Jump to content

Marva (raga): Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous edit
Content deleted Content added
VisualWikitext
Cleaned up MOS:ORDER and other matters, including references. Added a "Full citation needed" cleanup template.
 
(44 intermediate revisions by 20 users not shown)
Line 1: Line 1:
{{Short description|Hexatonic Indian raga}}
⚫
{{Hindustani Classical Music}}
{{For|the thaat of the same name|Marva (thaat)}}
'''Marwa''' is a [[hexatonic]] Indian [[raga]]; Pa (the fifth tone) is omitted. Marwa is also the name of the [[thaat]].
{{Infobox raga
| name = Marva (raga)
| image_name = Maru Ragini (6125107700).jpg
| image_alt =
| thaat = [[Marva (thaat)|Marva]]
| type =
| time = Sunset
| season =
⚫
| arohana = 'Ni {{underline|Re}} Ga {{overline|Ma}} Dha Ni {{underline|Re'}} S'
⚫
| avarohana = {{underline|Re'}} Ni Dha {{overline|Ma}} Ga {{underline|Re}} 'Ni 'Dha Sa
| vadi =
| samavadi =
| pakad =
| chalan =
| synonym =
| equivalent = Malavi, Maru
| similar =
}}
⚫
{{Hindustani Classical Music}}

'''Marva''' or '''Marwa''' ({{IAST3|Mārvā}}) portrays being with one's lover and is often portrayed in [[Ragamala paintings]] as two couples kissing. It is a [[hexatonic]] Indian [[raga]]; Pa (the fifth tone) is omitted. Marva is the eponymous raga of the [[Marva (thaat)|Marva thaat]].


== Aroha and Avaroha ==
== Aroha and Avaroha ==
[[Arohana]]: 'Ni {{underline|Re}} Ga {{overline|Ma}} Dha Ni {{underline|Re'}} S'


⚫
Keeping the key in C, in the Western scale this would roughly translate to: B D♭ E F♯ A B D♭ C
[[Arohana]]
⚫
'Ni {{underline|re}} Ga {{overline|Ma}} Dha Ni {{underline|re'}} S'
<br />
⚫
In the Western scale this would roughly translate to: B D-flat E F-sharp A B D-flat C


[[Avarohana]]: {{underline|Re'}} Ni Dha {{overline|Ma}} Ga {{underline|Re}} 'Ni 'Dha Sa
[[Avarohana]]
⚫
{{underline re'}} Ni Dha {{overline|Ma}} Ga {{underline|re}} 'Ni 'Dha Sa


The Ma is actually Ma Tivratara, which is a perfect fourth above re komal (which is 112 cents above Sa)<ref>Gosvami(1957) p. 236 f.</ref>)
The Ma is actually Ma Tivratara, which is a perfect fourth above Re komal (which is 112 cents above Sa)<ref>Gosvami (1957) p. 236 f.</ref>)


== Vadi and Samvadi ==
== Vadi and Samvadi ==
⚫
The [[Vadi (music)|Vadi]] is komal Re, while the [[Samvadi]] is shuddh Dha. Notice that these do not form a perfect interval. So V.N.Paṭvardhan<ref>Rāg Vijñān, Vol. II, p.1</ref> says "It is customary to give Re and Dha as vādi and saṃvādi, but seen from the point of view of the śāstras (treatises) it is not possible for re and Dha to be saṃvādī (i.e. consonant) to each other. For this reason, in our opinion it is proper to accept Dha as vādī and Ga as saṃvādī"<ref>Jairazbhoy(1995) p. 44</ref> On the other hand if Ga receives too much emphasis, it would create the impression of raga [[Puriya]]<ref>Bor p. 114</ref>

⚫
The [[Vadi (music)|Vadi]] is komal Re, while the [[Samvadi]] is shuddh Dha. Notice that these do not form a perfect interval. So V.N.Paṭvardhan <ref>Rāg Vijñān, Vol. II, p.1</ref> says "It is customary to give Re and Dha as vādi and saṃvādi, but seen from the point of view of the śāstras (treatises) it is not possible for re and Dha to be saṃvādī (i.e. consonant) to each other. For this reason, in our opinion it is proper to accept Dha as vādī and Ga as saṃvādī" <ref>Jairazbhoy(1995) p. 44</ref> On the other hand if Ga receives too much emphasis, it would create the impression of raga [[Puriya]]<ref>Bor p. 114</ref>


