Sangita ratnakara of Sarangadeva

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Sangita ratnakara chapter on dance by Kunjjuni raja 

Complete Sangita Ratnakara (Sanskrit )

 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

Dattilam

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Dattilam is an ancient Indian musical text ascribed to the sage (muni) Dattila. It is believed to have been composed shortly after the Natya Shastra of Bharata, and is dated between the 1st^[1] and 4th^[2] c. AD.
Written in 244 verses, Dattilam claims to be a synthesis of earlier works on music. The text marks the transition from the sama-gayan (ritual chants as in the Samaveda), to what is known as gandharva music, after the gandharvas, musically adept spirits who are first mentioned in the Mahabharata. Dattilam discusses scales (swara), the base note (sthana), and defines a tonal framework called grama in terms of 22 micro-tonal intervals (sruti) comprising one octave. It also discusses various arrangements of the notes (murchhana), the permutations and combinations of note-sequences (tanas), and alankara or elaboration.
The melodic structure is categorized into 18 groups called jati, which are the fundamental melodic structures pre-dating the concept of the raga. The names of the jatis reflect regional origins, e.g. andhri, oudichya. (Note that many modern raga names are also after regions - e.g. Khamaj, Kanada, Gauda, Multani, Jaunpuri, etc.). Ten characteristics are mentioned for each jati, which resemble the structuring and elaboration of the contemporary raga in Hindustani music.
Dattila (between 4th c. BCE and 2nd c. CE) is an early Indian musicologist, who refined the melodic structures, scales and other aspects of Indian Classical Music in his work Dattilam. Nothing is known of Dattila beyond the work Dattilam. In Bharata's Natya Shastra, Bharata gives a list of a hundred sons who will put the knowledge of performances (Natyaveda) to use. One of these sons is named Dattila^[3], which had led to some speculation that Dattila may be a little later or contemporary to Bharata. However, today it is mostly felt, given the lack of Natyashastra elements in Dattilam, that he may have been a little earlier or a contemporary^[3]. Of course, the date of Bharata is itself not known; usually he is dated somewhere between 400BC to 200AD.