33:
387:. The author pays homage to his ancestors, then to ancient scholars such as Bharata, Matanga, Dattila and Narada, as well as major gods and goddesses of Hinduism in first section of the first chapter. In the second section, there is hardly any mention of music or dance, rather Sarngadeva presents his metaphysical and physiological beliefs, as well as credits the origin of music to the
210:
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states that "the composer was expected to be a competent performer, but he also made clear that the composer was expected to know his audience, and how their minds work, rising above his own likes and dislikes, in order to bring delight to everyone". Sarangadeva's views on music, states
Fletcher,
669:
in the Indian tradition. Two of the many commentaries on the text have been translated into
English. These are Sańgītasudhākara of Simbabhūpāla and Kalānidhi of Kallinātha. Sańgītaratnākara compiles information found in earlier works like Nāţyaśāstra, Dattilam, Bŗhaddēśī,
606:, then presents the post-Vedic developments and recommendations for practice. It includes a description of theatre design, make up and decoration of the artists, performance standards for instrumentalists and singers, as well as methods for improvising on a musical theme.
625:. He mentions physical description of the instruments, how to play them and the repertoire that best flows with each musical instrument. In the 7th chapter of this massive text is a relatively brief description of classical and regional dance forms of India, including
128:
The text is comprehensive synthesis of ancient and medieval musical knowledge of India. The text has been frequently quoted by later Indian musicologists in their music and dance-related literature. Significant commentaries on the text include the
116:
deals with dance. The medieval era text is one of the most complete historical Indian treatises on the structure, technique, and reasoning on music theory that has survived into the modern era, and is a comprehensive voluminous text on
776:, Quote: "The largest work that has for a long time been the most important source of information on the ancient period, is the famous Samgitaratnakara written by Sarngadeva in the first half of the thirteenth century."
659:
Sańgītaratnākara is a very important text and this is evident from the many commentaries written on it. It remains as a reference text in the contemporary times among the Indian musicologists and music schools.
670:
Sarasvatī-hŗdayālańkāra-hāra, ideas of
Abhinavagupta on Nāţyaśāstra, as well as others. Sarangdeva expanded the more ancient and medieval ideas as well, such as with his ideas on
404:
According to
Sarngadeva's verses 27-30 of the section 1.1, song is everywhere, in the cry of a baby, in the beats of nature, in the pulse of life, in every human act of
1263:
Howard, Wayne; Shringy, R. K. (1983). "Sangita-Ratnakara of
Sarngadeva: Sanskrit Text and English Translation with Comments and Notes. Vol. 1: Treatment of Svara".
329:: Saṃgīta), or music-related performance arts tradition. Sangita is stated by the text as a composite performance art consisting of Gita (melodic forms, song),
308:
609:
In the 6th chapter, Sarang Deva describes the ancient and pre-13th century musical instruments of India into four class of musical instruments:
393:. He presents musical topics and definitions of musical concepts starting with section three of the first chapter, with frequent mentions of
350:. Desi Sangita refers to regional improvisations that may not follow the classical rules and structure for the music and performance arts.
1947:
53:: Saṃgītaratnākara), literally "Ocean of Music and Dance", is one of the most important musicological texts from India. Composed by
344:
classifies
Sangita into two kinds: Marga-sangita and Desi-sangita. Marga refers to the classical techniques taught by Bharata in
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674:. The text forms a useful bridge between the ancient, medieval and the post-13th century periods of music history in India.
1927:
629:. Its dance chapter describes expressive styles, posture and body language as a form of silent communication of ideas, the
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383:, who is called the "embodiment of sound, sung about by the entire world" and the one delighting according to the
186:(Maharashtra). Śārṅgadeva worked as an accountant with freedom to pursue his music interests in the court of King
1912:
294:
32:
1922:
1952:
1314:
C. Kunhan Raja (1945), Sangitaratnakara of
Sarngadeva, Vol 1 – Chapter 1, Adyar Library, pages 6-9, 45-175
1687:
224:
1239:
Saṅgīta-Ratnākara of Śārṅgadeva: Sanskrit Text and
English Translation with Comments and Notes. Vol. 1
823:
A New
History of the Humanities: The Search for Principles and Patterns from Antiquity to the Present
731:
A New
History of the Humanities: The Search for Principles and Patterns from Antiquity to the Present
1609:
C. Kunhan Raja (1945), Sangitaratnakara of Sarngadeva, Vol 1 – Chapter 1, Adyar Library, pages 1-9
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C. Kunhan Raja (1945), Sangitaratnakara of Sarngadeva, Vol 1 – Chapter 1, Adyar Library, pages 5-6
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78:
70:
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1652:. Vol. The Journal of the Music Academy, Madras, Volume 64. Music Academy. p. 104.
