Indian Classical Music: Ragas

Akaar 2025 was the first year where Sonia Sabri Company’s (SSCo) annual student showcase, celebrating South Asian arts and culture, extended over two nights. This was the biggest showcase yet, with 28 enthralling performances enjoyed by 328 audience members.
This year’s Akaar also hosted a record number of vocal performances, with SSCo students captivating audience members with four performances titled ‘Raga Bhimpalasi’, ‘Raga Yemen’, ‘Dhrupad’, and ‘Raga Khammaj’.

What is a Raga?
Ragas are unique melodic frameworks in Indian classical music, forming foundations for different compositions and allowing improvisation. Each Raga is thought to be associated with a particular mood, emotion, or time of day, conveyed through the melodic structure of a Raga and how it is performed.(2)
Ragas are formed of different combinations of twelve Swaras (notes) in ascending or descending order. These consist of seven “natural” notes, known as Shuddha Sawara, which derive from sounds of nature. The other five notes are described as “modifiable or moveable”, and are known as Vikruta Swara. Additionally, notes with a decreased frequency, below their mean value, are known as Komal Swara (flat notes).

The Emotional Aspect: The mood of a Raga and its associated emotions depend upon the unique combinations of Swara,(3) enabling one or more emotions to be evoked in performers and listeners, such as joy, sadness, peace, anger, devotion, and longing among others. (4)
A predominance of “natural” notes, Shuddha Swara, induces cheerful and happy emotions(5) by activation of the default mode network in the brain which uses dopamine, commonly known as the “happy” hormone.(6) In contrast, an increasing presence of flat notes, Komal Swara, makes a Raga progressively sentimental. This elevates the composition’s affective experience from cheerful to feelings of sympathy, followed by sadness or sorrow, before experiencing peace and tranquillity. (7)
The Swara-specific emotional effects of Ragas have neurochemical basis.(8) Listening to pleasant music triggers and increases release of dopamine in neural pathways responsible for reward, emotions, and memory.(9) This suggests positive influences on mood and impact on motivation, movement and attention.

Rhythmicity in Ragas:
Ragas also possess defined rhythmicity, meaning compositions are traditionally presented in two to three different rhythmic modes. The first, known as Alaap, is arrhythmic and has a slow tempo, used to establish the mood for the subsequent rhythmic modes of the Raga, known as Gat and Tarana.
Gat has a faster tempo than Alaap, and the fastest tempo is observed with Tarana. Both have their own specific rhythmic cycle.(10) Alterations in the tempo or rhythm in the Gat or Tarana mode of a Raga differentially impact mood due to transitions between lower-slower to higher-faster beats, respectively. Prevalence of lower-slower beats results in heightened mind wandering, i.e., attention to oneself. In contrast, higher-faster beats reduce mind wandering, meaning there is increased attention devoted to the music itself.(11)

Circadian Specificity:
Another unique aspect of Ragas is their circadian specificity. Traditionally, Ragas were designed to be performed during specific time periods of the day to match physiological rhythms within the body. This meant optimum effects could be obtained if a Raga was performed during its designated time window.(12)
The group vocal performances from Akaar 2025 have their own circadian specificities. For example, Raga Bhimpalasi is recognised as creating melancholic, peaceful, and tender moods, and is often associated with homecoming. It is traditionally played in the early afternoon. In contrast, Raga Yaman is performed during early evening, and is associated with serene, devotional, and joyful moods, evoking happiness and peace.(13) Similarly, Raga Khammaj is an evening Raga known to help resolve mental stress,(14) providing a calming experience.

