This page shows what currently backs each raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary record and what still needs expert review. It is intentionally visible because trust is the product.
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RaagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary
187
Sources
0
Expert-reviewed
516
Claims
45
Open review flags
Current read
Raag and taal fields cite institutional sources; a musician has not yet reviewed them.
Each raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary and taalTaalA recurring cycle of counted units that organises rhythm. The cycle gives a framework for compositions and rhythmic elaboration.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary field now names its source and location: mostly NIOS, Pracheen Kala Kendra, AUTRIM (NCPA and University of Amsterdam), IGNOU and ITC Sangeet Research Academy, with a few music-school and practitioner pages where no institution covers a field. Where sources disagree, the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page says so. The source library below lists every institution Ragapedia cites.
Public raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; robots permits /raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/ (B-ROBOTS-AGKSANGEET.txt). No terms link was present in the page navigation/footer or sitemap. Copyright remains with the publisher; short factual field transcriptions and cited normalization only. Full fetched HTML/text is private audit evidence and must not ship. Accessed 17 October 2026.
Public raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; robots permits /raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/ (B-ROBOTS-AGKSANGEET.txt). No terms link was present in the page navigation/footer or sitemap. Copyright remains with the publisher; short factual field transcriptions and cited normalization only. Full fetched HTML/text is private audit evidence and must not ship. Accessed 17 October 2026.
Public raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; robots permits /raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/ (B-ROBOTS-AGKSANGEET.txt). No terms link was present in the page navigation/footer or sitemap. Copyright remains with the publisher; short factual field transcriptions and cited normalization only. Full fetched HTML/text is private audit evidence and must not ship. Accessed 17 October 2026.
Public raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; robots permits /raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/ (B-ROBOTS-AGKSANGEET.txt). No terms link was present in the page navigation/footer or sitemap. Copyright remains with the publisher; short factual field transcriptions and cited normalization only. Full fetched HTML/text is private audit evidence and must not ship. Accessed 17 October 2026.
Public raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; robots permits /raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/ (B-ROBOTS-AGKSANGEET.txt). No terms link was present in the page navigation/footer or sitemap. Copyright remains with the publisher; short factual field transcriptions and cited normalization only. Full fetched HTML/text is private audit evidence and must not ship. Accessed 17 October 2026.
Public raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; robots permits /raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/ (B-ROBOTS-AGKSANGEET.txt). No terms link was present in the page navigation/footer or sitemap. Copyright remains with the publisher; short factual field transcriptions and cited normalization only. Full fetched HTML/text is private audit evidence and must not ship. Accessed 17 October 2026.
Public raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; robots permits /raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/ (B-ROBOTS-AGKSANGEET.txt). No terms link was present in the page navigation/footer or sitemap. Copyright remains with the publisher; short factual field transcriptions and cited normalization only. Full fetched HTML/text is private audit evidence and must not ship. Accessed 17 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
A private music academy's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Music in Motion: AUTRIM (NCPA and University of Amsterdam)
Institutional
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
Chandraveena | Raga Komal Rishabh Asavari - A new identity to an old Raga
S. Balachander / Chandraveena
Public web
robots.txt returned HTTP 404 (no rules file). Site terms reviewed (C-CHANDRAVEENA-terms.txt): CC BY-NC-ND 4.0 unless otherwise noted. Preserve attribution and link; local unmodified page retained for audit. This file extracts factual musical assertions; it does not grant commercial reuse or permission to redistribute adapted prose/audio. Accessed 17 October 2026.
Public Raga Explorer text; /ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/ is allowed by B-ROBOTS-DARBAR.txt. Terms reviewed in B-TERMS-DARBAR.txt: proprietary content, no open license claimed. Only cited factual fields are normalized; saved HTML/text is private audit evidence, not licensed for republication. No paid video accessed. Accessed 17 October 2026.
Robots permits public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages; /tos reviewed (C-DARBAR-robots.txt, C-DARBAR-terms.txt). Copyright retained. Factual field transcriptions and cited paraphrases only; complete page evidence is local audit material, not for publication. Accessed 17 October 2026.
Public Raga Explorer text; /ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/ is allowed by B-ROBOTS-DARBAR.txt. Terms reviewed in B-TERMS-DARBAR.txt: proprietary content, no open license claimed. Only cited factual fields are normalized; saved HTML/text is private audit evidence, not licensed for republication. No paid video accessed. Accessed 17 October 2026.
