1.     Abstract

Time and again there have been constant attempts to adapt various kinds of instruments to Indian art music. Santūr – the folk instrument of the Jammu-Kashmir region of India has seen a similar transformation to suit the classicality of hindustāni music. Today, it is considered among the leading solo-performing instruments. This study attempts to analyse the live concert performances of rāga bāgēśrī on santūr, available in the public domain. Based on the musical output, quantitative analysis has been undertaken for the different musical forms performed in the rāga presentation. Subsequently, a detailed qualitative analysis of the introductory ālāp segment has been conducted for the parameters viz. range of svara-s, unique and unusual rāga phrases, anchoring on svara-s, oscillatory embellishments, and nyāsatva. By mapping the prayōga (lakṣya, practical) to the śāstra (lakṣaṇa, theory) descriptions of the rāga, the study analyses and attempts to gain a perspective on understanding the congruences and divergences of lakṣya and lakṣaṇa in the performance of rāga bāgēśrī on santūr.

2.     Keywords: Santoor, Raag Bageshri, Hindustani Classical Santoor, Raag Bageshri on Santur

3.     Introduction

Santūr is a struck-string instrument in hindustāni music on which artistes have been performing solo concerts. The techniques employed in presenting a rāga on this instrument and the approach to rāga phrases are unique to certain artistes. This study aims to analyse the segments in a rāga rendition and the approach to the rāga phrases in the performances of selected artistes in performing rāga bāgēśrī on santūr.

4.     Scope & limitation

1. The scope of the data has been restricted to the full-concert video recordings of a minimum of twenty minutes, available in the public domain.
2. The scope of the data is also restricted to the three santūr artistes^[i] viz. Bhajan Sopori, Shivkumar Sharma, and Tarun Bhattacharya, hereafter referred to as Artiste1, Artiste2, and Artiste3, respectively.
3. Considering the performance lifespan of the above artistes, theoretical works later than 1947 are only being referred to for the descriptions of rāga bāgēśrī.
4. The analysis of rāga phrases is confined to the introductory ālāp segment.
5. The study focuses on music analysis of the structure of rāga performance and approach to rāga phrases; hence it does not explore instrument-related playing techniques in detail.
6. The study is limited by the availability and the audio quality of the video recordings.

5.     Notation System

The notation system for hindustāni music, employed in the analysis, has been provided in the below Table 1.

Symbol used	Description of the symbol	Meaning in hindustāni music
S	Capital letter S	Ṣaḍja
R	Capital letter R	Riṣabh
G	Capital letter G	Gāndhār
M	Capital letter M	Madhyam
P	Capital letter P	Pañcam
D	Capital letter D	Dhaivat
N	Capital letter N	Niṣād
_	Horizontal line below the svar	Kōmal svar
̇	Dot above the svar	Tār saptak svar
̣	Dot below the svar	Mandra saptak svar
/	Forward slash before the svar	Mīṇḍ from the previous svar
\	Backword slash before the svar	Mīṇḍ from the next svar
~	Tilde after the svar	Oscillatory svar
gr	Top-left superscript to the svar	Kaṇ-svar
–	Hyphen after the svar	Sustain of the svar
,	Comma after the svar	End of a melodic phrase

Table 1. Notation system for hindustāni music, employed in the analysis.

6.     Rāga Bāgēśrī

            Rāga Bāgēśrī belongs to the kāfī thāṭ having all seven svara-s with gāndhār and niṣād being kōmal and remaining śuddh svara-s (Thakar 106; Danielou 182; Thakur 85; Jairazbhoy 135; Dhavan 49; Shrivastav 40; Patwardhan 136; Subbu 157; Garg 305). The earlier name of this rāga was Vāgīśvarī (Rao 47; Bor 26; Parrikar). This rāga is performed in the night second prahar[ii] (Thakar 106; Danielou 182; Thakur 85; Patwardhan 136; Bor 26; Dhavan 49; Kashikar 20; Shrivastav 40; Garg 305).