==Pakad or Chalan==
==Pakad or Chalan==
⚫
Sa is omitted within a [[taan]]; it may only be used at the end of a phrase and even then is used infrequently. [[Vishnu Narayan Bhatkhande|Bhatkhande]] gives the [[pakad]] as Dha {{overline|Ma}} Ga {{underline|Re}}, Ga {{overline|Ma}} Ga, {{underline|Re}}, Sa. Patwardan has shown the [[mukhya ang]] as {{underline|Re}} Ga {{overline|Ma}} Dha, Dha {{overline|Ma}} Ga {{underline|Re}}, but points out that the raga is also clearly indicated by: 'Ni {{underline|Re}} Ga {{overline|Ma}} Dha, Dha {{overline|Ma}} Ga {{underline|Re}} 'Ni {{underline|Re}} Sa.<ref>Bagchee p. 318</ref>


The [[Raga|chalan]] given by Ruckert is: 'Ni 'Dha {{underline|Re}} 'Ni 'Dha {{overline|'Ma}} 'Ni 'Dha 'Ni 'Dha Sa {{underline|Re}} Ga {{overline|Ma}} Dha {{overline|Ma}} Ni Dha {{overline|Ma}} Ga {{underline|Re}} Sa 'Ni 'Dha {{underline|Re}} Sa<ref>Bagchee p. 318</ref>
⚫
Sa is omitted within a [[taan]]; it may only be used at the end of a phrase and even then is used infrequently. [[Vishnu Narayan Bhatkhande|Bhatkhande]] gives the [[pakad]] as Dha Mâ Ga re, Ga Mâ Ga, re, Sa. Patwardan has shown the [[mukhya ang]] as re Ga Mâ Dha, Dha Mâ Ga re, but points out that the raga is also clearly indicated by: Ṇi re Ga Mâ Dha, Dha Mâ Ga re Ṇi re Sa.<ref>Bagchee p. 318</ref><br>
The [[Raga|chalan]] given by Ruckert is: Ṇi Ḍha re__ Ṇi Ḍha Ṃâ Ṇi Ḍha Ṇi Ḍha Sa__ re' Ga Mâ Dha__ Mâ Ni Dha Mâ Ga re__ Sa Ṇi Ḍha re Sa__<ref>Bagchee p.318</ref>


== Organization & Relationships ==
== Organisation and relationships ==
⚫
[[Thaat]]: [[Marva (thaat)|Marwa]]<ref>Jairazbhoy (1995)</ref>

⚫
[[Puriya]] and [[Sohni]] have the same tonal material. In Puriya Ni and especially Ga are emphasised.

⚫
Komal re of Marwa is slightly higher than komal re of [[Bhairavi (music)|Bhairavi]]<ref>Mukherji p. 67</ref>

⚫
According to O.Thakur<ref>Moutal p. 77</ref> [[Pūrvā Kalyāṇa]] is Marwa with Pa and less emphasis on komal Re. R. Jha<ref>Vol 1 p. 116</ref>{{Full citation needed|date=October 2024}} treats [[Bhaṭiya]] as a mixture of Marwa and [[Maand]].<ref>Moutal p. 207</ref> There is only one Author (B. Subba Rao) mentioning a raga Māravā Gaurī, thus Moutal does not consider this an own form.<ref>Moutal p. 257</ref> Aspects of Marwa are also incorporated in Mali Gaura<ref>Moutal p. 493</ref>


