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by Dr Pabitrapran Goswami,

We find altogether 36 ragas attached to the Bargits and the Ankar gits: Ahir, Asowari, Barari, Basanta, Belowar, Bhatiyali, Bhupali, Dhanasri, Gandhar, Gauri, Kalyan, Kamod, Kanara, Kau, Kau-Kalyan-Sindhura, Kedar, Karunyakedar, Lalit, Mahur or Maur, Mahur-Dhanasri, Mallar, Nat, Nat-Mallar, Purbi, Saranga, Sindhura, Sri, Sri-Gandhar, Sri-Gauri, Sripayar, Suhai, Syam, Syamgera, Tur, Tur-Basanta and Tur-Bhatiyali. Out of these some are unitary in character and some others are of mixed or compound nature, involving the fusion of two or more ragas. ... more

by Dr Pabitrapran Goswami

Prabandha Gana:

        Dhrupadaand Kirttana or Kriti are the earliest forms of music extant today in the Hindusthani and the Karnatik systems. The Prabandha Gana evidently represented a stage in the evolution of Indian music prior to that of Dhrupada and Kirttana, a stage till which perhaps the ragas and the talas enjoyed uniformity in almost all parts of India.   sarngadeva, the 13th century scholar cum musician, in his encyclopaedic work Sangita Ratnakara, speaks of three chief types of Prabandha, viz., Suda, Ali and Biprakirna and of two chief sub-divisions of Suda-Prabandha : suddha-suda and Salaga-suda. ... more