Public Raga Explorer text; /ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/ is allowed by B-ROBOTS-DARBAR.txt. Terms reviewed in B-TERMS-DARBAR.txt: proprietary content, no open license claimed. Only cited factual fields are normalized; saved HTML/text is private audit evidence, not licensed for republication. No paid video accessed. Accessed 17 October 2026.
Public Raga Explorer text; /ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/ is allowed by B-ROBOTS-DARBAR.txt. Terms reviewed in B-TERMS-DARBAR.txt: proprietary content, no open license claimed. Only cited factual fields are normalized; saved HTML/text is private audit evidence, not licensed for republication. No paid video accessed. Accessed 17 October 2026.
Robots permits public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages; /tos reviewed (C-DARBAR-robots.txt, C-DARBAR-terms.txt). Copyright retained. Factual field transcriptions and cited paraphrases only; complete page evidence is local audit material, not for publication. Accessed 17 October 2026.
Public Raga Explorer text; /ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/ is allowed by B-ROBOTS-DARBAR.txt. Terms reviewed in B-TERMS-DARBAR.txt: proprietary content, no open license claimed. Only cited factual fields are normalized; saved HTML/text is private audit evidence, not licensed for republication. No paid video accessed. Accessed 17 October 2026.
Robots permits public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages; /tos reviewed (C-DARBAR-robots.txt, C-DARBAR-terms.txt). Copyright retained. Factual field transcriptions and cited paraphrases only; complete page evidence is local audit material, not for publication. Accessed 17 October 2026.
Robots permits public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages; /tos reviewed (C-DARBAR-robots.txt, C-DARBAR-terms.txt). Copyright retained. Factual field transcriptions and cited paraphrases only; complete page evidence is local audit material, not for publication. Accessed 17 October 2026.
Public Raga Explorer text; /ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/ is allowed by B-ROBOTS-DARBAR.txt. Terms reviewed in B-TERMS-DARBAR.txt: proprietary content, no open license claimed. Only cited factual fields are normalized; saved HTML/text is private audit evidence, not licensed for republication. No paid video accessed. Accessed 17 October 2026.
Public concert-description text only. Robots allows this public page (B-ROBOTS-DARBAR-PLAYER.txt); Darbar terms were reviewed in B-TERMS-DARBAR.txt and the Player /tos endpoint was checked (B-TERMS-DARBAR-PLAYER.txt, no readable terms body). Only factual public metadata is cited. The video requires a subscription and was not played or downloaded. Private audit evidence only; no open license claimed. Accessed 17 October 2026.
Robots permits public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages; /tos reviewed (C-DARBAR-robots.txt, C-DARBAR-terms.txt). Copyright retained. Factual field transcriptions and cited paraphrases only; complete page evidence is local audit material, not for publication. Accessed 17 October 2026.
Music and Dance Knowledge / Information: Hindustani raag profiles
Divya Music
Institutional
Music school's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary notes. No open licence: cited and paraphrased only. Accessed 7 October 2026.
Public academy teaching page. robots.txt returned 404; no terms/automation restriction linked from the inspected home/page. Copyright retained: time facts are cited, prose paraphrased; fetched text is local evidence. This source is added only to raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary for which it was not already used. Accessed 17 October 2026.
Public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. robots.txt allows this public path and excludes authenticated application paths; terms reviewed at /en-in/terms-conditions. All rights reserved: factual fields are cited, prose is paraphrased, fetched text retained for local audit only. No verbatim copying of the recorded core-field context was found in the compared already-used sources or KKSongs; attribution uncertainty is not a claim of original scholarship. Accessed 17 October 2026.
Public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. robots.txt allows this public path and excludes authenticated application paths; terms reviewed at /en-in/terms-conditions. All rights reserved: factual fields are cited, prose is paraphrased, fetched text retained for local audit only. No verbatim copying of the recorded core-field context was found in the compared already-used sources or KKSongs; attribution uncertainty is not a claim of original scholarship. Accessed 17 October 2026.
Public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. robots.txt allows this public path and excludes authenticated application paths; terms reviewed at /en-in/terms-conditions. All rights reserved: factual fields are cited, prose is paraphrased, fetched text retained for local audit only. No verbatim copying of the recorded core-field context was found in the compared already-used sources or KKSongs; attribution uncertainty is not a claim of original scholarship. Accessed 17 October 2026.