⚫
[[Thaat]]: Marwa<ref>Jairazbhoy(1995)</ref>). <br>
⚫
[[Puriya]] and [[Sohni]] have the same tonal material. In Puriya Ni and specially Ga are emphasised.<br>
⚫
Komal re of Marwa is slightly higher than komal re of [[Bhairavi (music)|Bhairavi]]<ref>Mukherji p. 67</ref>
<br>
⚫
According to O.Thakur<ref>Moutal p.77</ref> [[Pūrvā Kalyāṇa]] is Marwa with Pa and less emphasis on komal Re. R. Jha<ref>Vol 1 p 116</ref> treats [[Bhaṭiya]] as a mixture of Marwa and [[Maand]].<ref>Moutal p. 207</ref> There is only one Author (B. Subba Rao) mentioning a raga Māravā Gaurī, thus Moutal does not consider this an own form.<ref>Moutal p. 257</ref> Aspects of Marwa are also incorporated in Mali Gaura<ref>Moutal p.493</ref> <br>
For western listeners the tone material may feel strange. As the sixth is emphasised while the tonic is omitted it may feel like playing in A Major, while the base tone is C (not C sharp). If the musician turns back to Sa at the end of a phrase it always comes like a surprise note.
For western listeners the tone material may feel strange. As the sixth is emphasised while the tonic is omitted it may feel like playing in A Major, while the base tone is C (not C sharp). If the musician turns back to Sa at the end of a phrase it always comes like a surprise note.
<br>
Other ragas in thaat Marwa:<ref>Kaufmann p 315ff</ref>
*[[Puriya]]
*[[Sohni]]
*[[Lalit (raga)|Lalit]] (although it is sometimes placed in [[Purvi]] thaat)
*[[Bibhas]] (two other types of Bibhas are placed in [[Bhairav (raga)|Bhairav]] thaat or [[Purvi]] thaat)
*[[Pancham (raga)|Pancham]] (Hindol Pancham)
*[[Maligaura]]
*[[Purba (raga)|Purba]] (Purbya)
*[[Purvakalyan]]
*[[Jait]] (Jayat) (not to be confused with [[Jait Kalyan]]
*[[Varati]]
*[[Bhatiyar]]
*[[Bhankar]]
*[[Lalita Gauri]] (sometimes placed in [[Purvi]] thaat)
*[[Sazgiri]]


== Behaviour ==
== Behaviour ==
Ni is not a leading note to Sa. Because Sa is omitted Ni leads to re or Dha (and then only to Sa), as in "Ḍ Ṇ r S" or "r Ṇ Ḍ S" .<br>
Ni is not a leading note to Sa. Because Sa is omitted Ni leads to re or Dha (and then only to Sa), as in "Ḍ Ṇ r S" or "r Ṇ Ḍ S" .
<!--
<!-- Because Pa is forbidden in Marwa the drone strings of the sitar are tuned in Gha and Ga (even Ga is not an important note, but it is an important harmonic of Sa (and Dha))<ref>Jairazbhoy p.188</ref> -->
Because Pa is forbidden in Marwa the drone strings of the sitar are tuned in Gha and Ga (even Ga is not an important note, but it is an important harmonic of Sa (and Dha))<ref>Jairazbhoy p.188</ref> -->


===Samay (Time)===
===Samay (Time)===
Sunset
Sunset 5:30 p.m.
5:30 pm


===Rasa===
===Rasa===
Bor characterizes Marwa as "heroic".<ref>Bor (1999) p.114</ref> In [[ragamala paintings]] Malav (see history) is often pictured as lovers walking towards the bed-chamber.<br>
Bor characterizes Marwa as "heroic".<ref>Bor (1999) p. 114</ref> In [[ragamala paintings]] Malav (see history) is often pictured as lovers walking towards the bed-chamber.

Marwa is also characterized as quiet, contemplative, representing gentle love. According to Kaufmann<ref>Kaufmann p. 315</ref> is the overall mood defined by the sunset in India, which approaches fast and this "onrushing darkness awakes in many observers a feeling of anxiety and solemn expectation".
Marwa is also characterised as quiet, contemplative, representing gentle love. According to Kaufmann<ref>Kaufmann p. 315</ref> is the overall mood defined by the sunset in India, which approaches fast and this "onrushing darkness awakes in many observers a feeling of anxiety and solemn expectation".
<br>

⚫
[[Puṇḍarika Viṭṭhala]]<ref>see literature</ref> describes as follows:<ref>Kaufmann p.315</ref>" The king at war always worship Maravi, whose face shines like the moon and who has long tresses of hair. With moist eyes, faintly smiling, she is adorned skillfully with sweet smelling flowers of different varieties. Her complexion gleams like gold; she is attired in red and her eyes are like those of a fawn. She is the elder sister of [[Mewar]]. In Marwa Ni and Ga are sharp, Sa is the [[graha]] and amsa and Ri and Dha are the [[nyasa (music)|nyasa]]".
[[Puṇḍarika Viṭṭhala]] (16th century) describes as follows:<ref>Kaufmann p.315</ref>

⚫
{{Blockquote|The king at war always worship Maravi, whose face shines like the moon and who has long tresses of hair. With moist eyes, faintly smiling, she is adorned skillfully with sweet smelling flowers of different varieties. Her complexion gleams like gold; she is attired in red and her eyes are like those of a fawn. She is the elder sister of [[Mewar]].

