In Hindustani musicology, various authors have expressed divergent opinions within these studies. Often, these perspectives don't align with current musical practices. However, delving into historical awareness related to Indian musicology is valuable. For instance, the Rāga and Rāginī described in classical texts, despite sharing the same names, may appear distinct. In contemporary times, the major diatonic scale, also known as Bilavāla, has become the primary or natural scale, marking a shift from the original representation in the Śāstra, where it corresponded to the Kāfī scale, owing to a desire for cultural homogenization.

Yet, there persists an inclination to reference contemporary Rāgas based on past writings. Hence, it is advisable to list the Rāgas while considering the family of Rāga and Rāginī, including 'sons and daughters-in-law.'

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Four Matas or opinions of the sages are recognized:

• Brahmā

• Bharata

• Hanumanta

• Kallinātha

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Brahmā

According to this view, there are six Rāgas, each having six respective wives or Rāginīs. While there is no textual support in the Śāstras for this opinion, many sources report it. The absence of any textual reference to this perspective, despite being conveyed by teachers and scholars, emphasizes the traditional mode of knowledge transmission, which primarily occurred through oral communication, from Guru to disciple.

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- Rāga: Bhairava        
-Rāginī: Bhairavī, Gujarī, Rāmakalī, Guṇakalī, Saindhavī, Bangālī

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- Rāga: Śrī            
- Rāginī: Mālaśrī, Triveṇī, Gauri, Kedārī, Madhumādhavī, Pahāḍī

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- Rāga: Megh           
- Rāginī: Malhārī, Saurātī, Saveri, Kauśikī, Gāndhārī, Haraśṛngārī

- Rāga: Vasanta

- Rāginī: Deśī, Devagirī, Varāṭī, Toḍī, Lalitā, Hindolī

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- Rāga: Pañcama

- Rāginī: Vibhāsa, Bhūpālī, Karanāṭī, Varahaṁsikā, Mālavī, Paṭamañjarī

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- Rāga: Naṭa

- Rāginī: Kāmodī, Kalyānī, Ābherī, Nātikā, Sārangī, Hamīr

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Bharata

According to this opinion, there are six Rāgas, each with five Rāginīs, five Sons, and five Daughters-in-law.

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-Rāga:Bhairava

-Rāginī: Madhumādhavī, Bhairavī, Bangālī, Barārī, Saindhavī

-Sons: Bilāvala, Pañcama, Deśākhya, Devagāndhāra, Vibhāsa

-Daughters-in-law: Rāmakalī, Suhāi, Sugharāi, Paṭamañjarī, Toḍī

-Rāga: Malkauns

-Rāginī: Guṇkalī, Khambāvatī, Gurjarī, Bhūpāli, Gaurī

-Sons: Soma, Parāśana, Baḍaṁsa, Kakubha, Bangāla

-Daughters-in-law: Suraṭhī, Triveṇī, Karnāṭī, Āsāvarī, Goḍagiri

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-Rāga: Hindola

-Rāginī: Belāvalī, Deśākhī, Lalitā, Bhimapalāsī, Mālavī

-Sons: Rekhabahṁsa, Vasanta, Lokahāsa, Gāndharva, Lalita, Śuddhakalyāna

-Daughters-in-law: Kedārā, Kāmodī, Bihāgarā, Kāfī, Paraja

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-Rāga: Dipaka

-Rāginī: Naṭa, Malhārī, Kedārī, Kānaḍā, Bhārekā

-Sons: Śuddhakalyāna, Saurātha, Deśakāra, Hamīra, Mārū

-Daughters-in-law: Baḍaṁsī, Desavarāṭī, Vairāṭī, Devagirī, Sindharā

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-Rāga: Śrī

-Rāginī: Vāsantī, Mālavī, Mālaśrī, Sahānā, Dhanāśrī

-Sons: Naṭa, Chāyānaṭa, Kānaḍā, Yamana, Sankarābharana

-Daughters-in-law: Śyama, Puriyā, Gurjarī, Hambīrī, Aḍānā

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-Rāga: Megh

-Rāginī: Sāranga, Bankā, Gāndharva, Malhārī, Multānī

-Sons: Bahādurī, Naṭanārāyaṇa, Mālava,Jayati, Kāmoda

-Daughters-in-law: Pahāḍī, Jayantī, Gāndharī, Pūravī, Jayajayantī

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Hanumanta

Although there are no references in the Śāstra, many refer to this classification system. In contemporary Musicology, this Mata corresponds to the currently used classification system.

- Rāga:  Bhairava        
- Rāginī: Madhyamādī, Bhairavī, Bangālī, Barāṭikā, Saindhavī

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- Rāga:  Kauśika

- Rāginī: Toḍī, Khambāvatī, Gaurī, Gunakirī, Kakubha

- Rāga: Hindola         
- Rāginī: Belāvalī, Rāmakirī, Daśākhya, Paṭamañjarī, Lalitā

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- Rāga: Dipaka

- Rāginī: Kedārī, Kānaḍā, Deśī, Kāmodī, Naṭikā

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- Rāga: Śrī          
- Rāginī: Vasantī, Mālavī, Mālaśrī, Dhanyāskā, Āsāvarī

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- Rāga: Megha

- Rāginī: Malhārī, Deśakārī, Bhūpālī, Gurjarī, Ṭaṅka

Kallinātha

Although there are no Śāstra references, Kallinātha was a commentator on the Saṁgītaratnākara. According to this system, there are six Rāgas and thirty-six Rāginīs.

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- Rāga: Śrī

- Rāginī: Gaurī, Kolāhala, Dhavala, Barorājī or Radārangī, Mālakauśa, Devagāndhāra

- Rāga: Pañcama

- Rāginī: Triveṇī, Hastāntaritahā or Stambhatīrthikā, Khamāicī, Ābheri or Ahīrī, Kokabha, Barārī

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- Rāga: Bhairava

- Rāginī: Bhairavī, Belāvalī, Rāmakirī, Daśākhya, Paṭamañjarī, Lalitā

- Rāga: Megh

- Rāginī: Bangālī, Madhurā or Mudrā, Kāmodī, Dhanāśrī, Devatīrthī, Devalī or Tirthakī

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- Rāga: Naṭa-Nārayaṇa

- Rāginī: Tarabankī or Devalī, Tilangī or Tilakī, Pūrvī, Gāndharī, Rāma or Virāma, Sindhu Malhārī or Ṥuddha Malhārī

- Rāga: Vasanta

- Rāginī: Āndālī, Gamakī, Paṭamañjarī, Gauḍagiri, Dhāmakī or Ṭaṅka, Devaśākha

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It is essential to recognize the diverse opinions of these sages and understand their historical context within the realm of Hindustani musicology.  The limitations of Western rationality have led to this classification system being considered only a poetic speculation, an imagination that has led to the Rāgas also being depicted pictorially. Furthermore, the fact that these Mata or opinions lack textual references does not mean that they are not credible. We must remember the fact that this, like many others, is an oral tradition which makes the art alive, therefore prone to formal modifications.