Public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. robots.txt allows this public path and excludes authenticated application paths; terms reviewed at /en-in/terms-conditions. All rights reserved: factual fields are cited, prose is paraphrased, fetched text retained for local audit only. No verbatim copying of the recorded core-field context was found in the compared already-used sources or KKSongs; attribution uncertainty is not a claim of original scholarship. Accessed 17 October 2026.
Public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. robots.txt allows this public path and excludes authenticated application paths; terms reviewed at /en-in/terms-conditions. All rights reserved: factual fields are cited, prose is paraphrased, fetched text retained for local audit only. No verbatim copying of the recorded core-field context was found in the compared already-used sources or KKSongs; attribution uncertainty is not a claim of original scholarship. Accessed 17 October 2026.
Public educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary/andolanAndolanA slow pitch oscillation that shapes a note. The movement is learned in a raag’s context, rather than applied identically to every note.Source: AM “Ornamentation,” named andol/andolan paragraph.More in the glossary qualifier, retained in rawValue; normalized pitch remains komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary. Accessed 17 October 2026.
Public educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary/andolanAndolanA slow pitch oscillation that shapes a note. The movement is learned in a raag’s context, rather than applied identically to every note.Source: AM “Ornamentation,” named andol/andolan paragraph.More in the glossary qualifier, retained in rawValue; normalized pitch remains komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary. Accessed 17 October 2026.
Public educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary/andolanAndolanA slow pitch oscillation that shapes a note. The movement is learned in a raag’s context, rather than applied identically to every note.Source: AM “Ornamentation,” named andol/andolan paragraph.More in the glossary qualifier, retained in rawValue; normalized pitch remains komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary. Accessed 17 October 2026.
Public educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary/andolanAndolanA slow pitch oscillation that shapes a note. The movement is learned in a raag’s context, rather than applied identically to every note.Source: AM “Ornamentation,” named andol/andolan paragraph.More in the glossary qualifier, retained in rawValue; normalized pitch remains komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary. Accessed 17 October 2026.
Public Krsna Kirtana Songs ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary reference. Robots checked in B-ROBOTS-KKSONGS.txt (sitemap only, no disallow). No terms link was found on the homepage or ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Short factual transcriptions/citations only, no open-license claim. Saved HTML/text is private audit evidence; no audio downloaded. Accessed 17 October 2026.
Public educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary/andolanAndolanA slow pitch oscillation that shapes a note. The movement is learned in a raag’s context, rather than applied identically to every note.Source: AM “Ornamentation,” named andol/andolan paragraph.More in the glossary qualifier, retained in rawValue; normalized pitch remains komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary. Accessed 17 October 2026.
Public Krsna Kirtana Songs ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary reference. Robots checked in B-ROBOTS-KKSONGS.txt (sitemap only, no disallow). No terms link was found on the homepage or ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Short factual transcriptions/citations only, no open-license claim. Saved HTML/text is private audit evidence; no audio downloaded. Accessed 17 October 2026.
Public educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary/andolanAndolanA slow pitch oscillation that shapes a note. The movement is learned in a raag’s context, rather than applied identically to every note.Source: AM “Ornamentation,” named andol/andolan paragraph.More in the glossary qualifier, retained in rawValue; normalized pitch remains komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary. Accessed 17 October 2026.
Public educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary/andolanAndolanA slow pitch oscillation that shapes a note. The movement is learned in a raag’s context, rather than applied identically to every note.Source: AM “Ornamentation,” named andol/andolan paragraph.More in the glossary qualifier, retained in rawValue; normalized pitch remains komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary. Accessed 17 October 2026.
Public educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary/andolanAndolanA slow pitch oscillation that shapes a note. The movement is learned in a raag’s context, rather than applied identically to every note.Source: AM “Ornamentation,” named andol/andolan paragraph.More in the glossary qualifier, retained in rawValue; normalized pitch remains komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary. Accessed 17 October 2026.
Public educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary/andolanAndolanA slow pitch oscillation that shapes a note. The movement is learned in a raag’s context, rather than applied identically to every note.Source: AM “Ornamentation,” named andol/andolan paragraph.More in the glossary qualifier, retained in rawValue; normalized pitch remains komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary. Accessed 17 October 2026.
Public Krsna Kirtana Songs ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary reference. Robots checked in B-ROBOTS-KKSONGS.txt (sitemap only, no disallow). No terms link was found on the homepage or ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page. Short factual transcriptions/citations only, no open-license claim. Saved HTML/text is private audit evidence; no audio downloaded. Accessed 17 October 2026.
