha (2) Desvarati
(3) Kedari (3) Desakara (3) Vairati
(4) Kanara (4) Hamira (4) Dengiri
(5) Bhareka (5) Maru (5) Sindhava
V Sri Raga (1) Vasanti (1) Nata (1) Syama
(2) Malavi (2) Chayanata (2) Puriya
(3) Malasri (3) Kanada (3) Gujari
(4) Sahana (4) Iman (4) Hamiri
(5) Dhanasri (5) Sankarabarana (5) Adana
VI Mega (1) Saranga (1) Bahiiduri (1) Pahadi
(2) Vanka (2) Natanarayana (2) Jayanti
{3} Gandharva (3) Malava (3) Ganadhari
(4) Mallari (4) Jayati (4) Puravi
(5) Multani (5) Kamod (5) Jayajayanti

There is another Bharata matha mentioned in Sangita Visarad by Lakshmi

Narayan Garg published by Hataras Sangita Karyalay (p.150). In this there are
6 ragas and 5 raginis mentioned under this matha.

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The Raga-Ragini Classification under Different Nla thas

6.2 Hanuman Matha

Anjaneya or Hanuman matha was an ancient authority on- music, it has been
mentioned before that most of the treatises, Sangita Ratnakara by Sarangadeva,
Brahaddesi by Matanga, both of them mention the name of Anjaneya or Hanuman
in their benidictory verses. Sangita Raj (by P.L. Sharma Appendix II! (p. 1-11)21
Page 674) says that Maruti was considered as an authority on dramaturgy and
was referred to by Saradatanaya in Bhavaprakasa and also in the context of the
bhava of women. Anjaneya was also quoted in Bhavaprakasa (P. 251) in the
context of 'Utsristikanka', and in Kallinath's commentary on Sangita Ratnakara
(112, 158, 159) while defining desi ragas. Desi ragas were developed after
Bharata, so this shows that this Hanuman must have lived in the post Bharata
period. Moreover, there was a story connected with desi ragas; Yastika was
teaching his disciple Daksha, when Hanuman came there, Daksha asked a
question about the desi ragas. These desi ragas take svaras of having 1, 5 and
7 sruti differences and these were against the prevailing rules. In between svaras
only 4, 3, 2 srutis were permitted. Yastika answered that though there was no
sastra prapti, but one can get raga prapti.

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(Sangila Chintamani - p 32}

So this itself shows that Yastika, Anjaneya were propagators of desi ragas.
Desi ragas were defined as those which did not follow the rules and regulations
laid down by early authorities. There are references to Hanuman matha in
Siddharta's in Anjaneya Sanhita or Hanumath Sanhita. According to Ramakrishna
Kavi, Hanuman matha had only 18 srutis not 22 srutis.

Sarangadeva in Sangita Ratnakara mentions while referring to desi ragas

(Sangita Ratnakara by Dr. Shringy P. 121) "it is no fault with desi ragas for they
are purposefully so composed as to cater to the popular tastes, of various
regions." He quotes Anjaneya in support of his view.

"The ragas that do not follow any particular rule with regard to sruti,
svara, grama and jati, but that follow the trend prevalent in the
different regions are called desi - raga."

Sangita Darpan by Damodara also mentions Anjaneya in the eulogy of

Nada

wm
(S.D - p 8 & 32)

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The Raga-Ragini Classification under Different Ma thas

Thus Hanuman matha propagated desi ragas, and also classified ragas by
ragas and raginis. The ragas and raginis of Hanuman matha as given in Sangita
Darpan are given in Table 6.3.

Table 6.3: Ragas and Raginis of Hanuman Matha (Sangita Darpan)

Ragas Raginis
(I) Bhairav (1) Madhymadi (2) Bhairavi (3) Bangali (4) Varatika (5) Saindavi
(I!) Kaushika (1) Todi, (2) Kambavathi (3) Gauri (4) Gunakari (5) Kakubha.
(Ill) Hindola (1) Velavaii (2) Ramakiri (3) Desakya (4) Patamamajari (5) Lalita
(IV) Deepaka (1) Kedari (2) Kanada (3) Desi (4) Kamodi (5) Nata
(V) Sri Raga (1) Vasanti (2) Malavi (3) Mala Sri (4) Danasika (5) Asavari
(VI) Mega (1) Mallari (2) Deshkari (3) Bhoopali (4) Gurjari (5) Tanka

There were many musicians like Sarangadeva, Kallinath and others who
belonged to Hanuman Matha.