There are multiple opinions about the jātī of this rāga. Firstly, the rāga is mentioned to be an Auḍav – Ṣāḍav jātī rāga with riṣabh and pañcam svara-s being varjya in ārōh and pañcam svara being varjya in avarōh (Rao 47; Parrikar). Secondly, the rāga is mentioned to be a Ṣāḍav – Ṣāḍav jātī rāga with pañcam svara being varjya in ārōh and avarōh (Rao 47; Garg 305). Thirdly, the rāga is mentioned to be an Auḍav – Saṃpūrṇa jātī rāga with riṣabh and pañcam svara-s being varjya in ārōh (Thakar 106; Parrikar; Patwardhan 136; Dhavan 49; Shrivastav 40). Fourthly, the rāga is mentioned to be a Ṣāḍav – Saṃpūrṇa jātī rāga with pañcam svara varjya in ārōh (Thakar 106; Danielou 182; Rao 47; Kashikar 20; Garg 305). Fifthly, the rāga is mentioned to be a Saṃpūrṇa – Saṃpūrṇa jātī rāga with all svara-s being present in the rāga but employed using vakra prayōga-s of rāga phrases (Garg 305; Parrikar)

While Thakur mentions gāndhār and niṣād as aṃśa svara-s (85), others consider madhyam and ṣaḍja as vādī and samvādī svara-s (Thakar 106; Danielou 182; Rao 47; Bor 26; Patwardhan 136; Subbu 157; Dhavan 49; Kashikar 20; Shrivastav 40; Garg 305). Nyāsa svara-s[iii] according to Thakur are ṣaḍja and madhyam (85), while according to Dhavan and Shrivastav, it is ṣaḍja, madhyam and dhaivat (49; 40).

Typical phrases of the rāga bāgēśrī are as below:[iv]

1. M D, N̲ D, M, G̲ R S (Thakar 106)
2. Ḍ Ṇ̲ S M, G̲ R M, M ^MG̲ R S (Patwardhan 136)
3. G̲ M D N̲ D M, P D M G̲ R S (Dhavan 49)
4. S Ṇ̲ Ḍ S, M D N̲ D, M, G̲ R, S (Kashikar 20)
5. Ḍ Ṇ̲ S M, D N̲ D M, M P D G̲, M G̲ R S (Shrivastav 40)
6. S, Ṇ̲ Ḍ, S, M D N̲ D, M, G̲ R, S (Garg 305)

     Unique phrases described as part of the rāga bāgēśrī are as below:[v]

1. Ḍ Ṇ̲ S M, G̲ R, M, G̲ R S, N̲ D, D P D N̲, D M, M G̲, R, G̲, R S (Thakar 106)
2. S – Ṇ̲ R – S, S M – R G̲ M G̲ R M -, ^MG̲R^MG̲ M -, ^MG̲ – RG̲MG̲ – R – S,
   M P ^PD ^MG̲, D N̲ ^PD, M D ^ṠN̲ ^PD – M – M N̲ ^PD, M – DPDMDP – ^MD – ^MG̲,
   G̲ – RG̲MN̲ – ^PD – M ; N̲ – D^PD – M – M P D – M P N̲ ^DD ; D – P D Ṡ N̲ – N̲
   (Thakur 85)
3. P D M G̲, Ṡ N Ṡ [vi] (Rao 47)
4. S / ^MG ~ ^RSR S, M D – ^P D N̲ D \ M – P D ^MG ~ (Bor 26)
5. M P D ^MG̲, ^SR, S, D N̲ D, P D N̲ D, D \ M, G̲, M G̲, RG̲M, M G̲ ^SR, S (Parrikar)
6. M G̲ ^SR S, RG̲MG̲ ^SR S, M P D ^MG̲, M P, P D ^MG̲ (Patwardhan 136)
7. M G̲ R M, M G̲, RG̲ MG̲ R S (Dhavan 49)
8. M D N̲ Ṡ, M D N̲ D Ṡ, M D N̲ Ṙ Ṡ (Mahale 24)
9. M P D̲ M G̲ R, M G̲ R S (Kashikar 20)
10. M G̲ – R G̲ – M G̲ R S, N̲ Ṡ Ṙ Ṡ, N̲ Ṡ Ṙ – N̲ D (Shrivastav 40)
11. Ṇ̲ S M, PG̲, G̲ M, PG̲, M G̲ R S [vii] (Garg 305)
12. Ḍ Ṇ̲ S/M – G̲ ~ R S, M P D \G̲ ~ R – S (Music In Motion)