Public educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary/andolanAndolanA slow pitch oscillation that shapes a note. The movement is learned in a raag’s context, rather than applied identically to every note.Source: AM “Ornamentation,” named andol/andolan paragraph.More in the glossary qualifier, retained in rawValue; normalized pitch remains komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary. Accessed 17 October 2026.
Hindustani Music (242), Theory Book 1, Chapter 2: Elements of Raga
National Institute of Open Schooling
Institutional
Defines the jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary terms used to label note counts. Accessed 7 October 2026. Located by printed page; paraphrased.
Hindustani Music (242), Practical Book 2, Chapter 1: Chota Khayal
National Institute of Open Schooling
Institutional
Government open-schooling course book with raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profiles (Raga Parichay). Accessed 7 October 2026. Located by printed page; paraphrased.
Alhaiya Bilawal Raag Bandish 16 Matras alap Taan Notes Music Notes In English
Online Sangeet
Public web
Robots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
Komal Rishabh Asawari Raag Bandish 16 Matras Allap Taan Music Notes In English
Online Sangeet
Public web
Robots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
Robots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
Hameer Raag Bandish 16 Matras Allap Taan Music Notes In English
Online Sangeet
Public web
Robots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
Jaijaiwanti Raag Bandish 8 16 Matras Allap Taan Music Notes In English
Online Sangeet
Public web
Robots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
Kamod Raag Bandish 16 Matras Allap Taan Music Notes In English
Online Sangeet
Public web
Robots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
Marwa Raag Marva Bandish 16 Matras Allap Taan Music Notes In English
Online Sangeet
Public web
Robots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
Multani Raag Bandish 16 Matras Allap Taan Music Notes In English
Online Sangeet
Public web
Robots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
Patdeep Raag Bandish 16 Matras Allap Taan Music Notes In English
Online Sangeet
Public web
Robots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
Robots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
Tilang Raag Bandish 16 Matras Allap Taan Music Notes In English
Online Sangeet
Public web
Robots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
Official examination syllabus. It shows the year a raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary is prescribed, not how the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary is sung. Accessed 7 October 2026. Located by printed page.
Official examination syllabus. It shows the year a raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary is prescribed, not how the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary is sung. Accessed 7 October 2026. Located by printed page.
Indian Classical Music in Prabhāta Saṃgiita, by Kirit
Prabhāta Saṃgiita (article by Kirit)
Public web
Public teaching article. robots.txt returned 404, with no restrictive terms link found in the inspected page. No open licence assumed: cite factual fields, paraphrase prose; text is local audit evidence. The article explicitly defines lowercase re/ga/dha/ni as komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary and lowercase ma as tivraTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary; single trailing prime is lower octave, double quote is upper. Printed apparent musical errors are not corrected. Accessed 17 October 2026.
Different Kinds of Ragas by Scale (thaat) - Raag Hindustani
Raag Hindustani / Sādhana
Public web
Public teaching chapter; robots.txt returned 404 (no directives). Terms reviewed at /TermsofUse.html, with no automation ban found. Copyright retained: cite the factual field, paraphrase prose; text and linked notation image are local audit evidence only. Staff images were visually checked. No vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary or pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary is inferred from the teaching examples. Accessed 17 October 2026.
Different Kinds of Ragas by Structure - Raag Hindustani
Raag Hindustani / Sādhana
Public web
Public teaching chapter; robots.txt returned 404 (no directives). Terms reviewed at /TermsofUse.html, with no automation ban found. Copyright retained: cite the factual field, paraphrase prose; text and linked notation image are local audit evidence only. Staff images were visually checked. No vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary or pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary is inferred from the teaching examples. Accessed 17 October 2026.
Different Kinds of Ragas by Scale (thaat) - Raag Hindustani
Raag Hindustani / Sādhana
Public web
Public teaching chapter; robots.txt returned 404 (no directives). Terms reviewed at /TermsofUse.html, with no automation ban found. Copyright retained: cite the factual field, paraphrase prose; text and linked notation image are local audit evidence only. Staff images were visually checked. No vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary or pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary is inferred from the teaching examples. Accessed 17 October 2026.
Public teaching chapter; robots.txt returned 404 (no directives). Terms reviewed at /TermsofUse.html, with no automation ban found. Copyright retained: cite the factual field, paraphrase prose; text and linked notation image are local audit evidence only. Staff images were visually checked. No vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary or pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary is inferred from the teaching examples. Accessed 17 October 2026.
