The Time Theory of Ragas: A Confluence of Sound, Science, and Sentiment

Indian classical music is one of the most intricate and spiritually rich musical traditions in the world. Unlike many global music systems, where scales or modes exist independently of context, Hindustani classical music embeds its melodic forms — ragas — within the tapestry of time, season, and emotion. Central to this is the remarkable concept of Samay Siddhant, or the Time Theory of Ragas.

This ancient doctrine proposes that each raga should be performed or heard at a specific time of day to achieve its full expressive and emotional potential. Far from being arbitrary, this tradition is rooted in centuries of observation, psychological insight, and metaphysical understanding — and increasingly, validated by modern science.

1. Ragas: More Than Just Musical Scales

A raga (literally "that which colours the mind") is a complex musical entity — a melodic framework that includes:

A specific selection of notes (swaras)
Ascending and descending movements (aaroh–avroh)
Emphatic notes (vadi and samvadi)
Ornamentations (gamak, meend, kan)
Signature phrases (pakad)
But most importantly, each raga evokes a rasa — an aesthetic emotion or mood.

Indian music is fundamentally emotional and devotional, and ragas are designed to mirror and stir the listener's internal states. It is in this light that the time of performance becomes crucial — as human emotions and psychological states change throughout the day, so too must the musical moods that resonate with them.

2. Mapping the Day: The Eight Prahars and the Raga Cycle

The 24-hour day in the Indian system is divided into eight prahars, each lasting three hours:

First Prahar (3 AM – 6 AM): Pre-dawn — spiritual, meditative
Second Prahar (6 AM – 9 AM): Morning — fresh, alert, devotional
Third Prahar (9 AM – 12 PM): Late morning — calm, intellectual
Fourth Prahar (12 PM – 3 PM): Early afternoon — contemplative, mellow
Fifth Prahar (3 PM – 6 PM): Late afternoon — nostalgic, romantic
Sixth Prahar (6 PM – 9 PM): Early night — devotional, romantic
Seventh Prahar (9 PM – 12 AM): Late night — introspective, peaceful
Eighth Prahar (12 AM – 3 AM): Midnight to pre-dawn — mystical, inward-looking

Example Ragas for Each Prahar:

3–6 AM: Raga Bhairav, Raga Todi – introspective, serious
6–9 AM: Raga Ahir Bhairav – devotional and gentle
9–12 PM: Raga Deskar – energetic and bright
12–3 PM: Raga Sarang – soothing, languid
3–6 PM: Raga Patdeep – romantic yet tinged with melancholy
6–9 PM: Raga Yaman – romantic, yearning
9–12 AM: Raga Bageshree – deep, tranquil
12–3 AM: Raga Malkauns – meditative, majestic, mysterious

3. Scientific and Physiological Basis

Modern neuroscience, chronobiology, and psychology offer strikingly coherent explanations for the time-raga alignment.

A. Circadian Rhythms and Music

Our body follows a 24-hour internal biological clock called the circadian rhythm, regulated primarily by exposure to light and darkness. This rhythm affects:

Hormone levels (melatonin, cortisol)
Alertness and focus
Body temperature
Mood and emotional receptivity

As these physiological states fluctuate, so does the way we respond to sound and emotion. Indian classical music’s raga system instinctively aligns with these variations.

B. Impact on Brainwaves

Morning ragas typically employ komal (flat) notes, evoking introspection and aiding in transitioning from sleep to wakefulness. They encourage alpha brainwaves, associated with relaxation and alertness.
Afternoon ragas, often balancing both flat and sharp notes, align with beta waves, stimulating cognition and attention.
Evening ragas, especially those like Yaman with sharp notes (like tivra Ma), increase emotional sensitivity and dopamine release — ideal for romantic or devotional listening.
Late-night ragas, like Malkauns, promote theta and delta brainwaves, aiding in deep relaxation and meditative states.

C. Neurochemistry of Music

Listening to or singing specific ragas has been linked to the release of neurotransmitters such as:

Dopamine (pleasure and motivation)
Serotonin (mood regulation)
Oxytocin (social bonding, devotion)
Endorphins (natural painkillers)

The hormonal profile changes across the day, and ragas can either complement or regulate these shifts — enhancing emotional balance.

4. Aesthetic and Philosophical Dimensions

The Time Theory is also a manifestation of the Indian worldview where time (kala), sound (naad), and consciousness (chitta) are interlinked. Each raga, in its ideal time slot, is said to awaken specific chakras (energy centers) and samskaras (mental impressions), thus acting as both a mirror and a cleanser of the inner self.

The Sufi and Bhakti Connect

Morning ragas often invoke devotion (bhakti) and surrender, evening ragas stir longing (viraha) — reflecting the spiritual yearning to unite with the divine, a theme shared by Bhakti saints and Sufi poets alike.

The Guru–Shishya Tradition

In oral musical pedagogy, students were often taught ragas based on the time of day to enhance internalization. The idea wasn’t just technical; it was deeply experiential — the student was expected to feel the raga within the ecosystem of its natural time.

5. Practical Relevance in the Modern Era

In today’s age of streaming and shuffled playlists, this tradition may seem quaint. But many musicians and therapists advocate a return to time-aligned listening — not for orthodoxy, but for optimized emotional wellness.

Applications:

Music Therapy: Clinical studies using ragas like Darbari Kanada or Bageshree have shown reductions in anxiety and insomnia.
Education: Schools introducing time-based raga listening report better focus and discipline.
Spiritual Practice: Morning meditations with Ahir Bhairav or Bhatiyar enhance mental clarity and devotion.

Moreover, elite musicians like Pt. Bhimsen Joshi, Kishori Amonkar, and Ustad Vilayat Khan have emphasized that performing ragas outside their prescribed time often compromises their rasa and impact.

6. Conclusion: Harmony with Nature, Harmony Within

The Time Theory of Ragas is not merely a cultural artifact. It is a sublime fusion of:

Sound and silence
Science and intuition
Emotion and intellect
Body and soul

By aligning musical expressions with the natural cycle of the day, this tradition becomes more than music — it becomes sadhana, a disciplined spiritual practice. It teaches us that time is not just a container for activity but a canvas for consciousness, and ragas are the brushes with which we paint our inner landscapes.

“When you sing the right raga at the right hour, you’re not just making music — you are synchronizing with the universe.”
— A principle that has guided generations of Indian musicians and that still holds potent meaning in our quest for balance, beauty, and well-being.

by Suyash Gupta