26 August 2011

Sangita ratnakara of Sarangadeva

                        Sangita ratnakara Vol1 Sarangadeva

 Gandharva vedamu -Sangita ratnakara by Charla Ganapati Shastry in telugu

Gandharva vedamu by Charla Ganapati Shastry

The Sangita-Ratnakara of Sharngadeva (thirteenth century) is one of the most important musicological texts from India, which both Hindustani music and Carnatic music regard as a definitive text.
The text is also known as Saptadhyayi as it is divided into seven chapters. The first six chapters, Svaragatadhyaya, Ragavivekadhyaya, Prakirnakadhyaya, Prabandhadhyaya, Taladhyaya and Vadyadhyaya deal with the various aspects of music and musical instruments while the last chapter Nartanadhyaya deals with dance.
The significant commentaries on the text include the Sangitasudhakara of Simhabhupala (c.1330) and the Kalanidhi of Kallinatha (c.1430).
This work was written by Śārńgadēva in the end of thirteenth century. The author was attached to the court of Yādava King Singhaņa, whose capital was Devagiri ( the present Daulatabad, in the South Maharashtra)

Chapter summaries

As the title indicates the work deals with the subject of Sańgīta. Sańgīta is defined as a composite art consisting of Gīta (melodic forms), Vādya (forms for drumming) and Nŗtta (dance literally movements of the limbs of the body). Sańgīta is of two kinds. Mārga-sańgīta and Deśī-sańgīta. Mārga-sańgīta is nothing but the Nāţya (Drama) performed by Bharata and his disciples. This performance of Bharata also consists of Gīta, Vādya and Nŗtta. Deśī-sańgīta represented a tradition different from Mārga and it varied from region to region.
Śārńgadēva's aim in this work is to describe primarily the Deśī-sańgīta. The aspects of Mārga-sańgīta are also described to some extent.
The work is divided into seven chapters covering the aspects Gīta, Vādya and Nŗtta. The seven chapters are:
  1. Svaragatādhyāya
  2. Rāgavivekādhyāya
  3. Prakīrņakādhyāya
  4. Prabandhādhyāya
  5. Tālādhyāya
  6. Vādyādhyāya
  7. Nartanādhyāya


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