Different Kinds of Ragas by Structure - Raag Hindustani
Raag Hindustani / Sādhana
Public web
Public teaching chapter; robots.txt returned 404 (no directives). Terms reviewed at /TermsofUse.html, with no automation ban found. Copyright retained: cite the factual field, paraphrase prose; text and linked notation image are local audit evidence only. Staff images were visually checked. No vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary or pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary is inferred from the teaching examples. Accessed 17 October 2026.
Different Kinds of Ragas by Structure - Raag Hindustani
Raag Hindustani / Sādhana
Public web
Public teaching chapter; robots.txt returned 404 (no directives). Terms reviewed at /TermsofUse.html, with no automation ban found. Copyright retained: cite the factual field, paraphrase prose; text and linked notation image are local audit evidence only. Staff images were visually checked. No vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary or pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary is inferred from the teaching examples. Accessed 17 October 2026.
Different Kinds of Ragas by Scale (thaat) - Raag Hindustani
Raag Hindustani / Sādhana
Public web
Public teaching chapter; robots.txt returned 404 (no directives). Terms reviewed at /TermsofUse.html, with no automation ban found. Copyright retained: cite the factual field, paraphrase prose; text and linked notation image are local audit evidence only. Staff images were visually checked. No vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary or pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary is inferred from the teaching examples. Accessed 17 October 2026.
Public page read without login. robots.txt returned HTTP 404 (no rules file); no terms link found on the public raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/index pages. No open licence assumed. Only factual field transcriptions and cited paraphrases are intended for use; saved page/HTML is local audit evidence. Accessed 17 October 2026.
Public page read without login. robots.txt returned HTTP 404 (no rules file); no terms link found on the public raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/index pages. No open licence assumed. Only factual field transcriptions and cited paraphrases are intended for use; saved page/HTML is local audit evidence. Accessed 17 October 2026.
Public page read without login. robots.txt returned HTTP 404 (no rules file); no terms link found on the public raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/index pages. No open licence assumed. Only factual field transcriptions and cited paraphrases are intended for use; saved page/HTML is local audit evidence. Accessed 17 October 2026.
Public page read without login. robots.txt returned HTTP 404 (no rules file); no terms link found on the public raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/index pages. No open licence assumed. Only factual field transcriptions and cited paraphrases are intended for use; saved page/HTML is local audit evidence. Accessed 17 October 2026.
Public page read without login. robots.txt returned HTTP 404 (no rules file); no terms link found on the public raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/index pages. No open licence assumed. Only factual field transcriptions and cited paraphrases are intended for use; saved page/HTML is local audit evidence. Accessed 17 October 2026.
Robots checked: public /ragasRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
Asavari | SrRgmPdnS | Hindustani Raga Index | 365+ Ragas
George Howlett / Raga Junglism
Public web
Robots checked: public /ragasRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
Bageshri | SRgmPDnS | Hindustani Raga Index | 365+ Ragas
Rāga Junglism / George Howlett
Public web
Open-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalanChalanThe way a raag moves through its notes: characteristic turns, phrases and patterns of emphasis. These behaviours help distinguish raags with similar pitch sets.Source: AM “Rag”. and 2 moreMore in the glossary are not new independent votes. Accessed 17 October 2026.
Bhairav | SrGmPdNS | Hindustani Raga Index | 365+ Ragas
Rāga Junglism / George Howlett
Public web
Open-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalanChalanThe way a raag moves through its notes: characteristic turns, phrases and patterns of emphasis. These behaviours help distinguish raags with similar pitch sets.Source: AM “Rag”. and 2 moreMore in the glossary are not new independent votes. Accessed 17 October 2026.
Bhairavi | SrgmPdnS | Hindustani Raga Index | 365+ Ragas
Rāga Junglism / George Howlett
Public web
Open-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalanChalanThe way a raag moves through its notes: characteristic turns, phrases and patterns of emphasis. These behaviours help distinguish raags with similar pitch sets.Source: AM “Rag”. and 2 moreMore in the glossary are not new independent votes. Accessed 17 October 2026.
Bhupali | SRGPDS | Hindustani Raga Index | 365+ Ragas
Rāga Junglism / George Howlett
Public web
Open-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalanChalanThe way a raag moves through its notes: characteristic turns, phrases and patterns of emphasis. These behaviours help distinguish raags with similar pitch sets.Source: AM “Rag”. and 2 moreMore in the glossary are not new independent votes. Accessed 17 October 2026.