7.     Analysis

            Based on the scope of the study, two concert renditions of Artiste1 (Artiste1-Recording1^[viii] and Artiste1-Recording2^[ix]), and one concert rendition each of Artiste2 (Artiste2-Recording^[x]) and Artiste3 (Artiste3-Recording^[xi]) are considered for this study, which are available in the public domain. This study focuses on analysing the below parameters for the chosen artistes:

1. Total duration of the rāga rendition
2. Musical forms performed
3. Tāla-s employed
4. Introductory ālāp segment
   1. Relative duration
   1. Range of svara-s explored
   1. Anchoring svara-s[xii]
   1. Nyāsatva
   1. Unique rāga phrases[xiii]
   1. Unusual rāga phrases[xiv]
   1. Oscillatory embellishments[xv]

9.1. Artiste1

1. Total duration of the rāga rendition

The artiste has performed this rāga at two live concerts for an average of sixty minutes. The recordings of these two concerts hereafter is referred to as R1[xvi] and R2[xvii].

• Musical forms

The various musical form segments performed at these concerts are: ālāp, jōḍ-jhālā, madhya, and drut – ati drut. Figure 1 showcases the average percentage distribution of every segment performed.

Figure 1. Percentage distribution of various musical forms presented by Artiste1.

• Tāla-s employed

The artiste has used the tāla-s viz. ēktāl and tīntāl for madhya, and drut – ati drut segments respectively.

• Introductory ālāp segment
• Relative duration

The artiste has dedicated an average of thirteen minutes to the initial ālāp segment in the average sixty-minute rāga renditions.

• Range of svara-s explored

The ālāp segment spans three saptak-s, ranging from the mandra saptak ṣaḍja to the ati-tāra saptak ṣaḍja. The artiste begins from and concentrates the elaboration in the mandra saptak for approx. six minutes, further continuing in the madhya saptak for approx. four minutes and a blend of all three saptak-s for approx. three minutes.

• Anchoring svara-s

Throughout the ālāp segment, anchoring on mandra ṣaḍja is observed.

• Nyāsatva
• Nyāsatva on riṣabh is observed at 3:48, 4:55, 6:11 of R1 and 1:05 of R2
• Nyāsatva on madhyam is observed at 13:53 of R1 and 6:50, 8:34 of R2
• Nyāsatva on dhaivat is observed at 4:00, 5:00, 5:16, 10:15, 11:03 of R1 and 1:40, 2:24, 10:21 of R2
• Nyāsatva on niṣād is observed at 4:10, 4:22, 4:38, 4:47, 12:15 of R1 and 2:37, 3:20, 7:20 of R2
• Unique rāga phrases

• At 6:06 of R1: M P D M G̲
• At 3:45 of R1 and 4:53 of R2: MG̲ RS R R – G̲M G̲ RS

• Unusual rāga phrases
• At 5:34 of R1: R RG̲RG̲RSṆ̲
• At 7:50 of R1: MG̲ MPM M
• At 11:21 of R1: MG̲MDP P
• At 1:17, 2:01 of R2: RG̲RG̲RG̲RSṆ̲Ḍ
• At 3:19 of R2: N̲ – SRG̲RSṆ̲ SṆ̲Ḍ
• At 13:07, 13:30 of R2: SRG̲MPDN̲Ṡ
• Oscillatory embellishments
• from 6:42 to 9:55 of R1
• from 3:52 to 6:28 of R2

9.2. Artiste2

1. Total duration of the rāga rendition

The artiste has performed this rāga[xviii] at a single live concert for fifty-five minutes.