1330:. Vol. The Journal of the Music Academy, Madras, Volume 64. Music Academy. p. 102.
1177:
Singing the classical, voicing the modern: the postcolonial politics of music in South India
1942:
1907:
633:
theory categorized through nine emotions, and the art of individual movements of a dancer.
8:
175:
163:
379:
The first chapter has eight sections. It opens with reverential verses to the Hindu god
1839:
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182:, his family migrated south and settled in the Hindu kingdom in the Deccan region near
112:
deal with the various aspects of music and musical instruments, while the last chapter
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World Musics in Context: A Comprehensive Survey of the World's Major Musical Cultures
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The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent
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1123:
A Companion to Sanskrit Literature: Spanning a Period of Over Three Thousand Years
1863:
1843:
1824:
Sangita Ratnakara of Sarngadeva: Sanskrit text and English translation, 2 volumes
1802:
1781:
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Northern Indian Music, Volume 1. Theory & technique; Volume 2. The main rāgǎs
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in chapter 2, while chapter 5 presents all classical (marga) and 120 regional
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regard it as a definitive text. The author was a part of the court of King
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54:
1833:
1284:
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166:, also spelled Sarangadeva or Sharangadeva. Śārṅgadeva was born in a
1865:
Worlds of Music: An Introduction to the Music of the World's Peoples
1586:
Confluence of cultures: French contributions to Indo-Persian studies
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389:
255:
82:
58:
432:
322:
277:
187:
174:. In the era of Islamic invasion of the northwest regions of the
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167:
88:
The text is divided into seven chapters. The first six chapters,
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Titon, Jeff Todd; Cooley; Locke; McAllester; Rasmussen (2008).
665:
626:
417:
405:
603:
426:
409:
394:
384:
380:
330:
282:
250:
1786:(fourth ed.). Cambridge, MA: Harvard University Press.
1072:. Oxford University Press. pp. 87–90, context: 69–166.
1066:
Harold Powers (2001). Stanley Sadie and John Tyrrell (ed.).
998:
788:
602:. Chapter 3 opens with a summary of sangita practice in the
595:
460:(singing styles), meters and other basic musical concepts.
413:
326:
260:
50:
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1200:
420:. The sections 3 through 8 of the first chapter describe
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Sarngadeva, Translated by Ravindra K Shringy (1978),
1119:
975:. BRILL Academic. pp. 6 with footnote 37, 54.
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1645:
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1433:
1413:. Fordham University Press. pp. 190 note 28.
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1386:. University of Chicago Press. pp. 212–213.
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1038:
1406:
1359:. University of Chicago Press. pp. 12–13.
1069:The New Grove dictionary of music and musicians
874:. University of Chicago Press. pp. 11–13.
779:
748:
663:The text attracted secondary literature called
1549:
1545:
1543:
1519:
1262:
1258:
1256:
1242:, Ed: Sharma Prem Lata, Motilal Banarsidass,
1207:. Oxford University Press. pp. 330–332.
1065:
302:
1838:
1821:
1379:
1352:
1340:
1271:(4). Cambridge University Press: 1003–1004.
945:The Music and Dance of the World's Religions
366:Prabandhādhyāya (compositions, poetic meter)
1540:
1232:
1230:
1228:
1226:
1224:
1180:. Duke University Press. pp. 239–240.
1092:
1045:. Kalinga Publications. pp. vii–viii.
994:
992:
1496:Musicological literature, Volume 6, Part 1
1437:Musicological literature, Volume 6, Part 1
1253:
761:Musicological literature, Volume 6, Part 1
721:
309:
295:
1762:Sanskrit Play Production in Ancient India
1698:. Oxford & Indiana University Press.
1649:Indian Classical Music - A Bird's Eyeview
1327:Indian Classical Music - A Bird's Eyeview
1126:. Motilal Banarsidass. pp. 753–760.
1099:. Motilal Banarsidass. pp. 221–222.
1096:Sanskrit Play Production in Ancient India
1804:Music and Musical Thought in Early India
1737:
1686:
1666:
1472:. Taylor & Francis. pp. 33–34.