Public original musicology by George Howlett; robots permits these raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary paths (B-ROBOTS-RAGAJUNGLISM.txt). About/index and page navigation checked: open-access, AI-free authorship described, no open reuse license or restriction on this local factual audit found. Short field transcriptions with attribution only; HTML/text remains private audit evidence. No media downloaded. Accessed 17 October 2026.
Darbari | SRgmPdnS | Hindustani Raga Index | 365+ Ragas
Rāga Junglism / George Howlett
Public web
Open-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalanChalanThe way a raag moves through its notes: characteristic turns, phrases and patterns of emphasis. These behaviours help distinguish raags with similar pitch sets.Source: AM “Rag”. and 2 moreMore in the glossary are not new independent votes. Accessed 17 October 2026.
Deshkar | SRGPDS | Hindustani Raga Index | 365+ Ragas
George Howlett / Raga Junglism
Public web
Robots checked: public /ragasRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
Hameer | SRGmMPDNS | Hindustani Raga Index | 365+ Ragas
George Howlett / Raga Junglism
Public web
Robots checked: public /ragasRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
Jaijaiwanti | SRgGmPDnNS | Hindustani Raga Index | 365+ Ragas
George Howlett / Raga Junglism
Public web
Robots checked: public /ragasRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
Kafi | SRgmPDnS | Hindustani Raga Index | 365+ Ragas
Rāga Junglism / George Howlett
Public web
Open-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalanChalanThe way a raag moves through its notes: characteristic turns, phrases and patterns of emphasis. These behaviours help distinguish raags with similar pitch sets.Source: AM “Rag”. and 2 moreMore in the glossary are not new independent votes. Accessed 17 October 2026.
Kamod | SRGmMPDNS | Hindustani Raga Index | 365+ Ragas
George Howlett / Raga Junglism
Public web
Robots checked: public /ragasRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
Khamaj | SRGmPDnS | Hindustani Raga Index | 365+ Ragas
Rāga Junglism / George Howlett
Public web
Open-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalanChalanThe way a raag moves through its notes: characteristic turns, phrases and patterns of emphasis. These behaviours help distinguish raags with similar pitch sets.Source: AM “Rag”. and 2 moreMore in the glossary are not new independent votes. Accessed 17 October 2026.
Kirwani | SRgmPdNS | Hindustani Raga Index | 365+ Ragas
Raga Junglism / George Howlett
Public web
Public original musicology by George Howlett; robots permits these raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary paths (B-ROBOTS-RAGAJUNGLISM.txt). About/index and page navigation checked: open-access, AI-free authorship described, no open reuse license or restriction on this local factual audit found. Short field transcriptions with attribution only; HTML/text remains private audit evidence. No media downloaded. Accessed 17 October 2026.
Marwa | SrGMDNS | Hindustani Raga Index | 365+ Ragas
George Howlett / Raga Junglism
Public web
Robots checked: public /ragasRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
Multani | SrgMPdNS | Hindustani Raga Index | 365+ Ragas
George Howlett / Raga Junglism
Public web
Robots checked: public /ragasRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
Patdeep | SRgmPDNS | Hindustani Raga Index | 365+ Ragas
George Howlett / Raga Junglism
Public web
Robots checked: public /ragasRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
Pilu | SRgGmPdDnNS | Hindustani Raga Index | 365+ Ragas
Rāga Junglism / George Howlett
Public web
Open-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalanChalanThe way a raag moves through its notes: characteristic turns, phrases and patterns of emphasis. These behaviours help distinguish raags with similar pitch sets.Source: AM “Rag”. and 2 moreMore in the glossary are not new independent votes. Accessed 17 October 2026.
Poorvi | SrGmMPdNS | Hindustani Raga Index | 365+ Ragas
George Howlett / Raga Junglism
Public web
Robots checked: public /ragasRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
Tilang | SGmPnNS | Hindustani Raga Index | 365+ Ragas
George Howlett / Raga Junglism
Public web
Robots checked: public /ragasRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
Yaman | SRGMPDNS | Hindustani Raga Index | 365+ Ragas
Rāga Junglism / George Howlett
Public web
Open-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalanChalanThe way a raag moves through its notes: characteristic turns, phrases and patterns of emphasis. These behaviours help distinguish raags with similar pitch sets.Source: AM “Rag”. and 2 moreMore in the glossary are not new independent votes. Accessed 17 October 2026.
