The Raga which is sung early in the morning is

1. Introduction to Hindustani vs. Carnatic Music (basic)

Indian classical music is a magnificent tree with two primary branches: Hindustani (North Indian) and Carnatic (South Indian). While both systems trace their spiritual and technical roots back to the ancient Vedas and the Natyashastra, they began to diverge significantly around the 12th to 14th centuries. The primary cause for this split was the wave of syncretism in North India, where traditional Indian music blended with Persian and Arabic influences brought by the Sufis and the Delhi Sultanate History , class XI (Tamilnadu state board 2024 ed.), Advent of Arabs and Turks, p.152. In contrast, the Carnatic tradition in South India remained relatively shielded from these external influences, preserving more of the indigenous structural forms.

In the North, figures like Amir Khusrau played a pivotal role by introducing new vocal forms like the qaul (the basis of Qawwali) and adapting instruments like the Sitar and Tabla THEMES IN INDIAN HISTORY PART II, History CLASS XII (NCERT 2025 ed.), Bhakti-Sufi Traditions, p.158. This tradition reached its zenith in the Mughal courts, particularly under Akbar, who patronized the legendary Tansen History , class XI (Tamilnadu state board 2024 ed.), The Mughal Empire, p.218. Meanwhile, Carnatic music flourished under Southern dynasties and Maratha rulers like Serfoji II of Thanjavur, who notably introduced Western instruments like the violin and clarinet into the traditional ensemble, making them permanent fixtures of the South Indian sound History , class XI (Tamilnadu state board 2024 ed.), The Marathas, p.239.

Feature	Hindustani Music	Carnatic Music
Geographical Reach	North India, Pakistan, Bangladesh.	South India (TN, AP, Telangana, Karnataka, Kerala).
Main Influence	Syncretic (Indian, Persian, Arabic).	Indigenous/Traditional Indian.
Focus	Emphasis on Raga (melody) and improvisation.	Emphasis on Kriti (fixed compositions).
Raga-Time Theory	Strictly follows specific times of day for ragas.	Less emphasis on specific time-slots for performance.

Sources: History , class XI (Tamilnadu state board 2024 ed.), Advent of Arabs and Turks, p.152; THEMES IN INDIAN HISTORY PART II, History CLASS XII (NCERT 2025 ed.), Bhakti-Sufi Traditions, p.158; History , class XI (Tamilnadu state board 2024 ed.), The Mughal Empire, p.218; History , class XI (Tamilnadu state board 2024 ed.), The Marathas, p.239

2. Fundamental Elements: Swara, Thaat, and Tala (basic)

To understand the soul of Indian classical music, we must look at its three structural pillars: Swara (melody), Thaat (classification), and Tala (rhythm). These elements provide the grammar that allows musicians to improvise while staying within a disciplined framework. As Amir Khusrau famously proclaimed, Indian music possesses a pre-eminence over all other music in the world, a sentiment rooted in the mathematical and spiritual depth of these very elements History, class XI (Tamilnadu state board 2024 ed.), Advent of Arabs and Turks, p.152.

Swara refers to a musical note. There are seven basic notes—Sa, Re, Ga, Ma, Pa, Dha, Ni—which are akin to the seven colors of a rainbow. While these are the building blocks, it is the Thaat that organizes them. In the Hindustani (North Indian) tradition, a Thaat is a parent scale or a framework. Unlike a Raga, which is a melodic composition meant to evoke emotion, a Thaat is merely a classification system of seven notes used to group different ragas. This systematic approach to music was so profound that even during periods of political transition, such as the reign of Aurangzeb, a vast number of authoritative books were written to document these traditions History, class XI (Tamilnadu state board 2024 ed.), The Mughal Empire, p.218.

While Swara and Thaat govern melody, Tala governs time. It is a rhythmic cycle that keeps the music bound to a specific pace. Each Tala has a set number of beats (matras) and is divided into sections (vibhags). In the South, modern Carnatic music took shape under the patronage of rulers like Serfoji II of Thanjavur, where the precision of Tala and the structure of ragas reached new heights of complexity Exploring Society: India and Beyond, Social Science, Class VIII, The Rise of the Marathas, p.80. Together, these elements allow a performer to explore infinite creative possibilities within a structured tradition.

Sources: History, class XI (Tamilnadu state board 2024 ed.), Advent of Arabs and Turks, p.152; History, class XI (Tamilnadu state board 2024 ed.), The Mughal Empire, p.218; Exploring Society: India and Beyond, Social Science, Class VIII, The Rise of the Marathas, p.80

3. Styles of Singing: Dhrupad and Khayal (intermediate)

In the evolution of Hindustani (North Indian) classical music, two major vocal styles dominate the landscape: Dhrupad and Khayal. To understand them, think of Dhrupad as the ancient, majestic architecture of a temple, and Khayal as the intricate, fluid patterns of a Mughal garden.