In Marwa Ni and Ga are sharp, Sa is the [[graha]] and amsa and Ri and Dha are the [[nyasa (music)|nyasa]].}}


==Historical Information==
==Historical information==
Marwa's forerunners (Maru or Maruva) have different scales in the literature from the 16th century onwards. Pratap Singh (end of 18th century) writes that Marwa is the same as the ancient Mālavā, and its melodic outline is very similar to today's Marwa <ref>Bor (1999)p.114</ref> Also Jairazbhoy reports that [[Locana]]'s [[Mālavā]] "may be the origin of modern Mārvā" <ref>Jairazbhoy p.94</ref>
Marwa's forerunners (Maru or Maruva) have different scales in the literature from the 16th century onwards. Pratap Singh (end of 18th century) writes that Marwa is the same as the ancient Mālavā, and its melodic outline is very similar to today's Marwa<ref>Bor (1999) p. 114</ref> Also Jairazbhoy reports that [[Locana]]'s [[Mālavā]] "may be the origin of modern Mārvā"<ref>Jairazbhoy p.94</ref>


===Important Recordings===
===Important recordings===
* [[Amir Khan (singer)|Amir Khan]], Ragas Marwa and Darbari, [[Odeon Records|Odeon]] [[LP record|LP (long-playing record)]], ODEON-MOAE 103, later reissued by [[HMV]] as EMI-EALP1253. This recording redefined Marwa by moving the primary development down to the lower octave compared to the traditionally middle octave.
* [[Amir Khan (singer)|Amir Khan]], Ragas Marwa and Darbari, [[Odeon Records|Odeon]] [[LP record|LP (long-playing record)]], ODEON-MOAE 103, later reissued by [[HMV]] as EMI-EALP1253. This recording redefined Marwa by moving the primary development down to the lower octave compared to the traditionally middle octave.
* [[Ravi Shankar]], "Ravi Shankar in New York", Angel Records (July 18, 2000). ASIN: B00004U92S. Original Recording 1968.
* [[Ravi Shankar]], "[[In New York (Ravi Shankar album)|In New York]]", Angel Records (July 18, 2000). ASIN: B00004U92S. Original Recording 1968.
* [[Imrat Khan]], "Raga Marwa", [[Nimbus Records]] (1992), NI 5356 (recorded July 10, 1990)
* [[Imrat Khan]], "Raga Marwa", [[Nimbus Records]] (1992), NI 5356 (recorded July 10, 1990)
* [[Ali Akbar Khan]], "Raag Marwa" [[Connoisseur Society US]] (1968)
* [[Ali Akbar Khan]], "Raag Marwa" [[Connoisseur Society US]] (1968)
*[[Ustad Rashid Khan]], "Raag Marwa" [[Masterworks from the NCPA archives]] (Aug 1984)
* “Friends” by Led Zeppelin


== References ==
== Citations ==
{{reflist}}
{{Reflist|15em}}


== General and cited references ==
⚫
== External links ==
⚫
*[http://www.parrikar.org/hindustani/marwa/ Detailed analysis of Raga Marwa and associated ragas by Rajan Parrikar; backed by audio samples.]

== Literature ==
*{{Citation
*{{Citation
| last=Bagchee
| last=Bagchee
Line 84: Line 91:
| publisher=Eshwar (Business Publication Inc.)
| publisher=Eshwar (Business Publication Inc.)
| place=Mumbai
| place=Mumbai
| year=1998
| year=1998
| ISBN=81-86982-07-8
| ISBN=81-86982-07-8
}}
}}
Line 95: Line 102:
|year=c. 1997
|year=c. 1997
|url=http://www.wyastone.co.uk/nrl/world/5536a.html
|url=http://www.wyastone.co.uk/nrl/world/5536a.html
|deadurl=yes
|url-status=dead
|archiveurl=https://web.archive.org/web/20090715224806/http://www.wyastone.co.uk/nrl/world/5536a.html
|archiveurl=https://web.archive.org/web/20090715224806/http://www.wyastone.co.uk/nrl/world/5536a.html
|archivedate=2009-07-15
|archivedate=2009-07-15
|df=
}}
}}
*{{Citation
*{{Citation
Line 110: Line 116:
*{{Citation
*{{Citation
| last=[[Nazir Jairazbhoy|Jairazbhoy]]
| last=[[Nazir Jairazbhoy|Jairazbhoy]]
| first=N.A.
| first=N. A.
| title=The Rags of North Indian Music: Their Structure & Evolution
| title=The Rags of North Indian Music: Their Structure & Evolution
⚫
| publisher=Popular Prakashan
| place=Bombay
| place=Bombay
⚫
| publisher=Popular Prakashan
| year=1995
| year=1995
}}
}}
Line 119: Line 125:
| last=Jha
| last=Jha
| first=Ramashraya
| first=Ramashraya
| title=Ābhinava Gītānjali (2 vols)
| title=Ābhinava Gītānjali
| type=2 vols.
| publisher=Sangeet Sadan Prakashan
| publisher=Sangeet Sadan Prakashan
| place=Allahabad
| place=Allahabad
Line 144: Line 151:
| last=Mukherji
| last=Mukherji
| first=Kumar Prasad
| first=Kumar Prasad
| title=The Lost World Of Hindustani Music
| title=The Lost World of Hindustani Music
| publisher=Penguin India
| publisher=Penguin India
| place=New Dheli
| place=New Dheli
Line 155: Line 162:
| title=Rāga-Mālā
| title=Rāga-Mālā
| year=1576
| year=1576
| publisher=(Bhandarkar Oriental Institute, Poona MS No. 1062)
| publisher=Bhandarkar Oriental Institute
| id = Poona MS No. 1062
}}
}}