Raga Ahir Bhairav - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh
Ragakosh
Public web
Robots checked (B-ROBOTS-RAGAKOSH.txt): explanatory content-signal comments only, no disallow rule or AI-input prohibition printed. No terms link found in public navigation/help, and /terms returned 404 (B-TERMS-RAGAKOSH.txt). Only visibly public factual text is used. Playback requires Pro and was not accessed; no login or account was used. HTML/text is private audit evidence; no open license claimed. Accessed 17 October 2026.
Raga Bhimpalasi - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh
Ragakosh
Public web
Robots checked (B-ROBOTS-RAGAKOSH.txt): explanatory content-signal comments only, no disallow rule or AI-input prohibition printed. No terms link found in public navigation/help, and /terms returned 404 (B-TERMS-RAGAKOSH.txt). Only visibly public factual text is used. Playback requires Pro and was not accessed; no login or account was used. HTML/text is private audit evidence; no open license claimed. Accessed 17 October 2026.
Raga Bihag - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh
Ragakosh
Public web
Robots checked (B-ROBOTS-RAGAKOSH.txt): explanatory content-signal comments only, no disallow rule or AI-input prohibition printed. No terms link found in public navigation/help, and /terms returned 404 (B-TERMS-RAGAKOSH.txt). Only visibly public factual text is used. Playback requires Pro and was not accessed; no login or account was used. HTML/text is private audit evidence; no open license claimed. Accessed 17 October 2026.
Raga Kirwani - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh
Ragakosh
Public web
Robots checked (B-ROBOTS-RAGAKOSH.txt): explanatory content-signal comments only, no disallow rule or AI-input prohibition printed. No terms link found in public navigation/help, and /terms returned 404 (B-TERMS-RAGAKOSH.txt). Only visibly public factual text is used. Playback requires Pro and was not accessed; no login or account was used. HTML/text is private audit evidence; no open license claimed. Accessed 17 October 2026.
Raga Malkauns - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh
Ragakosh
Public web
Robots checked (B-ROBOTS-RAGAKOSH.txt): explanatory content-signal comments only, no disallow rule or AI-input prohibition printed. No terms link found in public navigation/help, and /terms returned 404 (B-TERMS-RAGAKOSH.txt). Only visibly public factual text is used. Playback requires Pro and was not accessed; no login or account was used. HTML/text is private audit evidence; no open license claimed. Accessed 17 October 2026.
Raga Shivranjani - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh
Ragakosh
Public web
Robots checked (B-ROBOTS-RAGAKOSH.txt): explanatory content-signal comments only, no disallow rule or AI-input prohibition printed. No terms link found in public navigation/help, and /terms returned 404 (B-TERMS-RAGAKOSH.txt). Only visibly public factual text is used. Playback requires Pro and was not accessed; no login or account was used. HTML/text is private audit evidence; no open license claimed. Accessed 17 October 2026.
Public RagaMelody / Caesium Studio reference. Robots checked: 404, no robots directives available (B-ROBOTS-RAGAMELODY.txt). Linked privacy page checked (B-POLICY-RAGAMELODY.txt); no separate terms link found on homepage or article. Short factual field transcriptions and citations only, no open-license claim. HTML/text is local audit evidence and must not ship. Accessed 17 October 2026.
Raga Shivaranjani (Raag Shivaranjani - Haunting Pentatonic Raga in Indian Music)
RagaMelody
Public web
Public RagaMelody / Caesium Studio reference. Robots checked: 404, no robots directives available (B-ROBOTS-RAGAMELODY.txt). Linked privacy page checked (B-POLICY-RAGAMELODY.txt); no separate terms link found on homepage or article. Short factual field transcriptions and citations only, no open-license claim. HTML/text is local audit evidence and must not ship. Accessed 17 October 2026.
Robots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
Robots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
Robots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
Robots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
Robots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
Robots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
Robots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
Robots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
Robots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
Robots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
Robots allows public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages (B-ROBOTS-SHANKAR.txt). Terms reviewed in B-TERMS-SHANKAR.txt: copying/downloading is limited to personal non-commercial use, no open license. This is a local study audit with short factual transcriptions and citations; do not publish the fetched page text, exercises, or course materials. No login/course content accessed. Accessed 17 October 2026.
Robots allows public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages (B-ROBOTS-SHANKAR.txt). Terms reviewed in B-TERMS-SHANKAR.txt: copying/downloading is limited to personal non-commercial use, no open license. This is a local study audit with short factual transcriptions and citations; do not publish the fetched page text, exercises, or course materials. No login/course content accessed. Accessed 17 October 2026.