Dhrupad is the oldest surviving vocal style. It is characterized by its austere and spiritual nature, traditionally performed to the accompaniment of the Pakhawaj (a barrel-shaped drum). Its structure is rigid, focusing on the purity of the notes (Svaras) rather than complex ornamentation. A Dhrupad performance begins with a long, wordless Alap, which is a slow, meditative exploration of the Raga. Historically, this style flourished in the royal courts, where musicians were often patronized by rulers who sought the meditative power of music Themes in Indian History Part II, Through the Eyes of Travellers, p.128.

Khayal, which literally means 'imagination' or 'fancy,' emerged later as a more flexible and romantic alternative. It is attributed to the creative genius of Amir Khusrau and later refined in the Mughal courts. Khusrau is credited with introducing various forms like the qaul, which enriched the musical vocabulary of the subcontinent Themes in Indian History Part II, Bhakti-Sufi Traditions, p.158. Unlike the rigid Dhrupad, Khayal allows for Taans (fast melodic passages) and Harkats (ornamentations), giving the singer immense freedom to improvise. It is usually accompanied by the Tabla instead of the Pakhawaj.

Feature	Dhrupad	Khayal
Nature	Serious, austere, and meditative.	Lyrical, decorative, and imaginative.
Percussion	Pakhawaj (Heavy, deep sound).	Tabla (Crisp, versatile sound).
Structure	Rigid; follows four parts (Sthayi, Antara, Sanchari, Abhoga).	Flexible; two parts (Bada Khayal and Chhota Khayal).
Ornamentation	Minimal; emphasizes glides (Meend).	Extensive; uses fast melodic runs (Taans).

Sources: Themes in Indian History Part II, Through the Eyes of Travellers, p.128; Themes in Indian History Part II, Bhakti-Sufi Traditions, p.158

4. Classification of Indian Musical Instruments (basic)

In Indian classical music, instruments are not just tools for sound but are considered extensions of the human voice. To study them systematically, we use a classification system that dates back nearly 2,000 years to Bharata Muni’s Natya Shastra. This ancient four-fold classification is so logically sound that it forms the basis of modern musicology worldwide. The instruments are categorized based on how they produce sound: whether through a vibrating string, a column of air, a stretched skin, or the vibration of the instrument's solid body itself. Historically, these instruments have evolved through various eras. For instance, the Vedic period saw the use of the lute (string), flute (wind), and drum (percussion) History, class XI (Tamilnadu state board 2024 ed.), Early India: The Chalcolithic, Megalithic, Iron Age and Vedic Cultures, p.31. Later, during the Medieval period, the arrival of Persian and Central Asian influences introduced iconic instruments like the Rabab and Sarangi History, class XI (Tamilnadu state board 2024 ed.), Advent of Arabs and Turks, p.152, which enriched the existing Indian repertoire. This synthesis of indigenous and foreign elements is a hallmark of the syncretic nature of Indian music.

The four traditional categories are summarized in the table below:

Category (Sanskrit Name)	Scientific Type	Description & Examples
Tata Vadya	Chordophones	Stringed instruments where sound is produced by plucking or bowing. Examples: Veena, Sitar, Sarangi, Rabab.
Sushira Vadya	Aerophones	Wind instruments where sound is produced by a column of air. Examples: Bansuri (Flute), Shehnai, Shankh (Conch).
Avanaddha Vadya	Membranophones	Percussion instruments where a stretched skin or membrane is struck. Examples: Tabla, Mridangam, Dholak.
Ghana Vadya	Idiophones	Solid instruments that do not require tuning and produce sound through the vibration of their own body. Examples: Manjira (Cymbals), Ghatam (Clay pot), Khartal.

Sources: History, class XI (Tamilnadu state board 2024 ed.), Early India: The Chalcolithic, Megalithic, Iron Age and Vedic Cultures, p.31; History, class XI (Tamilnadu state board 2024 ed.), Advent of Arabs and Turks, p.152

5. Major Gharanas of Hindustani Music (intermediate)

In Hindustani Classical Music, the term Gharana (derived from the Hindi word 'Ghar' or house) refers to a system of social organization linking musicians or dancers by lineage or apprenticeship, and more importantly, by a distinct musical style. This tradition grew under the Guru-Shishya Parampara, where students lived with their masters to absorb specific nuances of melody, rhythm, and composition. The emergence of Gharanas is closely linked to the transition from the rigid Dhrupad style to the more lyrical Khayal style, often flourishing under the patronage of royal courts. For instance, the Mughal Emperor Akbar was a legendary patron, famously hosting Tansen of Gwalior History, class XI (Tamilnadu state board 2024 ed.), The Mughal Empire, p.218, which helped cement the Gwalior tradition as one of the most foundational in India. Each Gharana has a unique 'signature' in how it treats a Raga. The Gwalior Gharana is considered the 'mother' of all Khayal Gharanas; it is known for its simplicity, lucidity, and use of straight taans (melodic runs). In contrast, the Kirana Gharana, founded by Abdul Karim Khan, prioritizes the emotional quality of Swara (notes) and slow-paced Alaps over rhythmic play. Other prominent schools include the Agra Gharana, which retains a strong Dhrupad influence with its powerful 'Nom-Tom' Alap, and the Jaipur-Atrauli Gharana, known for its complex, intricate compositions and mastery over rare Ragas.

