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{{Short description|Sanskrit musicological text}}
{{italic title}}
{{Use dmy dates|date=July 2020}}
{{Use Indian English|date=July 2020}}
[[File:13th century Sangita Ratnakara Hindu text on music in Sanskrit.jpg|thumb|''Saṃgītaratnākara'' Sanskrit manuscript, verses 1.1.1-1.1.4.]]
The '''''Sangita-Ratnakara''''', संगीतरत्नाकर, ([[IAST]]: Saṃgītaratnākara), literally "Ocean of Music and Dance", is one of the most important musicological texts from India.<ref name="Bod2013p116">{{cite book|author=Rens Bod|title=A New History of the Humanities: The Search for Principles and Patterns from Antiquity to the Present |url=https://books.google.com/books?id=321oAgAAQBAJ&pg=PA116 |year=2013|publisher=Oxford University Press |isbn=978-0-19-164294-4|page=116}}</ref><ref name="Nijenhuis1977p12"/> Composed by [[Sharngadeva|Śārṅgadeva]] (शार्ङ्गदेव) in [[Sanskrit]] during the 13th century, both [[Carnatic music]] and [[Hindustani music]] traditions of [[Indian classical music]] regard it as a definitive text.<ref name="MasseyMassey1996">{{cite book|author1=Reginald Massey|author2=Jamila Massey|author2-link=Jamila Massey|title=The Music Of India|url=https://books.google.com/books?id=yySNDP9XVggC&pg=PA42| year= 1996|publisher= Abhinav Publications|isbn= 978-81-7017-332-8|pages=42–43}}</ref><ref>{{cite book|author=Rens Bod|title=A New History of the Humanities: The Search for Principles and Patterns from Antiquity to the Present|url= https://books.google.com/books?id=321oAgAAQBAJ&pg=PA116| year=2013|publisher=Oxford University Press|isbn=978-0-19-164294-4|page=116}}</ref> The author was a part of the court of King [[Simhana]] (r. 1210–1247) of the [[Seuna (Yadava) dynasty|Yādava dynasty]] whose capital was [[Devagiri]], Maharashtra.<ref>S.S. Sastri (1943), [https://archive.org/stream/SangitaRatnakara/SangitaRatnakaraChapter1#page/n7/mode/2up Sangitaratnakara of Sarngadeva], Adyar Library Press, {{ISBN|0-8356-7330-8}}, pages v-x</ref>

The text 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 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 ''ragas'' (chapter 2) and ''talas'' (chapter 5).<ref>{{cite book|first=Lewis |last= Rowell|title=Music and Musical Thought in Early India|url=https://books.google.com/books?id=h5_UCgAAQBAJ |year=2015|publisher=University of Chicago Press|isbn=978-0-226-73034-9|pages=11–13}}</ref><ref>S.S. Sastri (1943), [https://archive.org/stream/SangitaRatnakara/SangitaRatnakaraChapter1#page/n1/mode/2up Sangitaratnakara of Sarngadeva], Adyar Library Press, {{ISBN|0-8356-7330-8}}</ref><ref>{{cite book|author=Emmie Te Nijenhuis|title=Indian Music: History and Structure |url=https://books.google.com/books?id=NrgfAAAAIAAJ |year=1974|publisher=BRILL Academic |isbn=90-04-03978-3|pages=6–7}}</ref>

The text is comprehensive synthesis of ancient and medieval musical knowledge of India.<ref>{{cite book|author=Ezra Gardner Rust|title=The Music and Dance of the World's Religions |url=https://books.google.com/books?id=eIikUJpHYNQC |year=1996|publisher=Greenwood |isbn=978-0-313-29561-4|pages=64 with note 525}}</ref> The text has been frequently quoted by later Indian musicologists in their music and dance-related literature. Significant commentaries on the text include the ''Sangitasudhakara'' of Simhabhupala ({{circa|1330}}) and the ''Kalanidhi'' of Kallinatha ({{circa|1430}}).<ref>{{cite book|author=Emmie Te Nijenhuis|title=Indian Music: History and Structure |url=https://books.google.com/books?id=NrgfAAAAIAAJ |year=1974 |publisher= BRILL Academic |isbn =90-04-03978-3|pages=6 with footnote 37, 54}}</ref>

