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<p><b>New page</b></p><div>{{Short description|Ancient work on classical music}}<br />
{{More citations needed|date=November 2019}}<br />
'''Sangita Makaranda''' is an ancient work on classical music (''[[sangita]]'') written by [[Narada]]. This work is a rare collection of definitions, descriptions and comments on all the essential music by other ancient reputed authors from [[Bharata Muni]] to Sharangdeva. Its main feature is the treatment of [[Raga]]s; categorizing them as male, female and neuter.<ref>{{Cite web |url=http://aalaap.net/sangitamakaranda.html |title=Sangita Makaranda |access-date=2010-01-18 |archive-date=2008-10-04 |archive-url=https://web.archive.org/web/20081004200024/http://www.aalaap.net/sangitamakaranda.html |url-status=dead }}</ref><br />
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==The three distinct stages==<br />
It also hints on the uniqueness of the raga-nomenclaturing. On close study of it, one learns of three distinct stages on the nomenclaturing of the Indian ragas.<br />
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*Stage one refers Bharata's ''Natyashastra'' (prior 2nd century BC). It is the stage of raga-nomenclature when the ragas were named after the saliant swara of the ragas. For example, after Shadja swara, originated the name of the Raga called shadja; after Arshabha swara originated the name of Arsharbha Raga; and after Gandhari swara was named the Gaandhari Raga, the last one being still in currency.<br />
*In the second stage, the Ragas were named after different jana ([[tribe]]s or the [[clan]]s) dwelling in different geographical locations. For example, after [[Shaka]] tribe was named Shakatilak Raga or Shakamishrat variants of Shaka Raga; after Pulinda tribe was named the Pulinda Raga; after [[Abhira tribe|Abhira]] clan was named Abhiri Raga; after Savara tribe was named Saviri or Saverka. Similarly after Malava, [[Andhra Pradesh|Andhra]], [[Gurjar]], [[Kambojas|Kambhoja]] (Kamboja) tribes were named Ragas Malvika, Andhrri, Gurjari and Kambhoji (Kamboji) respectively, with all their variants.<ref>cf: Ragas and Raginis, pp 72-77, O. P. Ganguli; cf: Music in Education, 1955, p 80, Dmitrij Kabalevskij; Ancient Kamboja People and the Country, 1981, p 233, Dr J. L. Kamboj.</ref><br />
*In the third stage, the ragas were named after the [[janapada]] or desha or country of their origin. For example, after [[Bengal]] was named Bangal-Raga; after Sindhudesha was named Saindhvi Raga; after Sauvira Janapada was named Sauviri or Sauvirak Raga; after [[Saurashtra (region)|Saurashtra]] was named the Saurashtri (or Sorathi or Surat or Surat-malar); and after Karnata janapada was named Karnati Raga etc. Similarly, the Kambhoji Raga or Ragini which is now very popular in southern India was named after the Kambhoja janapada. Scholars believe that the Kambhoji raga or ragini had probably originated in the ''jana'' rather than the ''janapada'' stage.<ref name="Country 1981, p 233">Ancient Kamboja People and the Country, 1981, p 233, Dr J. L. Kamboj, cf: Ragas and Raginis, pp 72-77, O. P. Ganguli, The Kambojas Through the Ages, 2005, p 94, S Kirpal Singh</ref> This implies that the basic tune of raga Kamboji or Kambhoji must have evolved during [[Epic India|epic]] or even pre-epic times.<br />
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==See also==<br />
* [[Sangita Ratnakara]]<br />
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==References==<br />
{{reflist|2}}<br />
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==Further reading==<br />
* Critical Study of Sangita Makaranda of Narada By M. Vijay Lakshmi; foreword by G.H. Tarlekar {{ISBN|81-212-0526-3}}<br />
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{{Authority control}}<br />
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[[Category:Hindustani music literature]]<br />
[[Category:Ragas]]<br />
[[Category:Hindu texts]]<br />
[[Category:Indian non-fiction books]]<br />
[[Category:Music books]]</div>IndiaTurney9471