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The article discusses the facets of some ragas in the Hindustani approach. Topics include the cultural meaning associated to Bhairavi, the career of musician Ustad Vilayat Khan, and his Hindu and Islamic ideas. Also provided is information about the archetype and melodic form of Bhairavi and its developments as of 2014.

An essay is presented which offers information on the ragas of the Hindustani tradition. It discusses the antiquity of ragas including Hemant from Ustad Allauddin Khan, Kandrima from Ustad Z. M. Dagar, and Pancham from Ustad Vilayat Khan. Also provided is information regarding the ragas' melodic paths, evolutions, and popularity in light music.

The article offers information related to music in India. Topics discussed include the original form of Abheri given by singer Pantula Rama with the suddha dhaivata, the speed and virtuosity displayed by Sriram Krishnan and T. N. Krishnan, and the Sankarabharanam as the main raga of the evening celebration.

The author offers opinion on the identity of the raga bhava as created by the musician in Carnatic music.

The article offers the author's insights on the wonder boy, Indian mandolin player and composer U. Shrinivas. She says that the musical maturity of Shrinivas and the flights of his imagination won him the admiration of great musicians of his time. She describes how Shrinivas plays ragas. She states that younger generation musicians like Shrinivas have brought the resurgence in Carnatic music.

The article focuses on theraga Lalit. Lalit is a hexatonic raga, which is prescribed for performance in the pre-sunrise hours. It has found a niche for itself in the three-hour period after sunrise. The melodic personality of Lalit is dominated by the unique, manner in which it deploys the two Ma swaras

An essay is presented which examines the aspects of Raga Vachaspati in Hindustani music in northern India. It discusses the disappearance of Ga-Ni axis in the first-fifth correspondence as the key of Yaman-to-Vachaspati transformation. It states that Vachaspati is a Carnatic raga that represents the parent-scale and tends to explore several alternatives by Hindustani musicians including Ravi Shankar, Shivkumar Sharma and Vilayat Khan.

The article discusses aspects of some ragas of the Hindustani tradition. The author talks about the influence of Raga Darbari Kanada to raga who has been described as the emperor of ragas and the rage of emperors. He tackles the folk origins and tonal geometry of raga gara, wherein Gara performed as an independent raga in some lineages of Hindustani music. He also that Raga Jaijaiwanti bears the closest resemblance to Gara.

An essay is presented on the aspects of some ragas in the tradition of Hindustani music. Topics discussed include the definition of ragas in terms of its performance at the pitch, the limited melodic span of raga to its national scale, and the tangential phrases of the skeletal phraesologies of ragas.