Robots allows public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages (B-ROBOTS-SHANKAR.txt). Terms reviewed in B-TERMS-SHANKAR.txt: copying/downloading is limited to personal non-commercial use, no open license. This is a local study audit with short factual transcriptions and citations; do not publish the fetched page text, exercises, or course materials. No login/course content accessed. Accessed 17 October 2026.
Robots allows public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages (B-ROBOTS-SHANKAR.txt). Terms reviewed in B-TERMS-SHANKAR.txt: copying/downloading is limited to personal non-commercial use, no open license. This is a local study audit with short factual transcriptions and citations; do not publish the fetched page text, exercises, or course materials. No login/course content accessed. Accessed 17 October 2026.
Robots allows public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages (B-ROBOTS-SHANKAR.txt). Terms reviewed in B-TERMS-SHANKAR.txt: copying/downloading is limited to personal non-commercial use, no open license. This is a local study audit with short factual transcriptions and citations; do not publish the fetched page text, exercises, or course materials. No login/course content accessed. Accessed 17 October 2026.
Robots allows public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages (B-ROBOTS-SHANKAR.txt). Terms reviewed in B-TERMS-SHANKAR.txt: copying/downloading is limited to personal non-commercial use, no open license. This is a local study audit with short factual transcriptions and citations; do not publish the fetched page text, exercises, or course materials. No login/course content accessed. Accessed 17 October 2026.
Robots allows public ragaRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary pages (B-ROBOTS-SHANKAR.txt). Terms reviewed in B-TERMS-SHANKAR.txt: copying/downloading is limited to personal non-commercial use, no open license. This is a local study audit with short factual transcriptions and citations; do not publish the fetched page text, exercises, or course materials. No login/course content accessed. Accessed 17 October 2026.
MAMUD4.1 Research and Contemporary Music, Musicologists, §5.4 THAAT SYSTEM
Sri Padmavati Mahila Visvavidyalayam
Institutional
University course material listing raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary under each thaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary (printed pp.41–42). All rights reserved: cited by locator and paraphrased, never reproduced. Accessed 7 October 2026.
A practitioner's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary guide, used because the institutional sources we checked have no Pahadi profile. Accessed 7 October 2026. Located by line; paraphrased.
A practitioner's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary guide, used because the institutional sources we checked have no Shivaranjani profile. Accessed 7 October 2026. Located by line; paraphrased.
A practitioner's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary guide, used because the institutional sources we checked have no Kirwani profile. Its printed descent contradicts its own note list, so that descent is not used. Accessed 7 October 2026. Located by line; paraphrased.
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile from an arts organisation, used because AUTRIM has no Desh page. Its Western-note conversion is wrong and is not used; the Indian sargam is. Accessed 7 October 2026. Located by line; paraphrased.
Syllabus and Theory: Madhyama Poorna (Anjali Nandedkar)
Swaranjali Music School
Institutional
Open school syllabus; robots.txt returned 404 and no restrictive terms link was found on the inspected school homepage. Copyright belongs to the school/Anjali Nandedkar: factual fields are cited; prose is paraphrased; original PDF and rendered pages are local audit evidence only. Music uses a custom Latin font: ladder rawValue retains the extracted glyph codes, while normalized values were checked against rendered pages. Superscript grace notes are parenthesized in value; the source’s dot and vertical-bar octave symbols are read using its own notation guide (Praveshika PDF pp.10–11). Accessed 17 October 2026.
Praveshika Pratham: Syllabus and Theory / Raag Introductions
Swaranjali Music School
Institutional
Open school syllabus; robots.txt returned 404 and no restrictive terms link was found on the inspected school homepage. Copyright belongs to the school/Anjali Nandedkar: factual fields are cited; prose is paraphrased; original PDF and rendered pages are local audit evidence only. Music uses a custom Latin font: ladder rawValue retains the extracted glyph codes, while normalized values were checked against rendered pages. Superscript grace notes are parenthesized in value; the source’s dot and vertical-bar octave symbols are read using its own notation guide (Praveshika PDF pp.10–11). Accessed 17 October 2026.
Music foundation's profile of the komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary-Re form of Asavari. No open licence: cited and paraphrased only. Accessed 7 October 2026.
Music foundation's raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary profile. No open licence: cited and paraphrased only. Accessed 7 October 2026.
RaagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossaryStatusOpen flags