During the time of Mansing (14th century), Fakiruliah mentions, in the king's
darbar many outside musicians were there. Nayak Bakshu (may be from
Gujarat), Nayak Pandaveya (who came from the place where the river 'ganga
flows came to Krusukshetra to take holy bath, he also says that he came from
Tailangana, Mahmud, Lohanga Nayak Karan etc. All these people were collected
in Gwalior, and according to the request of Mansing the book Mankuthuhal (M.K.)
had been written (p.43 and 55).

From 14th century onwards the bifurcation such as Hindustani and Carnatic
systems of music started. The south followed Mela System, and the north
followed Raga-Ragini-Parivar system. So at that time the Hanuman Matha got
divided into two, Indraprastha Hanuman Matha and Hanuman matha. During
Allaudin Khilji's time many.people were converted into Islam by force. So the
musicians (converted) stayed in Delhi may be started the Indraprasta Hanuman
matha. The only difference between these two was, in Indraprastha Hanuman

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The Raga-Ragini Classification under Different Ma thas

matha instead of Malava Kaisiki, it was written as Malkauns. This raga Maikauns
has been mentioned in Fakirullah's Mankuthuhal also (Bharatiya Sangit by
Atmaram Shukia).

6.3 Arjun Matha

Arjun was a historical figure. He was one of the pandavas. He was the disciple
of Visvavasu (a gandharva). When he was in agnathavas, he taught music and
dance to Uttara the daughter of king Virata. To teach his discipie he wrote a book
called 'Saptatala dipaka (Sangita Chintamani P. 31).

The followers of Arjuna matha, may have given importance to tala. Sangita
Ratnakara also mentions about Arjun matha in the list of ancient authorities on
music (Sangita Ratnakara 1.1.b) and his views were quoted under the names
Savyasall and Dhanjaya while describing Ela Prabhanda.

The ragas of Arjun matha were not available. Apart from these three
mathas, Bharata, Hanuman and Arjun, there were other mathas in the medieval
period. These were Somesvara matha, and Kallinatha matha. The ragas of
Somesavara matha are given in Raga Darpana by Damodara Misra.

6.4 Somesvara Matha

This name was also mentioned as an ancient authority on music. Sangita

Ratnakara also refers to this (1-1-18), while describing Ela Prabhanda (4-2-36).
Four Somesvaras flourished from 1131 to 1262 AD. (1) The first one was the
author of Kriti Kaumudi and Suratotsava. (2) The second author was Kavyadarsa,
a commentary on Mammata’s Kavyaprakarsa. (3) The author of Manasollasa (one
of the imperial rulers of the western Calukya, whose capital was Kalyan, who

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ailed from 1116-1127 AD, (4) The author of 'Sangita Ratnavaili'. Manasollasa or
Abhilasartha Chintamani was an encylopaedlc work containing a chapter on gita,
vadya, and nirtaya. (It was also said that he was the one who coined the name
Carnatic to the music which prevailed in south). May be Sangita Ratnakara refers
to this last Someswara (PL sarma: Sangita Raj Appendix III).

In Sangita Visarad (P. 149), it has been mentioned that Siva and
Somesvara matha were one and the same. Sivamatha's ragas were also given
in this book. Sangita Darpan also mentions about Siva matha.

This early Siva matha school might have been singing pure music. Lord
Siva was considered as a great musician. In Brahaddharma purana stories have
been mentioned that Siva sang gandhara raga and gandhari ragini. Through
music Lord Siva can be pleased quickly. May be this school practised 'Kapala
gana' which originated from suddha jati. Sangita Ratnakara says about the kapla
gana that it belongs to suddha jati.

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(S.R.)

Anup Sangita Vilas (16th century) mentions the same line as the one in the
Sangita Ratnakara. This shows that even in the later centuries kapla gana
prevailed.

