Abstract

The concept of raga in Hindustani classical music is a complex phenomenon not least of all because it is simultaneously an inventory of melodic elements, a performative process, and an aesthetic outcome. These different dimensions to raga pose challenges to systematised ways of accounting for how it works in performance. Symbolic modes of thought in the tradition have long taken recourse to analogies to attempt to portray the gestalt of raga and also provide alternate modes of pedagogical knowledge and aesthetic sensibility for engaging with raga. Building on the long-held predilections between music, food, and cooking in Hindustani music, this essay provides another vantage point from which to consider raga and also the significance of rasa in the performance of raga.