==Author==
''Sangita Ratnakara'' was written by [[Śārṅgadeva]], also spelled Sarangadeva or Sharangadeva. Śārṅgadeva was born in a [[Brahmin]] family of [[Kashmir]].<ref name=massey41/> In the era of Islamic invasion of the northwest regions of the [[Indian subcontinent]] and the start of [[Delhi Sultanate]], his family migrated south and settled in the Hindu kingdom in the Deccan region near [[Ellora Caves]] (Maharashtra). Śārṅgadeva worked as an accountant with freedom to pursue his music interests in the court of King [[Simhana]] (r. 1210–1247) of the Yadava dynasty.<ref name=massey41>{{cite book|author1=Reginald Massey|author2=Jamila Massey|title=The Music Of India|url=https://books.google.com/books?id=yySNDP9XVggC&pg=PA41 |year=1996| publisher=Abhinav Publications|isbn= 978-81-7017-332-8|pages=41–42}}</ref><ref>Ramanlal Chhotalal Mehta (1996), ''Musical Musings: Selected Essays'', Indian Musicological Society, p. 46</ref><ref>{{cite book|author=T. V. Kuppuswami|title=Carnātic Music and the Tamils|url=https://books.google.com/books?id=LpLmAAAAMAAJ| year=1992| publisher=Kalinga Publications|isbn= 978-81-85163-25-3|pages=vii–viii}}</ref>

==Content==
{{Indian classical music}}
The text is a Sanskrit treatise on [[Sangita]] ([[IAST]]: Saṃgīta), or music-related performance arts tradition.<ref>{{cite book|author=Harold Powers|editor= Stanley Sadie and John Tyrrell|title= The New Grove dictionary of music and musicians|url=https://books.google.com/books?id=8GpLAAAAYAAJ |year= 2001|publisher=Oxford University Press|isbn=978-0-19-517067-2|pages=87–90, context: 69–166}}</ref> Sangita is stated by the text as a composite performance art consisting of Gita (melodic forms, song), [[Vadya]] (instrumental music) and [[Natya Shastra|Nrtta]] (dance, movement).<ref>{{cite book|author=Tarla Mehta|title=Sanskrit Play Production in Ancient India |url=https://books.google.com/books?id=l7naMj1UxIkC&pg=PA221 |year=1995|publisher=Motilal Banarsidass |isbn=978-81-208-1057-0|pages=221–222}}</ref><ref>{{cite book|author=Sures Chandra Banerji|title=A Companion to Sanskrit Literature: Spanning a Period of Over Three Thousand Years|url=https://books.google.com/books?id=JkOAEdIsdUsC |year=1989|publisher=Motilal Banarsidass |isbn=978-81-208-0063-2|pages=753–760}}</ref>

The 13th-century ''Sangita Ratnakara'' classifies Sangita into two kinds: Marga-sangita and Desi-sangita. Marga refers to the classical techniques taught by Bharata in ''[[Natya Shastra]]''. Desi Sangita refers to regional improvisations that may not follow the classical rules and structure for the music and performance arts.<ref>{{cite book|author=Hema Govindarajan|title=The Nāṭyaśāstra and Bharata Nāṭya|url=https://books.google.com/books?id=-B70AAAAMAAJ|year=1992|publisher=Harman Publishing |isbn=978-81-85151-57-1|pages=18–21}}</ref><ref>{{cite book|author=Amanda J. Weidman|title= Singing the classical, voicing the modern: the postcolonial politics of music in South India|url= https://books.google.com/books?id=teUXAQAAIAAJ |year= 2006|publisher= Duke University Press|pages= 239–240|isbn= 9780822336310}}</ref>

The text has seven chapters:<ref>{{cite book|author1=Nicholas Cook|author2=Mark Everist|title= Rethinking Music|url= https://books.google.com/books?id=HXNhnGW7hG8C |year= 1999|publisher= Oxford University Press|isbn=978-0-19-879004-4|pages=330–332}}</ref>
#Svaragatādhyāya (sound system)
#Rāgavivekādhyāya (raga)
#Prakīrņakādhyāya (performing practice)
#Prabandhādhyāya (compositions, poetic meter)
#Tālādhyāya (tala)
#Vādyādhyāya (musical instruments)
#Nartanādhyāya (dance)