How can this knowledge be used?
Researchers have found Ragas can induce various emotions in performers and listeners due to defined notational structures and circadian specificity.(15) This aligns with the finding that pleasant music can suppress negative emotions, such as anxiety, shame, anger, and fear by activation of neuronal pathways associated with reward or motivation.(16) Regularly listening to such music is beneficial for cognition as it helps keep neurones and synapses more active,(17) possibly due to involvement of multiple brain areas in processing of the auditory stimulus.
This knowledge can be used to incorporate Ragas as part of a holistic approach to healthcare via use of music therapy. Employing certain Ragas in music therapy, such as Raga Khammaj, can help decrease negative feelings of stress by reducing cortisol levels and releasing endorphins,(18) elevating mood and improving overall health and wellbeing. This was found in a study where listening to Ragas helped reduce psychological stress in subjects undergoing medical procedures, such as an endoscopy.(19)

Why is this creative approach to healthcare important?
Currently, increases in workload and various environmental factors contribute to intensified feelings of stress within the population. Children and young people are also facing a mental health crisis and music therapy offers a creative outlet for these issues. There are no known adverse effects of Raga and music therapy based on results from existing studies. The cost-effectiveness and simplicity of this intervention also make it a promising therapeutic avenue and add value.(20)
Using Ragas as non-pharmacological therapy caters towards a more individualistic and integrated approach in healthcare, helping achieve better health and wellbeing. It would also help increase the diversity in the UK music therapy field, which is currently lacking.
In Western culture, creative art therapies are largely viewed through a White lens.(21) This is unfair given the increased globalisation and immigration, meaning music therapists are more likely to work with a culturally diverse set of clients. Cultural awareness is therefore essential to successfully deliver cross-cultural music therapy. However, music is able to transcend cultural barriers.(22) This implies knowledge and implementation of Ragas via Raga therapy will prove beneficial for clients of all backgrounds, not just those of South Asian origin.

You can watch all of the vocal performances from Akaar 2025 on our YouTube channel!

About the Author: I am Shrishti Gandhi, a Neuroscience graduate and Associate Artist with Sonia Sabri Company (SSCo). I manage SSCo’s dedicated dance troupe, ‘Kathakaars’, finding regular performance opportunities and also performing as part of the group. Recent professional credits include performing as a dance artist for SSCo, touring with their hit summer production, ‘Mughal Miniatures’, across the UK.

I have a keen interest in writing and combining my knowledge of neuroscience from my degree with my passion for Kathak. In my role, I therefore also research and write for SSCo’s blog about the science of dance and music, creating scientific but accessible entries for audiences of all backgrounds.

Following on from the vocal performances at Akaar 2025, I wanted to explore what Ragas are and how they can be incorporated as part of the constantly evolving creative health initiative.

