 ascending and descending lines.A thāt has no emotional quality (which ragas, by definition, do have).Thāt and time of performance[සංස්කරණය]Ragas are normally ascribed to certain periods of the day and night (See Samay). Narada's Sangita-Makaranda, written sometime between 7th and 11th century, gives warnings to musicians against playing ragas at the incorrect time of day.  Traditionally, disastrous consequences are to be expected.[5] Bhatkhande stated that the correct time to play a raga had a relation to its thāt (and to its vadi).මූලාශ්‍ර[සංස්කරණය]↑ Vishnu Narayan Bhatkhande (1909–1932). Hindustani Sangeet Paddhati. Sangeet Karyalaya (1990 reprint). ISBN 8185057354.{{cite book}}:  CS1 maint: date format (link)This is the four-volume work in which Bhatkhande, after thorough analysis, makes the case for the ten thāts. Originally written in Marathi, it has been widely translated.↑ Vishnu Narayan Bhatkhande (1974). A Short Historical Survey of the Music of Upper India. Indian