1383:Music and Musical Thought in Early India
1356:Music and Musical Thought in Early India
1221:
1005:. Abhinav Publications. pp. 41–42.
989:
948:. Greenwood. pp. 64 with note 525.
871:Music and Musical Thought in Early India
826:. Oxford University Press. p. 116.
819:
799:. Abhinav Publications. pp. 42–43.
734:. Oxford University Press. p. 116.
727:
39:Sanskrit manuscript, verses 1.1.1-1.1.4.
31:
999:Reginald Massey; Jamila Massey (1996).
14:
1900:
1800:
1779:
1720:
1622:Speaking of Dance: The Indian Critique
1526:. Abhinav Publications. pp. 1–2.
1250:, pages iii-viii, 1-14, 40, 51, 62, 79
867:
640:– a professor of Music and Drama, the
363:Prakīrņakādhyāya (performing practice)
190:(r. 1210–1247) of the Yadava dynasty.
1758:
1153:. Harman Publishing. pp. 18–21.
1029:, Indian Musicological Society, p. 46
570:Tivra, Kumadvanti, Manda, Chandovati
1201:Nicholas Cook; Mark Everist (1999).
764:. Harrassowitz. pp. 12, 33–34.
1845:Indian Music: History and Structure
1625:. D.K. Printworld. pp. 44–49.
1558:. Oxford University Press. p.
1466:Alison Arnold; Bruno Nettl (2000).
972:Indian Music: History and Structure
918:Indian Music: History and Structure
579:Vajrika, Prasarini, Priti, Marjani
321:The text is a Sanskrit treatise on
24:
1523:Kathak, Indian Classical Dance Art
1410:The Reinvention of Religious Music
582:Kshiti, Rakta, Sandipini, Alapini
25:
1969:
1883:
1583:Françoise Delvoye Nalini (1994).
1150:The Nāṭyaśāstra and Bharata Nāṭya
1025:Ramanlal Chhotalal Mehta (1996),
372:Vādyādhyāya (musical instruments)
1948:13th-century Sanskrit literature
1499:. Harrassowitz. pp. 14–21.
1440:. Harrassowitz. pp. 20–21.
1027:Musical Musings: Selected Essays
921:. BRILL Academic. pp. 6–7.
208:
1807:. University of Chicago Press.
1783:The Harvard Dictionary of Music
1660:
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594:The mammoth text describes 253
473:
1731:10.1093/obo/9780195399318-0071
1120:Sures Chandra Banerji (1989).
935:
908:
896:Sangitaratnakara of Sarngadeva
888:
861:
848:Sangitaratnakara of Sarngadeva
840:
813:
357:Svaragatādhyāya (sound system)
61:during the 13th century, both
13:
1:
1042:Carnātic Music and the Tamils
714:
654:
353:The text has seven chapters:
145:
134:
1780:Randel, Don Michael (2003).
1741:Semiosis in Hindustani Music
1738:Martinez, José Luiz (2001).
1265:The Journal of Asian Studies
651:relating to non-attachment.
7:
1928:Hindustani music literature
1725:. Oxford University Press.
1646:T.S. Parthasarathy (1993).
1493:Emmie te Nijenhuis (1977).
1434:Emmie te Nijenhuis (1977).
1324:T.S. Parthasarathy (1993).
969:Emmie Te Nijenhuis (1974).
915:Emmie Te Nijenhuis (1974).
758:Emmie te Nijenhuis (1977).
677:
573:Dayavati, Ranjini, Raktika
479:
27:Sanskrit musicological text
10:
1974:
1174:Amanda J. Weidman (2006).
1147:Hema Govindarajan (1992).
942:Ezra Gardner Rust (1996).
193:
1938:13th-century Indian books
1619:Mandakranta Bose (2001).
1039:T. V. Kuppuswami (1992).
645:exemplified ideas in the
333:(instrumental music) and
154:
1918:Indian non-fiction books
1721:Lidova, Natalia (2014).
1694:The Ragas of North India
1589:. Manohar. p. 102.
1407:Sander van Maas (2009).
1343:, pp. 13–14, 21–25.
1826:. Munshiram Manoharlal.
1765:. Motilal Banarsidass.
1744:. Motilal Banarsidass.
1550:Peter Fletcher (2001).