The first chapter has eight sections. It opens with reverential verses to the Hindu god [[Shiva]], who is called the "embodiment of sound, sung about by the entire world" and the one delighting according to the [[Vedas]].<ref name=shringy1/> 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 ''[[Samaveda]]''.<ref name=shringy1/><ref name=howard1003>{{cite journal | last1=Howard | first1=Wayne | last2=Shringy | first2=R. K. | title=Sangita-Ratnakara of Sarngadeva: Sanskrit Text and English Translation with Comments and Notes. Vol. 1: Treatment of Svara. | journal=The Journal of Asian Studies | publisher=Cambridge University Press | volume=42 | issue=4 | year=1983 | doi=10.2307/2054840 | pages=1003–1004| jstor=2054840 | s2cid=171023214 }}</ref> He presents musical topics and definitions of musical concepts starting with section three of the first chapter, with frequent mentions of [[Shiva]] and the Hindu goddess [[Saraswati]].<ref name=shringy1>Sarngadeva, Translated by Ravindra K Shringy (1978), ''[https://catalog.hathitrust.org/Record/002189005 Saṅgīta-Ratnākara of Śārṅgadeva: Sanskrit Text and English Translation with Comments and Notes. Vol. 1]'', Ed: Sharma Prem Lata, Motilal Banarsidass, {{ISBN|9788121505086}}, pages iii-viii, 1-14, 40, 51, 62, 79</ref>

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 [[Dharma]], [[Artha]], [[Kama]] and [[Moksha]].<ref name=shringy1/><ref>C. Kunhan Raja (1945), Sangitaratnakara of Sarngadeva, Vol 1 – Chapter 1, Adyar Library, pages 5-6</ref> The sections 3 through 8 of the first chapter describe ''nada'' (sound), ''[[svara]]'' (tone), ''[[śruti]]'' (microinterval), ''gramas'' (primary scales), ''murcchanas'' (derivative scales), ''varna'' (color), ''jati'' (mode), ''alankara'' (embellishment), ''giti'' (singing styles), meters and other basic musical concepts.<ref name=howard1003/><ref>C. Kunhan Raja (1945), Sangitaratnakara of Sarngadeva, Vol 1 – Chapter 1, Adyar Library, pages 6-9, 45-175</ref>

The suddha (pristine) ''svaras'' are those in the ''Sama Veda'', states the text.<ref>{{cite book|author=T.S. Parthasarathy|title=Indian Classical Music - A Bird's Eyeview|url=https://books.google.com/books?id=8objAAAAMAAJ|volume=The Journal of the Music Academy, Madras, Volume 64|year=1993|publisher=Music Academy|page=102}}</ref>

{| class="wikitable" align=center style = " background: transparent; "
|+ Svara and sruti{{Sfn|Te Nijenhuis|1974|pp=13–14, 21–25}}
|-style="text-align: center;"
| width=120px style="background: #ffad66;" | Svara (Long)
| Sadja (षड्ज)
| Rsabha (ऋषभ)
| Gandhara (गान्धार)
| Madhyama (मध्यम)
| Pañcama (पञ्चम)
| Dhaivata (धैवत)
| Nisada (निषाद)
|-style="text-align: center;"
| Svara (Short)
| style="background: #ffdec1;" | Sa (स)
| style="background: #ffc1ef;" | Ri (रि)
| style="background: #eae0ff;" | Ga (ग)
| style="background: #d1ffc1;" | Ma (म)
| style="background: #ffdec1;" | Pa (प)
| style="background: #ffff99;" | Dha (ध)
| style="background: #b2efff;" | Ni (नि)
|-style="text-align: center;"
| Srutis in ''Sangita Ratnakara''<ref name="MasseyMassey1996"/>
| Tivra, Kumadvanti, Manda, Chandovati
| Dayavati, Ranjini, Raktika
| Rudri, Krodhi
| Vajrika, Prasarini, Priti, Marjani
| Kshiti, Rakta, Sandipini, Alapini
| Madanti, Rohini, Ramya
| Ugra, Kshobini
|}