1) Mutalik Nandakishor Desai et al., ‘An Overview of the Indian System of Raagas and Their Positive Effects on Health’, Journal of Drugs Addiction & Therapeutics 2, no. 2 (2021): 1–6, https://doi.org/10.47363/JDAT/2021(2)111.
2) Mary A. Castellano et al., ‘Tonal Hierarchies in the Music of North India.’, Journal of Experimental Psychology: General 113, no. 3 (1984): 394–412, https://doi.org/10.1037/0096-3445.113.3.394; Jeffrey M. Valla et al., ‘Music and Emotion—A Case for North Indian Classical Music’, Frontiers in Psychology 8 (December 2017): 2115, https://doi.org/10.3389/fpsyg.2017.02115; Vishal Midya et al., ‘Cultural Differences in the Use of Acoustic Cues for Musical Emotion Experience’, PLOS ONE 14, no. 9 (2019): e0222380, https://doi.org/10.1371/journal.pone.0222380.
3) Vikas Gandhe and Manasi Tare, ‘THERAPEUTIC EFFECTS OF ANCIENT INDIAN CLASSICAL MUSIC’, INDIAN JOURNAL OF APPLIED RESEARCH, 1 August 2020, 1–3, https://doi.org/10.36106/ijar/1811810.
4) Shantala Hegde, ‘Music Therapy for Mental Disorder and Mental Health: The Untapped Potential of Indian Classical Music’, BJPsych International 14, no. 2 (2017): 31–33.
5) Avantika Mathur et al., ‘Emotional Responses to Hindustani Raga Music: The Role of Musical Structure’, Frontiers in Psychology 6 (April 2015), https://doi.org/10.3389/fpsyg.2015.00513; Valla et al., ‘Music and Emotion—A Case for North Indian Classical Music’; Dr Yogiraj Mishra and Ashok Kumar Sharma, ‘Effects of Music on Mental Health and Longevity’, World Journal of Pharmaceutical Research 9, no. 4 (2020): 305–12, https://doi.org/10.20959/wjpr20204-17036.
6) N. Chauhan et al., ‘Role of Indian Classical Music in Treating Alzheimer’s Disease and Related Dementias’, European Society of Medicine 12, no. 6 (2024), https://doi.org/10.18103/mra.v12i6.5388.
7) Nagarajan Karuna et al., ‘Review of Rāgās and Its Rasās in Indian Music and Its Possible Applications in Therapy’, International Journal of Yoga - Philosophy, Psychology and Parapsychology 1, no. 1 (2013): 21, https://doi.org/10.4103/2347-5633.123288.
8) Chauhan et al., ‘Role of Indian Classical Music in Treating Alzheimer’s Disease and Related Dementias’.
9) Valorie N. Salimpoor et al., ‘Anatomically Distinct Dopamine Release during Anticipation and Experience of Peak Emotion to Music’, Nature Neuroscience 14, no. 2 (2011): 257–62, https://doi.org/10.1038/nn.2726; Robert J. Zatorre, ‘Musical Pleasure and Reward: Mechanisms and Dysfunction’, Annals of the New York Academy of Sciences 1337, no. 1 (2015): 202–11, https://doi.org/10.1111/nyas.12677.
10) Mathur et al., ‘Emotional Responses to Hindustani Raga Music’.
11) Sushma Sharma et al., ‘Indian Classical Music with Incremental Variation in Tempo and Octave Promotes Better Anxiety Reduction and Controlled Mind Wandering—A Randomised Controlled EEG Study’, EXPLORE 17, no. 2 (2021): 115–21, https://doi.org/10.1016/j.explore.2020.02.013.
12) Chauhan et al., ‘Role of Indian Classical Music in Treating Alzheimer’s Disease and Related Dementias’.
13) Parag Chordia and Alex Rae, ‘Understanding Emotion in Raag: An Empirical Study of Listener Responses’, in Computer Music Modeling and Retrieval. Sense of Sounds, ed. Richard Kronland-Martinet et al., vol. 4969, Lecture Notes in Computer Science (Springer Berlin Heidelberg, 2008), https://doi.org/10.1007/978-3-540-85035-9_7.
14) Aashish A Bardekar and Ajay A Gurjar, ‘EEG Study of Ragas and Its Impact on Brain Waves’, International Journal of Innovative Research in Science Engineering and Technology 6, no. 4 (2017), https://doi.org/10.15680/IJIRSET.2017.0604013.
15) Chauhan et al., ‘Role of Indian Classical Music in Treating Alzheimer’s Disease and Related Dementias’.
16) Gemma Cardona et al., ‘The Impact of Musical Pleasure and Musical Hedonia on Verbal Episodic Memory’, Scientific Reports 10, no. 1 (2020): 16113, https://doi.org/10.1038/s41598-020-72772-3.
17) Bardekar and Gurjar, ‘EEG Study of Ragas and Its Impact on Brain Waves’.
18) Bardekar and Gurjar, ‘EEG Study of Ragas and Its Impact on Brain Waves’.
19) M. Raj Kotwal et al., ‘Stress Reduction Through Listening to Indian Classical Music During Gastroscopy’, Diagnostic and Therapeutic Endoscopy 4, no. 4 (1998): 191–97, https://doi.org/10.1155/DTE.4.191.
20) Desai et al., ‘An Overview of the Indian System of Raagas and Their Positive Effects on Health’.
21) Daryl Lindo, ‘Examining the Accessibility of MA Music Therapy Training in the United Kingdom for Ethnic Minority Communities’, British Journal of Music Therapy 37, no. 1 (2023): 5–16, https://doi.org/10.1177/13594575231154491.
22) Miranda S. Grimmer and Melody Schwantes, ‘Cross-Cultural Music Therapy: Reflections of American Music Therapists Working Internationally’, The Arts in Psychotherapy 61 (November 2018): 21–32, https://doi.org/10.1016/j.aip.2017.07.001.