• Musical forms performed

The various musical form segments performed at the concert are: ālāp, madhya, and drut – ati drut. Figure 2 showcases the percentage distribution of every segment performed.

Figure 2. Percentage distribution of various musical forms presented by Artiste2.

• Tāla-s employed

The artiste has used the tāla-s viz. rūpak and tīntāl for madhya, and drut – ati drut segments respectively.

• Introductory ālāp segment
• Relative duration

The artiste has dedicated around five minutes to the initial ālāp segment in the fifty-five-minute concert.

• Range of svara-s explored

The ālāp segment spans over two saptak-s, ranging from the mandra saptak madhyam to the tāra saptak dhaivat. The artiste begins from the mandra saptak but prominently concentrates the elaboration in madhya saptak for approx. three minutes and a blend of all three saptak-s in the next two minutes.

• Anchoring svara-s

Only during the initial minute of the ālāp segment, anchoring on ṣaḍja is observed.

• Nyāsatva
• Nyāsatva on gāndhār is observed at 26:52, 27:19, 30:22, 30:58
• Nyāsatva on madhyam is observed from 29:29 to 29:44
• Nyāsatva on dhaivat is observed at 26:28, 27:00, 27:58, 28:19
• Nyāsatva on niṣād is observed at 26:23, 26:36
• Unique rāga phrases
• At 28:27: G̲M MPD D
• At 28:32: D – PDN̲ D – N̲ṠN̲ – DMG̲ – MPD – MDN̲DN̲ṘṠN̲D – N̲DPM

1. At 29:25: S – N̲DPDN̲ – D N̲Ṡ
2. At 31:03: MPDMG̲
3. Unusual rāga phrases
4. At 30:47: M P M P DPMG̲ MDPMG̲
5. At 26:38, 26:49, 26:56, 27:08, 27:12, 27:18, 27:24, 27:45, 28:06, 29:45, 29:52, 29:56, 30:01, 30:03, 30:06, 30:16, 30:37, 31:10, 31:14: Ṇ̲^SR S or Ṇ̲RS
6. At 29:05: S – G̲MPDN̲Ṡ
7. Oscillatory embellishments
8. Not found

9.3. Artiste3

1. Total duration of the rāga rendition

The artiste has performed this rāga[xix] at a single live concert for twenty-six minutes.

• Musical forms performed

The various musical form segments performed at the concert are: ālāp, madhya, and drut – ati drut. Figure 3 showcases the percentage distribution of every segment performed.

Figure 3. Percentage distribution of various musical forms presented by Artiste3.

• Tāla-s employed

The artiste has used the tāla-s viz. jhaptāl and tīntāl for madhya, and drut – ati drut segments respectively.

• Introductory ālāp segment
• Relative duration

The artiste has dedicated around six minutes to the initial ālāp segment in the twenty-six-minute concert.

• Range of svara-s explored

The ālāp segment spans over two saptak-s, ranging from the mandra saptak madhyam to the tāra saptak dhaivat. The artiste begins from and concentrates the elaboration in the mandra saptak for the initial minute, further elaboration in mandra and madhya saptak for approx. three minutes and a blend of all three saptak-s for approx. two minutes.

• Anchoring svara-s

Throughout the ālāp segment, anchoring on ṣaḍja is observed.

• Nyāsatva
• Nyāsatva on riṣabh is observed at 1:32
• Nyāsatva on madhyam is observed at 1:50, 2:30
• Nyāsatva on dhaivat is observed at 1:42, 3:40, 4:08
• Nyāsatva on niṣād is observed at 1:13, 1,38, 4:00, 6:30
• Unique rāga phrases
• At 1:47: D P D N̲ D P M
• Unusual rāga phrases
• At 1:54: Ṃ P̣ Ḍ N̲̣ Ḍ P̣ Ṃ G̲̣ ~
• At 2:42: ṂḌṆ̲SRG̲M
• At 4:01: N̲ D M R SṆ̲SRG̲RSṆ̲
• At 5:47: M G̲ R Ṇ̲ SRG̲R S
• At 3:51, 6:30: M G̲ S Ṇ̲ Ḍ