Gharana	Key Characteristics	Notable Figures
Gwalior	Oldest tradition; focuses on clarity and structure.	Vishnu Digambar Paluskar
Kirana	Melody-centric; emphasis on individual notes.	Bhimsen Joshi, Gangubai Hangal
Agra	Deeply rhythmic; uses forceful, open-throated singing.	Faiyaz Khan (Aftab-e-Mausiqi)
Patiala	Famous for intricate 'taans' and ornamentation.	Bade Ghulam Ali Khan

Modern Hindustani music is a beautiful synthesis of these schools, though most performers today are 'multi-gharanedar,' having studied styles from various lineages. Despite this blending, understanding a performer's Gharana remains essential to appreciating the specific 'grammar' they apply to a performance.

Sources: History, class XI (Tamilnadu state board 2024 ed.), The Mughal Empire, p.218

6. The Concept of Raga and Samay (Time) Theory (exam-level)

In the world of Indian classical music, a Raga is more than just a melody; it is a living entity with a distinct personality. One of the most unique features of Hindustani classical music is the Samay (Time) Theory. This theory suggests that every raga is at its most potent and aesthetically pleasing when performed during a specific time of the day or night. This connection stems from a deep-rooted belief that human emotions and natural cycles (the movement of the sun and moon) are profoundly intertwined. As noted in historical records, the appreciation of music and its instruments, like the lute and flute, dates back to the Late Vedic culture, reflecting a long-standing tradition of integrating art into the rhythm of daily life History, class XI (Tamilnadu state board 2024 ed.), Early India: The Chalcolithic, Megalithic, Iron Age and Vedic Cultures, p.31.

The 24-hour cycle is divided into eight periods called Prahars, each lasting roughly three hours. Ragas are classified based on these time slots. For instance, some ragas are meant for the Sandhiprakash (twilight) hours—the transition periods of dawn and dusk—while others are strictly for the dead of night or the heat of the afternoon. A morning raga like Todi is characterized by a meditative, serene quality that matches the quiet awakening of the day. In contrast, a late-night raga like Darbari Kanada carries a majestic, heavy, and contemplative mood suited for the stillness of the night.

The imagery of the heavens also plays a significant role in this classification. For example, certain ragas like Chandrakauns and Chandranandan are explicitly linked to the moon and its cooling, silvery light, often performed at night to evoke the moon's imagery and melodic expression Science, Class VIII NCERT, Keeping Time with the Skies, p.184. This alignment isn't just about tradition; it's about Resonance. Musicians believe that performing a raga at its appointed time creates a harmony between the performer, the listener, and the universe itself.

Time Category	Examples of Ragas	Mood/Atmosphere
Morning (Early)	Todi, Ahir Bhairav	Meditative, Devotional, Fresh
Afternoon	Bhimpalasi, Sarang	Deep, Resonant, Sometimes intense
Evening/Dusk	Marwa, Puriya, Yaman	Restless (Twilight) or Calm (Early night)
Night	Bageshri, Chandrakauns	Romantic, Contemplative, Peaceful

Sources: History, class XI (Tamilnadu state board 2024 ed.), Early India: The Chalcolithic, Megalithic, Iron Age and Vedic Cultures, p.31; Science, Class VIII NCERT, Keeping Time with the Skies, p.184

7. Solving the Original PYQ (exam-level)

Now that you have mastered the Raga-Samay Theory (Time Theory) and the classification of ragas based on the eight Prahars of the day, this question serves as a direct application of those building blocks. In Hindustani Classical Music, the placement of a raga within a specific time slot is often determined by its Swaras (notes). You have learned that ragas featuring Komal (flat) Rishabh and Dhaivat are frequently associated with the transition periods of dawn and dusk; Todi is the primary example of this, specifically belonging to the morning hours when the meditative and prayerful mood of the music mirrors the quiet energy of the sunrise.

To arrive at the correct answer, you must evaluate the emotional temperament and traditional performance window of each option. (A) Todi (often called Miyan ki Todi) is the quintessential morning raga, renowned for its deeply meditative and somber character. As noted in Study of Indian Classical Ragas, authoritative summaries consistently place Todi in the morning slot. By identifying its specific tonal structure, you can differentiate it from other melodies that might sound similarly classical but belong to entirely different atmospheric windows.

UPSC frequently uses "trap" options by listing highly popular ragas that students may recognize but confuse in terms of timing. For instance, Darbari is a majestic raga intended for late night, while Bhopali is performed in the early evening (the first prahar of the night). Bhimpalasi, on the other hand, is a melody for the late afternoon. The challenge is to move beyond general familiarity and precisely link the raga to its assigned Prahar. Therefore, because Todi is the only one in the list traditionally rendered as the day begins, (A) Todi is the correct choice.