898:, Adyar Library Press,
850:, Adyar Library Press,
585:Madanti, Rohini, Ramya
360:Rāgavivekādhyāya (raga)
1913:Indian classical music
1801:Rowell, Lewis (2015).
1674:. London: C. Johnson.
1520:Sunil Kothari (1989).
868:Rowell, Lewis (2015).
699:Indian classical music
694:Indian classical dance
463:The suddha (pristine)
397:and the Hindu goddess
202:Indian classical music
77:(r. 1210–1247) of the
71:Indian classical music
40:
1923:13th century in music
1822:R.K. Shringy (2007).
1759:Mehta, Tarla (1995).
1380:Lewis Rowell (2015).
1353:Lewis Rowell (2015).
444:(derivative scales),
375:Nartanādhyāya (dance)
35:
1953:Indian music history
1093:Tarla Mehta (1995).
894:S.S. Sastri (1943),
846:S.S. Sastri (1943),
1891:"Sangita Ratnakara"
1840:Te Nijenhuis, Emmie
476:
471:, states the text.
337:(dance, movement).
176:Indian subcontinent
1848:, BRILL Academic,
1002:The Music Of India
796:The Music Of India
704:Sangita Makarandha
474:
440:(primary scales),
81:whose capital was
41:
1875:978-0-534-59539-5
1814:978-0-226-73034-9
1793:978-0-674-01163-2
1772:978-81-208-1057-0
1751:978-81-208-1801-9
1632:978-81-246-0172-3
1596:978-81-7304-092-4
1569:978-0-19-816636-8
1533:978-81-7017-223-9
1506:978-3-447-01831-9
1479:978-0-8240-4946-1
1447:978-3-447-01831-9
1420:978-0-8232-3057-0
1393:978-0-226-73034-9
1366:978-0-226-73034-9
1341:Te Nijenhuis 1974
1214:978-0-19-879004-4
1160:978-81-85151-57-1
1133:978-81-208-0063-2
1106:978-81-208-1057-0
1079:978-0-19-517067-2
1052:978-81-85163-25-3
1012:978-81-7017-332-8
955:978-0-313-29561-4
881:978-0-226-73034-9
833:978-0-19-164294-4
820:Rens Bod (2013).
806:978-81-7017-332-8
789:Reginald Massey;
771:978-3-447-01831-9
741:978-0-19-164294-4
728:Rens Bod (2013).
642:Sangita Ratnakara
592:
591:
566:Sangita Ratnakara
467:are those in the
456:(embellishment),
436:(microinterval),
369:Tālādhyāya (tala)
342:Sangita Ratnakara
340:The 13th-century
319:
318:
178:and the start of
160:Sangita Ratnakara
133:of Simhabhupala (
49:, संगीतरत्नाकर, (
46:Sangita-Ratnakara
18:Sangeet Ratnakara
16:(Redirected from
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90:Svaragatadhyaya
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1868:. Cengage.
858:, pages v-x
689:Hindu texts
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110:Vadyadhyaya
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655:Importance
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564:Srutis in
497:(गान्धार)
442:murcchanas
170:family of
164:Śārṅgadeva
140:) and the
106:Taladhyaya
55:Śārṅgadeva
1293:171023214
469:Sama Veda
448:(color),
424:(sound),
399:Saraswati
142:Kalanidhi
1842:(1974),
1690:(1968).
1670:(1949).
793:(1996).
678:See also
524:(Short)
517:(निषाद)
510:Dhaivata
507:(पञ्चम)
502:(मध्यम)
500:Madhyama
495:Gandhara
454:alankara
452:(mode),
430:(tone),
390:Samaveda
256:Alankara
238:Concepts
83:Devagiri
59:Sanskrit
1834:5051774
1285:2054840
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418:Moksha
406:Dharma
246:Shruti
155:Author
1714:11369
1289:S2CID
1281:JSTOR
600:Talas
596:ragas
559:(नि)
534:(रि)
522:Svara
485:Sadja
480:Svara
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410:Artha
395:Shiva
385:Vedas
381:Shiva
335:Nrtta
331:Vadya
283:Vadya
251:Svara
123:talas
119:ragas
1870:ISBN
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631:rasa
621:and
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544:(म)
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529:(स)
458:giti
450:jati
422:nada
416:and
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327:IAST
271:Tala
266:Rasa
261:Raga
108:and
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51:IAST
43:The
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552:Dha
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325:(
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296:v
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