• Oscillatory embellishments
• From 2:54
• From 4:40

8.     Results and Discussion

1. Total duration of the rāga rendition

Many aspects could be derived from the analysis of the duration of a rāga performance viz. the various segments performed in the rāga for a definite duration, the capability of an artiste in handling and performing the rāga for that duration, and the capacity and scope of a rāga in lending itself to a longer-duration performance. In this study, Artiste1 and Artiste2 have performed the rāga at a public concert and hence it is observed that the rāga has been elaborately performed for around an hour. Artiste3 has performed the rāga for half an hour duration as it is a recorded performance restricted to a specific duration.

• Musical forms performed

Figure 4. Percentage distribution of various musical forms presented by Artiste1, Artiste2, and Artiste3.

Figure 4 displays the various musical forms presented by the three artistes vs. the total duration dedicated to a particular form. While Artiste1 has performed ālāp, jōḍ – jhālā, madhya, and drut – ati drut forms; Artiste2 and Artiste3 have performed ālāp, madhya, and drut – ati drut forms. The jōḍ-jhālā segment is not found in the renditions of Artiste2 and Artiste3.

Analysing Figure 1, Figure 2, Figure 3, and Figure 4 together, it is evident that Artiste1 and Artiste3 have performed different musical forms for an almost similar duration. This signifies the relative importance provided to the musical forms by the two artistes. But variation is observed in the rendition of Artiste2, as musical forms of unequal durations are observed.

Bāgēśrī being a traditional rāga, it is perceived as a rāga involving vocal-based grammar and embellishments. “It provides ample scope for elaboration” (Bor 26). But from Figure 4, it is evident that no artistes have performed vilaṃbit musical form in this rāga. Santūr being a struck-string instrument, the above observation leads to question whether the artistes have perceived the exposition of rāga bāgēśrī being limited during the vilaṃbit segment, due to the inherent slower tempo of the segment.

• Tāla-s employed

All three artistes have employed a different tāla for the madhya segment viz., ēktāl, rūpak, and jhaptāl respectively, while having used tīntāl for drut – ati drut segments. This provides an understanding as to how the grammar of rāga bāgēśrī lends itself to various rhythmic possibilities even on a discrete instrument such as Santūr.

• Introductory ālāp segment
• Relative duration

Figure 1, Figure 2, and Figure 3 showcase the relative duration of the ālāp section w.r.t. the overall rāga rendition. This in turn signifies the importance given by artistes to this segment. While Artiste1 has dedicated approx. 21% of the total duration to the ālāp segment, Artiste2 and Artiste3 have dedicated approx. 7.3% and 25% respectively. This analysis leads to a question as to why the vilaṃbit segment has not been performed if a dedicated ālāp segment has been performed by all artists.

• Range of svara-s explored

All three artistes have explored the introductory ālāp segment for more than two saptak-s. While the ālāp svara-s of Artiste1 range from mandra ṣaḍja to ati-tāra ṣaḍja, it is from mandra madhyam to tāra dhaivat for Artiste2 and Artiste3. Beginning the ālāp in mandra saptak and gradual progression towards madhya and tāra saptak svara-s is observed across the three artistes. Also, it is seen that the range of svara-s is not dependent on the duration of ālāp performed.

• Anchoring svara-s

A constant anchoring either on mandra or madhya ṣaḍja is observed across three artistes throughout the ālāp segment. In the ālāp segment, anchoring is observed on mandra ṣaḍja during the rāga elaboration in mandra saptak svara-s, and similarly anchoring is observed on madhya ṣaḍja during the rāga elaboration in madhya saptak svara-s.

• Nyāsatva

Apart from ṣaḍja, artistes have showcased nyāsatva on all other svara-s except pañcam, viz. riṣabh, gāndhār, madhyam, dhaivat, and niṣād. For example, nyāsatva on riṣabh is showcased by Artiste1, similarly on gāndhār by Artiste2, and on niṣād by Artiste1, Artiste2, and Artiste3; all of these do not comply with the śāstra descriptions.