The mammoth text describes 253 [[raga]]s in chapter 2,<ref>{{cite book|author=Lewis Rowell|title=Music and Musical Thought in Early India |url=https://books.google.com/books?id=h5_UCgAAQBAJ |year=2015|publisher=University of Chicago Press |isbn=978-0-226-73034-9|pages=12–13}}</ref> while chapter 5 presents all classical (marga) and 120 regional [[Tala (music)|Talas]].<ref>{{cite book|author=Lewis Rowell|title=Music and Musical Thought in Early India |url=https://books.google.com/books?id=h5_UCgAAQBAJ |year=2015|publisher=University of Chicago Press |isbn=978-0-226-73034-9|pages=212–213}}</ref><ref>{{cite book|author=Sander van Maas|title=The Reinvention of Religious Music |url=https://books.google.com/books?id=yD9GCgAAQBAJ |year=2009|publisher=Fordham University Press|isbn=978-0-8232-3057-0|pages=190 note 28}}</ref> Chapter 3 opens with a summary of sangita practice in the [[Vedas|Vedic literature]], 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.<ref>{{cite book|author=Emmie te Nijenhuis|title=Musicological literature, Volume 6, Part 1|url= https://books.google.com/books?id=HkUIAQAAIAAJ|year= 1977|publisher =Harrassowitz|isbn=978-3-447-01831-9|pages= 20–21}}</ref><ref name="ArnoldNettl2000p33"/>

In the 6th chapter, Sarang Deva describes the ancient and pre-13th century musical instruments of India into four class of musical instruments: [[chordophone]]s, [[aerophone]]s, [[membranophone]]s and [[idiophone]]s. He mentions physical description of the instruments, how to play them and the repertoire that best flows with each musical instrument.<ref name="ArnoldNettl2000p33"/><ref>{{cite book|author=Emmie te Nijenhuis|title=Musicological literature, Volume 6, Part 1|url=https://books.google.com/books?id=HkUIAQAAIAAJ|year= 1977|publisher =Harrassowitz|isbn=978-3-447-01831-9|pages=14–21}}</ref> In the 7th chapter of this massive text is a relatively brief description of classical and regional dance forms of India, including [[Kathak]].<ref>{{cite book|author=Sunil Kothari|title=Kathak, Indian Classical Dance Art|url=https://books.google.com/books?id=ZAbMS6ynGJ8C |year=1989|publisher=Abhinav Publications|isbn=978-81-7017-223-9|pages=1–2}}</ref> Its dance chapter describes expressive styles, posture and body language as a form of silent communication of ideas, the [[Rasa (aesthetics)|rasa]] theory categorized through nine emotions, and the art of individual movements of a dancer.<ref name="ArnoldNettl2000p33">{{cite book|author1=Alison Arnold|author2=Bruno Nettl|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent |url=https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA33 |year=2000|publisher=Taylor & Francis |isbn=978-0-8240-4946-1|pages=33–34}}</ref>

According to [[Peter G. Fletcher|Peter Fletcher]] – a professor of Music and Drama, the ''Sangita Ratnakara'' 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".<ref name=fletcher253>{{cite book|author=Peter Fletcher|title=World Musics in Context: A Comprehensive Survey of the World's Major Musical Cultures|url=https://archive.org/details/worldmusicsincon0000flet |url-access=registration|year=2001|publisher=Oxford University Press|isbn=978-0-19-816636-8|page=[https://archive.org/details/worldmusicsincon0000flet/page/253 253]}}</ref> Sarangadeva's views on music, states Fletcher, exemplified ideas in the ''[[Bhagavad Gita]]'' relating to non-attachment.<ref name=fletcher253/>

==Importance==
Sańgītaratnākara is a very important text and this is evident from the many commentaries written on it.<ref name="Nijenhuis1977p12">{{cite book|author=Emmie te Nijenhuis|title=Musicological literature, Volume 6, Part 1|url=https://books.google.com/books?id=HkUIAQAAIAAJ|year= 1977|publisher =Harrassowitz|isbn=978-3-447-01831-9|pages=12, 33–34}}, 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."</ref> It remains as a reference text in the contemporary times among the Indian musicologists and music schools.<ref>{{cite book|author=Françoise Delvoye Nalini|title=Confluence of cultures: French contributions to Indo-Persian studies |url=https://books.google.com/books?id=fTZuAAAAMAAJ |year=1994|publisher=Manohar|isbn=978-81-7304-092-4|page=102}}</ref>

