How relevant is the time theory of ragas today?

Ustad Ali Akbar Khan once said that when you have to play Marva, a raga of twilight, you have to imagine the stones weeping in crisis, wait for the night. With that imagination, it is difficult to think about playing Marva in bright sunlight.

In the classical music tradition, mainly in the north, it was written when a raga should be presented. 24 hours 20 of the day was divided into three -hour sections, and the mood was based on the mood to produce, it was decided when it had to play. The morning raga included pre-don, don and morning raga. At this time the principle was called raga Prahar.

But today concerts are mainly held in the evening or late evening. So after mid-central, and post-middle raga is rarely heard.

In the Karnataka tradition, a century ago, it was decided to break the existing conference and present any raga at any time to prevent them from extinction. Senior Karnataka Violinist Lalguri Vijayalakshmi says, “The decision to sing all the raga at any time of the day was shifted to the concert platforms. Sometimes we sing the morning raga in the morning music celebrations, but of course, they perform in the evening as well.”

In the answer, this tradition is still strong, but musicians have changed the rules-a pre-arous Lalit is provided during the concert. Or as the final composition in a concert, a post-night kauns are provided after 9 pm.

Re -examining the existing traditions and performance criteria, it is capable to see musicians in both classical traditions.

Eminent singer and scholar Prabha Atre was against following time theory. In his view, since the concerts were no longer associated with nature and time, and after being held indoors, it was understood to relax the rules. It came through a day -long festival held in Pune in February. Dr. Conducted by her disciples through Prabha Atre Foundation, its title was Raga Prabha Sangeetvasav and the artists originally sang the artists singing raga for the ‘time’ of their concert. Artists included PT. Hariprasad Chaurasia, a disciple of Puritanical Annapurna Devi, Ulhas Kashalkar, is again known as a sticker for tradition, Padma Talwalkar, Alka Dev Marulkar, Vinayak Torvi, Ram Deshpande and Uday Bhavalkar. It was interesting to see that every major homes were represented – Gwalior, Kiran and Jaipur Atuli Agra.

PT. Ulhas Kashalkar says that a raga song is fine a few hours before or after the scheduled time.

Ulhas Kashalkar says that the rules of rendering are already being rested. For example, late night rags Kanhas and koons are first provided in the evening. He says, “A raga song is fine a few hours before or after the scheduled time, but trying one with a difference of 10 or 12-hour would be a challenge, and I am not happy to try it,” they say.

Additionally, Ulhas explains, the time of rendering does not apply to the principle ’emphasis’ rags, some Prabha Atre also used in his argument against this system. For example, is the raga Lalita Gauri considered one morning for her Lalit component or in the evening for its Gauri aspect? Hindol Bahar and Lalit Pancham are other mixed original raga. These rules are only for performance, they say, because the rules break up anyway when learning, practice or recording.

It will be interesting to see how the connoisseur will react to ‘wrong’ timely performed music. Of course, there will be no prior perception in without calling.

Alka Dev Marulkar says that he has sung raga at unpublished time in recording, but a performance is different

Singer and Guru Alka Dev Marulkar wonder: “Will I be able to attach my evening listeners with a raga in the morning? Would I be able to overcome the expectations of the current hearing? When I was contacted to sing in Raga Prabha Sargattsov, it is a different time to think about the whole issue. It is a different time during recording.

If this experiment becomes an ideal, it will be interesting to see how the artists are able to rise up. When this reference point is removed, how will someone tell a difference to a learner?