Pundarika Vittala (16th century) mentions that Siva matha analysed the
ragas as suddha, sankirna, and chayalaga. Later on this was called as the raga
rajini parivar system. Siva matha ragas were analyzed according to raga ragini's
system in Raga Darpan (17th century, by Damodara Misra). There were 6 ragas
and 6 raginis. These are given in Table 6.4 (p.72).

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The Raga-Ragini Classification under Different Ma thas

Table 6.4: Siva Matha according to Raga Ragini System (Raga Darpan)

Raga Ragini
Sri (1) Mala Sri (2) Trivani (3) Gauri (4) Kedari (5) Madumadavi
(6) Pahadika
Vasanta (1) Desi, (2) Devagiri (3) Varati (4) Todika (5) Lalita (6) Hindoli
Bhairava (1) Bhairavi (2) Gurjari (3) Ramakri (4) Gunakiri (5) Bangali (6) Saindavi
Panchama . (1) Vibhasa (2) Bhupali (3) Karnati (4) Vadahansika (5) Malavi
(6) Patamanjari
Mega (1) Mallari (2) Sourati (3) Saveri (4) Kaisiki (5) Gandhari
(6) Harasrungara
Nattanarayana (1) Kamodi (2) Kalyani (3) Abheri (4) Natika (5) Sarangi
(6) Naitahamvera

Generally the Bharata matha classifies ragas into 6 ragas and 5 raginis and
Siva matha into 6 ragas and 6 raginis. Bharata matha starts with Bhairava and
Siva matha starts with Sri. Fakirullah in his Mankuthuhal, mentions that during his
time, some placed Sri first and some Bhairava in the first place. In modern
parlance Sri Raga was considered as Karaharpriya, and equated to Sa grama,
and the Bhairava to Malava gaula. Hence those who followed the old tradition
might have kept Sri first.. But the mentioning of Bhairava in the first place could
have started later on.

6.5 Kallinath Matha

This matha's name also was connected with ancient .name of Lord Krishna.
Krishna was also called as Kallinath. Because he killed Kalia, a thousand hooded
serpent. While dancing he had jumped from one hood to another to avoid the
dreadful serpent's tongue. This jumping from one hood to another was so graceful
and in a rhythmic pattern that it was called Kailinganarthana.

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The Raga-Ragini Classification under Different Ma thas

From this one can surmise that this matha gave importance to dance music
and rhythmic pattern in music. So this Kaliinath matha might have later on
branched out or changed into Arjun matha, because Arjun was also a great
devotee of Krishna and'was himself also a good dancer.

There is a matha named Kaliinath referred to by (15th century) a

commentator of Sangita Ratnakara, as mentioned by O.C Gangulis "Ragas and
Ragini". It had classified ragas into ragas and raginis. Similarly in Sangita
Visarad by Lakshmi Narayan Garg mentions a Kaliinath matha. The ragas are
very much similar in the two books. It is difficult to say whether the 15th century
Kaliinath established this matha or this was inherited by him. Upto the Mugal
period these mathas prevailed. During king Aurangazeb's time the musical
activities in the darbar had not fully disappeared but reduced; Fakirullah writes
that during Aurangazeb's time also many well known musicians were there. But
when British took the Delhi darbar all the musical activities stopped. All the
musicians disappersed and took refuge with the local chieftains. This could
possibly have been the origin of gharanas.

There were many authors who classified ragas according to Raga-Ragini-

Parivara system, but did not mention whose matha they followed. Only the
important mathas have been discussed here.

6.6 Comparision of Raga-Ragini System by Different Authors

The names of other texts which have given the Raga Ragini system are given
below. The detailed names of ragas, raginis, sons and daughters-in-laws (if any)
are given in the Appendix.
(1) Aparajita pracca 1144-74 AD, by Bhuvanadeva Charya has given 6 male
ragas and for each 6 female ragas.