The text attracted secondary literature called ''[[bhasya]]'' 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, Sarasvatī-hŗdayālańkāra-hāra, ideas of Abhinavagupta on Nāţyaśāstra, as well as others.<ref name=shringy1/><ref>C. Kunhan Raja (1945), Sangitaratnakara of Sarngadeva, Vol 1 – Chapter 1, Adyar Library, pages 1-9</ref> Sarangdeva expanded the more ancient and medieval ideas as well, such as with his ideas on ''lasyas''.<ref>{{cite book|author=Mandakranta Bose|title=Speaking of Dance: The Indian Critique|url=https://books.google.com/books?id=oBP0AAAAMAAJ |year=2001|publisher=D.K. Printworld|isbn=978-81-246-0172-3|pages=44–49}}</ref> The text forms a useful bridge between the ancient, medieval and the post-13th century periods of music history in India.<ref>{{cite book|author=T.S. Parthasarathy|title=Indian Classical Music - A Bird's Eyeview|url=https://books.google.com/books?id=8objAAAAMAAJ|volume=The Journal of the Music Academy, Madras, Volume 64|year=1993|publisher=Music Academy|page=104}}</ref>

==See also==
*[[Dance of India]]
*[[Hindu texts]]
*[[Indian classical dance]]
*[[Indian classical music]]
* [[Sangita Makarandha]]
*[[Music of India]]

==References==
{{Reflist}}

===Bibliography===
*{{Cite book | last=Daniélou | first=Alain | authorlink=Alain Daniélou | title=Northern Indian Music, Volume 1. Theory & technique; Volume 2. The main rāgǎs | publisher=C. Johnson | place=London | year=1949|oclc= 851080}}
*{{cite book | last=Kaufmann | first=Walter | authorlink=Walter Kaufmann (composer) | title=The Ragas of North India | publisher=Oxford & Indiana University Press | isbn=978-0253347800 | year=1968 | oclc=11369 | url-access=registration | url=https://archive.org/details/ragasofnorthindi00kauf }}
*{{cite book|first=Natalia|last=Lidova|publisher=Oxford University Press |year=2014 |doi=10.1093/obo/9780195399318-0071 |title= Natyashastra }}
*{{cite book|first=José Luiz|last=Martinez|title=Semiosis in Hindustani Music|url=https://books.google.com/books?id=OwJRnFIcM4cC |year=2001|publisher=Motilal Banarsidass |isbn=978-81-208-1801-9}}
*{{cite book|first=Tarla|last=Mehta |title=Sanskrit Play Production in Ancient India |url=https://books.google.com/books?id=l7naMj1UxIkC |year=1995|publisher=Motilal Banarsidass |isbn=978-81-208-1057-0 }}
*{{cite book| first=Don Michael |last= Randel|title=The Harvard Dictionary of Music|edition=fourth|url=https://books.google.com/books?id=02rFSecPhEsC |year=2003|location=Cambridge, MA|publisher=Harvard University Press|isbn=978-0-674-01163-2}}
*{{cite book| first=Lewis |last= Rowell|title=Music and Musical Thought in Early India|url=https://books.google.com/books?id=h5_UCgAAQBAJ |year=2015|publisher=University of Chicago Press|isbn=978-0-226-73034-9}}
*{{cite book|author= R.K. Shringy| title= Sangita Ratnakara of Sarngadeva: Sanskrit text and English translation, 2 volumes| publisher= Munshiram Manoharlal | year=2007}}, {{oclc| 5051774}}
*{{citation| first=Emmie|last=Te Nijenhuis |author-link=Emmie te Nijenhuis |title=Indian Music: History and Structure |url=https://books.google.com/books?id=NrgfAAAAIAAJ |year=1974|publisher= BRILL Academic|isbn=90-04-03978-3 }}
*{{cite book | last1=Titon |first1=Jeff Todd |last2=Cooley|last3=Locke|last4=McAllester|last5=Rasmussen| title=Worlds of Music: An Introduction to the Music of the World's Peoples|url= https://books.google.com/books?id=KzWmpqPTCwYC |year=2008|publisher=Cengage|isbn=978-0-534-59539-5}}

==External links==
* {{cite web |title=Sangita Ratnakara |url=https://archive.org/details/SangitaRatnakara |date= }}

[[Category:Hindu texts]]
[[Category:Indian classical music]]
[[Category:Indian non-fiction books]]
[[Category:13th century in music]]
[[Category:Hindustani music literature]]
[[Category:Carnatic music]]
[[Category:13th-century Indian books]]
[[Category:Music books]]
[[Category:Sanskrit texts]]
[[Category:Indian music history]]
[[Category:Music guides]]

Sangita Ratnakara - Revision history

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