Raaga has been derived from the word ranja, standing for an element that delights and enthralls the mind. Raaga can never be exemplified in one single sentence, due to its all-pervasiveness of grammatical and musical notes, that too in various moods, time and feeling. It is a kind of abstract art form, that demands elaborate explanation. There are numerous types of raagas, like - Multani, Jaunpuri, Gaud, Sorath, Maand and Pahadi, Ahiri, Gurjari, Asavari, including several others. And each of these are resonant of some perceptive kind of earthly form. Raaga generally utilizes the entire range of the octave, starting with aroha and ending in avaroha, where the singer culminates the recital, as of in a musical frenzy. It is hugely complex in tonal quality, and it entirely depends on the performer to make the best use of it adroitly.

Raaga in Hindustani classical music
Raagas constitute an integral part of the classical musical genre, comprehending a motley of musical notes. . Raaga generally utilizes the entire range of the octave, starting with aroha and ending in avaroha, where the singer culminates the recital, as of in a musical frenzy. It is hugely complex in tonal quality, and it entirely depends on the performer to make the best use of it adroitly.

The Raaga-Raagini System in Hindustani classical music
Raaga-Raagini system is one of the most extraordinary system in Hindustani classical music, guided by spectacular means. The Raaga-Raaga-Raagini system employs one of the most brilliant techniques, ever used in the musical rendition arena. Into existence since the medieval times, this system utilizes the pictorial and poetical genre to execute a classical raaga recital successful. A singer adept in raaga rendition is supposed to envisage this amalgamation of pictorial and poetical quality into the various moods and senses of a raaga bandish. Raaga is personified as the male counterpart to the Raagini feminine playfulness, combining to form a unified whole. And the paintings that were generated in the outcome came up from the numero uno erstwhile schools of art. Sadly, though, this system was horribly quashed in the present century, giving rise to more ruled pattern in raaga system.

Raagas and Time in Hindustani classical music
Raagas and time are inter-linked in a dubious way, baffling every critic or historian regarding its origin. There exists a belief that a raaga, if rendered in a stipulated time, generates an even sublime effect. And this very belief is the basis of musicologists and singers, regarding the mysterious connection between raaga and time. Since ancient ages, the ingrained faith exists that a raaga must be performed at a fixed time or season, because it is assumed that every raaga is harmonized with the natural disposition of each person. For instance, a raaga that should be sung at night must never be touched at dawn, or vice-versa. This can make or break the general mood of a person. The innovative therapeutic schools of music insist that swaras have a curative effect on the human psyche, thus signaling a need to sing a raaga in a stipulated time. However, sue to severe lack if documentation, there is a huge, rather nasty controversy among the North and South Indian musical system, regarding the authenticity of this principle.

Classification of Raagas in Hindustani classical music
The raagas are essentially time bound, and divisions are made with the kinds and exactly when to be sung. As described before, the raagas are generally governed by time and seasons, and if sung accordingly, are known to evoke the loftiest of all sensations. According to the division of the day - day and night, similarly, the raagas have also been divided into groups, due to the sensations they emote when performed. The raagas for the diurnal period are called Dinegeya or Suryamsa raagas, whereas for the nocturnal are called Ratrigeya or the Chandramsa raagas. And the sub-divisions are named as sandhiprakash raagas - the raagas sung during the twilight, pratah-sandhi raagas - the raagas sung during the transitional period of night and morning. It is also stated that a day is divided into eight praharas, or the quarters/watches, each lasting for three hours. And the raagas that are sung are divided according to the importance of the notes in every one of them. The octave is further divided into uttaranga and poorvanga, denoting the upper and lower cases of the musical octave.

Raaga rendition
Raaga rendition depends mostly on the skillfulness and ingenuity of a performer, and the way it is carried throughout. A raaga is not just another form of Hindustani classical music form, nor is it bothered much about song-text, technical precision and rhythm. The minuscule difference between two raagas - the core of raaga recital, needs to be captured by the performer himself/herself. And a clever performer always endeavors to grow in the specification and astuteness gradually, in order to beguile the audience and hold him to the edge of his seat. And herein lies the secret of a successful raaga rendition. It not just the task of the performer, but also of the listener. Raaga can never be that attractive by itself, it is the duty of the singer to give it the essential jerk and push to arouse its innate characteristics. And the praiseworthy proofs lies in the historical performances of the legends that can only be listened in recorded versions today. The elite like, Ustad Bade Ghulam Ali Khan, Ustad Amir Khan, Pt. Omkarnath Thakur, or Ustad Faiyaz Khan have left some of the best recitals to be imbibed into the heart. Their usage of raaga Malkauns generally falls short of praise.

Raagas and Emotions
Raagas and emotions are very much interdependent, and continuously complementing each other. It is pretty much well known that a soulful raaga rendition evokes the subtlest of emotions, bringing forth the rare aspect of a raaga sung at a particular time. However, it not proven or exactly known as to why one is moved by the mellowed voice or the haunting raaga that is rendered. People are of the belief that it touches the psyche, and thus place much substance on to the raaga. In earlier times, it was the custom to picture a raaga or a musical symphony through the natural pictorial or auditory modes - that can be called an effective method by which a listener could suddenly envisage a raagabhaava. Although, another group of thinkers are of the faith that it is not the raaga that arouses the emotional chord, but the other way round, i.e., it is actually the mind and the unfathomable human psyche that is capable of making a raaga thus blissful.