The Essence of Rāga and the Problem of Rasa

It follows from the foregoing chapters that a proper theory of aesthetics of Indian music is highly imperative in order to solve a number of complicated problems.1 Most remarkable is that neither rāga nor style represent static and well-defined phenomena, but on the contrary are dynamic and often without clear boundaries. A rāga reveals a particular musical idea and through a number of tonal characteristics a highly individual atmosphere is created. The styles are methods of performing a rāga, in which the relation to words and rhythm is defined as well. Therefore an understanding of the nature of the individual character of a rāga is of great value for judging the effectiveness of the styles as methods of approaching and distinguishing this rāga. If two rāgas express the same musical idea in the same way there is, aesthetically speaking, no meaning in considering them as separate; they are one.