⚫
== External links ==
⚫
* [http://www.parrikar.org/hindustani/marwa/ Detailed analysis of Raga Marwa and associated ragas by Rajan Parrikar; backed by audio samples.]
* [https://oceanofragas.com/ocean_HtmlPages/marwa.html More details about raga Marwa]


{{Hindustani Classical Music page end}}
{{Hindustani Classical Music page end}}
{{Rāgas as per Performance Time}}
{{Authority control}}


[[Category:Hindustani ragas]]
[[Category:Hindustani ragas]]

Latest revision as of 00:49, 28 October 2024

For the thaat of the same name, see Marva (thaat).
Marva (raga)
ThaatMarva
Time of daySunset
Arohana'Ni Re Ga Ma Dha Ni Re' S'
AvarohanaRe' Ni Dha Ma Ga Re 'Ni 'Dha Sa
EquivalentMalavi, Maru
Hindustani classical music
Concepts
Genres
Thaats

Marva or Marwa (IAST: Mārvā) portrays being with one's lover and is often portrayed in Ragamala paintings as two couples kissing. It is a hexatonic Indian raga; Pa (the fifth tone) is omitted. Marva is the eponymous raga of the Marva thaat.

Aroha and Avaroha

[edit]

Arohana: 'Ni Re Ga Ma Dha Ni Re' S'

Keeping the key in C, in the Western scale this would roughly translate to: B D♭ E F♯ A B D♭ C

Avarohana: Re' Ni Dha Ma Ga Re 'Ni 'Dha Sa

The Ma is actually Ma Tivratara, which is a perfect fourth above Re komal (which is 112 cents above Sa)[1])

Vadi and Samvadi

[edit]

The Vadi is komal Re, while the Samvadi is shuddh Dha. Notice that these do not form a perfect interval. So V.N.Paṭvardhan[2] says "It is customary to give Re and Dha as vādi and saṃvādi, but seen from the point of view of the śāstras (treatises) it is not possible for re and Dha to be saṃvādī (i.e. consonant) to each other. For this reason, in our opinion it is proper to accept Dha as vādī and Ga as saṃvādī"[3] On the other hand if Ga receives too much emphasis, it would create the impression of raga Puriya[4]

Pakad or Chalan

[edit]

Sa is omitted within a taan; it may only be used at the end of a phrase and even then is used infrequently. Bhatkhande gives the pakad as Dha Ma Ga Re, Ga Ma Ga, Re, Sa. Patwardan has shown the mukhya ang as Re Ga Ma Dha, Dha Ma Ga Re, but points out that the raga is also clearly indicated by: 'Ni Re Ga Ma Dha, Dha Ma Ga Re 'Ni Re Sa.[5]

The chalan given by Ruckert is: 'Ni 'Dha Re 'Ni 'Dha 'Ma 'Ni 'Dha 'Ni 'Dha Sa Re Ga Ma Dha Ma Ni Dha Ma Ga Re Sa 'Ni 'Dha Re Sa[6]

Organisation and relationships

[edit]

Thaat: Marwa[7]

Puriya and Sohni have the same tonal material. In Puriya Ni and especially Ga are emphasised.