• Unique rāga phrases
• The phrase M P D M G̲ which involves the vakra prayōga of the svara pañcam during avarōh has been showcased by Artiste1 and Artiste2 and not observed in the rendition of Artiste3.

1. The phrase P D N̲ D has been showcased by artistes Artiste2 and Artiste3 and not observed in the rendition of Artiste1.
2. The phrase R G̲MG̲ R has been showcased by Artiste 1 and not observed in the rendition of Artiste2 and Artiste3.
3. Other unique phrases of the rāga viz. M G̲ R, M G̲ R S ; D N̲ ^PD are not observed.
4. In the phrases involving M and G̲, a subtle touch of M before playing G̲ provides an illusion of  ^MG̲; similarly, ^ṠN̲.
5. The impression of continuity between svara-s is provided by quick strikes between the strings. As mentioned in the previous point, the illusion of ^MG̲ and ^ṠN̲ gives a perception of and M \ G̲ and Ṡ \ N̲, in turn providing an illusion of the vocal-style of rāga rendition.

• Unusual rāga phrases

Following are the rāga phrases observed, that do not comply with the theoretical descriptions:

1. RG̲RG̲RG̲RSṆ̲Ḍ
2. SRG̲RSṆ̲
3. SRG̲MPDNṠ
4. MDPMG̲
5. S – G̲MPDN̲Ṡ
6. M P D N̲ D P M G̲ ~
7. ṂḌṆ̲SRG̲M
8. N̲ D M R SṆ̲SRG̲RSṆ̲
9. M G̲ R Ṇ̲ SRG̲R S
10. M G̲ S Ṇ̲ Ḍ
11. M P D Ṡ N̲ D P M G̲ ~

• Oscillatory embellishments

Apart from the regular striking way of producing sound on the instrument, an oscillatory way of generating svara-s is also found in the renditions of Artiste1 and Artiste3. This phenomenon audibly displays continuity between svara-s providing an illusion of the vocal-style of rāga rendition. But certain uncontrolled oscillations too, are observed in instances such as: between 5:20 to 5:26 of Artiste1-R2 and between 5:15 to 5:30 of Artiste3. Such uncontrolled oscillations also audibly display svara-s that are not part of the rāga.

9.     Summary

This study deals with the analysis of the live concert performances of rāga bāgēśrī on santūr. A primary quantitative analysis has been undertaken for the different musical forms performed in the rāga presentation. Further, a detailed qualitative analysis of the introductory ālāp segment has been carried out which includes the parameters viz. types of musical forms, relative duration, tāla-s, range of svara-s, anchoring svara-s, nyāsatva, unique rāga phrases, unusual rāga phrases, and oscillatory embellishments.

The study begins with the theoretical description of rāga bāgēśrī as mentioned in various texts. The analysis commences with how different musical forms in the concerts of rāga bāgēśrī are structured; beginning with the ālāp segment, and then continuing with the madhya, drut and ati-drut segments. The analysis then deals with the various congruences observed in the lakṣya and lakṣaṇa of rāga bāgēśrī. Further, it throws light upon how the artistes have performed several rāga phrases and have employed nyāsatva concepts, that are not part of the theoretical descriptions. This divergence leads to the understanding that, the rāga phrases and nyāsatva concepts performed by artistes (lakṣya) are still not part of the rāga śāstra (lakṣaṇa). The study also reveals the impact of instrumental techniques on the rāga grammar showcasing how the subtlety of the rāga grammar diverges in instrumental performances with respect to the preconceived vocal renditions.

As santūr is a struck-string instrument with discrete svara-s, attempts have been made by artistes to overcome the absence of continuity between svara-s. Subtle quick strikes, audibly displaying the connectivity between svara-s, provide an illusion of kaṇ and mīṇḍ embellishments. Rapid continuous strikes on a single string provide an illusion of sustain on the svara-s. The oscillatory method of generating svara-s on the string is another technique observed. This demonstrates continuity between svara-s which further contributes to the rāga exposition in certain contexts, but otherwise feels like an attempt to showcase the virtuosity of an artiste.

