|
The Sangita-Ratnakara of Sharngadeva (1210–1247) 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: #Svaragatādhyāya #Rāgavivekādhyāya #Prakīrņakādhyāya #Prabandhādhyāya #Tālādhyāya #Vādyādhyāya #Nartanādhyāya 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Sangita Ratnakara」の詳細全文を読む スポンサード リンク
|