Abstract

Creativity and classification are dual facets of human intelligence, both integral to the evolution of Indian Classical Music. The Mughal period marked a significant phase of musical innovation, driven by the synthesis of Persian and Indian traditions. Fascinated by Indian music, Mughal patrons encouraged the creation of new Ragas through cross-cultural experimentation. Amir Khusrau, a seminal figure of this era, is credited with introducing several Ragas by blending indigenous forms with Persian maqams. His most enduring contribution, Raga Yaman, is believed to have emerged from the fusion of Raga Hindol and the Persian maqam Nairez. This proliferation of Ragas necessitated a structured system of classification. The Raganga system, which categorizes Ragas based on shared melodic features, gained prominence between the 10th and 18th centuries, aligning with the period of increased intercultural exchange under Muslim rule.2 In the 20th century, Pandit Narayan Moreshwar Khare formalized and popularized this system. He identified 26 principal or parent Ragas, each defined by distinctive melodic phrases, which he termed Ragangas (Raga + anga, i.e., the structural components of a Raga). These Ragangas served as foundational frameworks for classifying the broader corpus of Ragas in Hindustani music. One such prominent Raganga is Bageshree. This paper aims to critically examine the Ragas classified under the Bageshree Raganga, with particular attention to their structural features and phraseology. It also traces any notable changes in these Ragas over time. The objective is to provide readers with a clear understanding of the foundational framework of Bageshree-ang, while highlighting the distinctive melodic phrases that characterize each Raga selected for the analysis.