In a nutshell, this analytical study highlights the congruences and divergences of lakṣya and lakṣaṇa in the performances of rāga bāgēśrī on santūr instrument. This leads to a better understanding regarding the approach of performing hindustāni rāga-s on an instrument like santūr.

10.  Acknowledgement

The researcher would like to thank his supervisor Dr. Arati N. Rao, with gratitude, for the insightful discussions and valuable inputs for this article.

11. Endnotes

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[i] Four artists viz. Bhajan Sopori, Shivkumar Sharma, Tarun Bhattacharya, and Ulhas Bapat are considered to have provided their own unique playing techniques and approaches of performing hindustāni rāga-s on santūr (Chaudhury)(Tikoo). But due to the unavailability of a full-concert video recording of rāga Bāgēśrī of Ulhas Bapat, only the other three artists are considered for this study.

[ii] Night second prahar is considered between 9pm to 12am.

[iii] Nyāsa svara-s or Resting notes are the svara-s on which a melodic phrase in the rāga ends or sustains.

[iv] Listed in the chronological sequence of the works published.

[v] Listed in the chronological sequence of the works published.

[vi] Interestingly, author mentions the usage of tīvra niṣād in the phrase Ṡ N Ṡ and comments that it will not harm the rāga unless D N Ṡ phrase is used.

[vii] The researcher would like to indicate a possibility of a printing error in the source text regarding the phrase PG̲ which instead could have been MG̲; considering the possibility of a predominant phrase MG in the calan of the rāga bāgēśrī instead of an unusual phrase P­G which is not observed either in lakṣya or lakṣaṇa.

[viii] Source video: https://youtu.be/Zy0FNHroEnA
(alternative link: https://1drv.ms/v/s!Ai_YpiL8DtF9hrA5uDEu13psBlb4IA)

[ix] Source video: https://youtu.be/2ADi9b_WJjA
(alternative link: https://1drv.ms/v/s!Ai_YpiL8DtF9hrBPxeIVjSyiljH3YQ)

[x] Source video1: https://youtu.be/EOE6yLaJiN0
(alternative link: https://1drv.ms/v/s!Ai_YpiL8DtF9iINMQUtRlbCP-eD1CQ)
Source video2: https://youtu.be/PkYaklns1jI
(alternative link: https://1drv.ms/v/s!Ai_YpiL8DtF9iINL8zhQNcHu3AHUWw)

[xi] Source video: https://youtu.be/z_8Vvl412JM
(alternative link: https://1drv.ms/v/s!Ai_YpiL8DtF9hrA6SL_chYeOWahTVA)

[xii] A single svar which is heard intermittently during the ālāp phrases.

[xiii] The rāga phrases which are mentioned in the theoretical descriptions.

[xiv] The rāga phrases which are not mentioned in the theoretical descriptions but performed by artists.

[xv] Svara-s generated on santūr by pressing the string with fingers and making it oscillate.

[xvi] Source video: https://youtu.be/Zy0FNHroEnA
(alternative link: https://1drv.ms/v/s!Ai_YpiL8DtF9hrA5uDEu13psBlb4IA)

[xvii] Source video: https://youtu.be/2ADi9b_WJjA
(alternative link: https://1drv.ms/v/s!Ai_YpiL8DtF9hrBPxeIVjSyiljH3YQ)

[xviii] Source video1: https://youtu.be/EOE6yLaJiN0
(alternative link: https://1drv.ms/v/s!Ai_YpiL8DtF9iINMQUtRlbCP-eD1CQ)
Source video2: https://youtu.be/PkYaklns1jI
(alternative link: https://1drv.ms/v/s!Ai_YpiL8DtF9iINL8zhQNcHu3AHUWw)

[xix] Source video: https://youtu.be/z_8Vvl412JM
(alternative link: https://1drv.ms/v/s!Ai_YpiL8DtF9hrA6SL_chYeOWahTVA)