Music with its instantaneous pleasing effect can be an answer to misery. It is a form of art that is easily accessible anytime and anywhere. This article gives an overview of music therapy practiced in ancient India, its influence on emotion and mind, and speculates its possible clinical applications in the modern era based on the available scientific literature. Decades have passed by but human suffering has remained a constant through the ages. Music has the power to quench mental anguish, and it is that form of art, which is very easily accessible and has instantaneous effects on one's mind.
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This is a list of Ragas in Hindustani classical music. There is no exact count of ragas which are there in Indian classical music. Once Ustad Vilayat Khan saheb in Sawai Gandharva Music Festival said before beginning his performance - "There are approximately about 4 lakh ragas in Hindustani classical music. Many of them are repetitious but have different names. Here some of the Ragas and other types are named alphabetically. From Wikipedia, the free encyclopedia. Wikimedia list article.
Hast and others, [ clarification needed ] has its "own unique melodic personality". Every raga consists of shadja otherwise named adhara sadja which is arbitrarily chosen by the performer which is taken as the beginning and end of the octave, and an adhista which is either the swara Ma or the swara Pa. The adhista divides the octave into two parts anga - Purvanga and Uttaranga. Every raga has a vadi which is the most prominent swara and a samvadi which is consonant with the vadi always from a different anga from vadi. Samvadi is the second most prominent swara in the raga.
Raga is a crest jewel in the world of melody, each raga offering possibilities for endless exploration with their limited melodic material. A gentleman who discovered classical music late in his life told me that when he first heard Raga Durga he loved it so much that he went on to buy as many recordings of musicians performing Raga Durga as he could find. I could not have known they were performances of the same raga, except that the labels say so. What kind of perception is involved in identifying raga-s? It is not like identifying a song. It is not like identifying a Mozart piece. The kind of memory involved in these tasks and that in identifying a raga are different, the latter demanding many layers of memory and interpretation. It involves a gestaltic operation — hearing a snatch of a melody and hearing it as Kalyani and not Sankarabharanam, hearing it as Marwa and not Puriya is more complex than hearing a tune and identifying it as Yeh Zindagi Usi Ki Hai or The Shape of You.