Komal re of Marwa is slightly higher than komal re of Bhairavi[8]

According to O.Thakur[9] Pūrvā Kalyāṇa is Marwa with Pa and less emphasis on komal Re. R. Jha[10][full citation needed] treats Bhaṭiya as a mixture of Marwa and Maand.[11] There is only one Author (B. Subba Rao) mentioning a raga Māravā Gaurī, thus Moutal does not consider this an own form.[12] Aspects of Marwa are also incorporated in Mali Gaura[13]

For western listeners the tone material may feel strange. As the sixth is emphasised while the tonic is omitted it may feel like playing in A Major, while the base tone is C (not C sharp). If the musician turns back to Sa at the end of a phrase it always comes like a surprise note.

Behaviour

[edit]

Ni is not a leading note to Sa. Because Sa is omitted Ni leads to re or Dha (and then only to Sa), as in "Ḍ Ṇ r S" or "r Ṇ Ḍ S" .

Samay (Time)

[edit]

Sunset 5:30 p.m.

Rasa

[edit]

Bor characterizes Marwa as "heroic".[14] In ragamala paintings Malav (see history) is often pictured as lovers walking towards the bed-chamber.

Marwa is also characterised as quiet, contemplative, representing gentle love. According to Kaufmann[15] is the overall mood defined by the sunset in India, which approaches fast and this "onrushing darkness awakes in many observers a feeling of anxiety and solemn expectation".

Puṇḍarika Viṭṭhala (16th century) describes as follows:[16]

The king at war always worship Maravi, whose face shines like the moon and who has long tresses of hair. With moist eyes, faintly smiling, she is adorned skillfully with sweet smelling flowers of different varieties. Her complexion gleams like gold; she is attired in red and her eyes are like those of a fawn. She is the elder sister of Mewar. In Marwa Ni and Ga are sharp, Sa is the graha and amsa and Ri and Dha are the nyasa.

Historical information

[edit]

Marwa's forerunners (Maru or Maruva) have different scales in the literature from the 16th century onwards. Pratap Singh (end of 18th century) writes that Marwa is the same as the ancient Mālavā, and its melodic outline is very similar to today's Marwa[17] Also Jairazbhoy reports that Locana's Mālavā "may be the origin of modern Mārvā"[18]

Important recordings

[edit]

Citations

[edit]
  1. ^ Gosvami (1957) p. 236 f.
  2. ^ Rāg Vijñān, Vol. II, p.1
  3. ^ Jairazbhoy(1995) p. 44
  4. ^ Bor p. 114
  5. ^ Bagchee p. 318
  6. ^ Bagchee p. 318
  7. ^ Jairazbhoy (1995)
  8. ^ Mukherji p. 67
  9. ^ Moutal p. 77
  10. ^ Vol 1 p. 116
  11. ^ Moutal p. 207
  12. ^ Moutal p. 257
  13. ^ Moutal p. 493
  14. ^ Bor (1999) p. 114
  15. ^ Kaufmann p. 315
  16. ^ Kaufmann p.315
  17. ^ Bor (1999) p. 114
  18. ^ Jairazbhoy p.94

General and cited references

[edit]
  • Bagchee, Sandeep (1998), Nād, Understanding Rāga Music, Mumbai: Eshwar (Business Publication Inc.), ISBN 81-86982-07-8
  • Bor, Joep (c. 1997), The Raga Guide, Charlottesville, Virginia: Nimbus Records, archived from the original on 2009-07-15
  • Gosvami, O. (1957), The Story Of Indian Music, Bombay: Asia Publishing House
  • Jairazbhoy, N. A. (1995), The Rags of North Indian Music: Their Structure & Evolution, Bombay: Popular Prakashan
  • Jha, Ramashraya (1968–78), Ābhinava Gītānjali (2 vols.), Allahabad: Sangeet Sadan Prakashan
  • Kaufmann, Walter (1968), The Ragas of North India, Calcutta: Oxford & IBH Publishing
  • Moutal, Patrick (1991), A Comparative Study of Selected Hindustāni Rāga-s, New Dheli: Munshiram Manoharlal Publishers Pvt Ltd, ISBN 81-215-0526-7
  • Mukherji, Kumar Prasad (2006), The Lost World of Hindustani Music, New Dheli: Penguin India, ISBN 0-14-306199-2
  • Viṭṭhala, Puṇḍarika (1576), Rāga-Mālā, Bhandarkar Oriental Institute, Poona MS No. 1062
[edit]
Retrieved from "https://en.wikipedia.org/enwiki/w/index.php?title=Marva_(raga)&oldid=1253809413"