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The Raga-Ragini Classification under Different Ma thas

(2) Sangita Makaranda (date is controversial) written by Narada. He has given

two sets of male, female ragas.. In the first set he has given 8 male ragas
and for each 3 females raga. In the second set 6 male ragas and for each
6 female ragas. But it is incompete as only for A male ragas, three female
ragas have been given.
(3) Raga Sagara (date has not been given) jointly written by a Narada and
Dattila. This book also gives 8 males ragas and for each 3 female ragas
like that of the 1st set of ragas given in Sangita Makaranda. The names of
all male ragas are same. But differences are there in the names of female
ragas. First male raga is Bhupala in Sangita Makaranda. But in Raga
Sagara the first male raga is Bhairava and the second is Bhupala. Only
these two mention Bhupala as a male raga and also Patamanjari (Sangita
Makaranda) gives Patamanjari. Raga Sagara gives Manjari,
Malavavangala has been given as male ragas.
(4) Ragamala by Mesakarana 1509: It has given 6 male ragas and 5 females
and 8 sons.
(5) Chaturarinsa Chatraga Nirupanam 1551 by Narada gives 10 major male
melodies with 5 females each, and 4 sons and 4 daughters-in-law.
(6) Sangita Darpan by Damodara 1625: This treatise gives 6 male ragas for
each 5 female ragas (this book has been discussed in detail in the chapter
on Raga Ragini classification).
(7) Anup Sangitankush (1674-1701): It gives 6 male ragas and for each 6
female ragas. This is very similar to that given in Sangita Darpans.

Most of the treatises have given mainly 6 purusha or male ragas. Among
these male ragas Bhairava and Sri Raga mentioned as male ragas in all the texts.
But other 4 ragas names difer.

Hindola was male raga mentioned by (1) Ragamala by Mesakarana (2)

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The Raga-Ragini Classification under Different Ma thas

Rgamala by Pundarika Vittala (3) Chatvarinsacatraga Niripanam (4) Sangita

Darpan (5) Anup Sangitankush (6) Pancamasara Sanhita, etc. But in these
treatises they first mention Vasanta as a son. But others do not mention Vasanta
as a ragini or son of Hindola. Similarly, the text which mentioned Vasanta as a
male raga in Aparajita Pracca only; Hindola has been mentioned as ragini of
Vasanta. But some other texts like Pancamasara Sangita and Chatvarinsa
Chatraga Nirupam mention both Hindola and Vasanta as male ragas.

In the early days during the time of Sangita Ratnakara, Vasanta was a
derivative raga of Hindola. Later on, it seems Vasanta emerged as a main raga.
Then during the 15th century Hindola might have become a raga with two different
names like Hindola of Carnatic music and Maikauns in Hindustani Music and thus
Hindola which belonged to Kalyan Thata of Hindustani music is a different raga.

Then the male ragas of Aparajita pracca and Kallinatha's book were same,
only the order of the these ragas were different. The names of the female or the
pronouncing the female ragas were not same for some ragas. For example, one
of the Bhairava's Ragini called as Vadahamsa according to Kallinath. In Aparajita
pracca it is Kalahamsa. Triveni by Kailinata and Triguna in Aparajita Pracca,
Ragini of Pancana, etc. Both these books mentioned Mega, Pancana Vasanta,
Nattanarayana as male ragas apart from Sri Raga and Bhairava.

Then the name Nattanarayana raga was in all the texts as a male raga. It
was also called as Natta, or even Karnata. Apart form these ragas Bhupala,
Patamanjari, Malava, Vangala have also been mentioned as male raga.

But Pundarika Vittala male ragas are unique. Like Deshkar, Suddhanata
ragas have not been mentioned as male raga in any other book. In the above
mentioned books, some books are similar to each other like Aparajita Pracca and

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The Raga-Ragini Classification under Different Ma thas

Kallinata as the male ragas are same. Sangita Darpan's and Anup
Sangitankush's male ragas are identical in all aspects. Sangita Makaranda's 8
male ragas and Raga Sagara's male ragas are the same.

As early as 16th century itself it can be seen that some dames like
Sinduramakriya, Vegaragini and Chayatarangini have been mentioned in
literature. Saint Thyagaraja has composed kritis in some of these ragas. There
is a raga mentioned as Devali, Fakirullah has mentioned in his book that this rage
was invented by Amir Khusrau.

List of Raga-Ragini Parivar Ragas according to different Authors have been

given in Appendix.

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