The raga time equation is peculiar to Hindustani music. Although Carnatic music has evolved from the same source, it does not have this rigid time frame for ragas.

The equation is obviously a later day addition or an interpolation to the theory of music. The theory gained gradual acceptance among Hindustani musicians during the last seven centuries. There is a saying in Maithili, a dialect of Hindi, Sanz Parati Bhor Basant Taravanhi Pailo Murhak Ant. It means that the one who sings raga 'Parati' in the evening and raga 'Basant' in the morning is a fool of the first order.

Early morning or dawn and late night are the time when there is stillness around. Ragas like 'Malkauns' or' Lalit' or 'Bhairav' reflect that stillness. The fourth prahar of the day induces a certain kind of dejection which makes room for ragas like Poorvi and Puriya. These equations were laid down in the middle ages by practioners as well as theoreticians of music. The time frame for main ragas likes Hindol, Shree, Megh, Deepak or Kaushik were set during the period between the 14th and the 18th century. Kings and Emperors provided patronage to music in those days. They liked to hear ragas at different times of the day. For instance raga Bhairav was sung to wake up the sleeping king. A possible explanation of the raga-time theory could be found in this practice.

Does the listening pleasure that one derives, get affected by breaking the rule? Not really, to be honest about it. How does a musician acquire mastery over ragas? Only through rigorous riyaaz. The language of ragas, though easily communicable and intelligible, is extremely difficult to master. One cannot practice the raga at its allotted time.

Although the total number of raags in Hindustani classical music was as big as 300, several of them have been lost over the centuries. About 100 raags are known and performed these days.

While classification of most raags in thaats is universally accepted, opinions vary among the experts for some raags. The same is true about performance times of some raags.

WHAT IS A RAGA? | ITS STRUCTURAL FEATURES | ITS CLASSIFICATION | RAGAMALA | RAGAS IN PERFORMANCE | TALAS IN PERFORMANCE | RAGA THERAPY | RAGA NOTATIONS | RAGA TIMINGS | HINDI FILM SONGS based on ragas | DICTIONARY

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