22:
376:. 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
199:
633:
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". Sarangadeva's views on music, states
Fletcher,
658:
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,
595:, 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.
614:. He mentions physical description of the instruments, how to play them and the repertoire that best flows with each musical instrument. In the 7th chapter of this massive text is a relatively brief description of classical and regional dance forms of India, including
117:
The text is comprehensive synthesis of ancient and medieval musical knowledge of India. The text has been frequently quoted by later Indian musicologists in their music and dance-related literature. Significant commentaries on the text include the
105:
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
765:, 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."
648:
Sańgītaratnākara is a very important text and this is evident from the many commentaries written on it. It remains as a reference text in the contemporary times among the Indian musicologists and music schools.
659:
Sarasvatī-hŗdayālańkāra-hāra, ideas of
Abhinavagupta on Nāţyaśāstra, as well as others. Sarangdeva expanded the more ancient and medieval ideas as well, such as with his ideas on
393:
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
1252:
Howard, Wayne; Shringy, R. K. (1983). "Sangita-Ratnakara of
Sarngadeva: Sanskrit Text and English Translation with Comments and Notes. Vol. 1: Treatment of Svara".
318:: Saṃgīta), or music-related performance arts tradition. Sangita is stated by the text as a composite performance art consisting of Gita (melodic forms, song),
297:
598:
In the 6th chapter, Sarang Deva describes the ancient and pre-13th century musical instruments of India into four class of musical instruments:
382:. He presents musical topics and definitions of musical concepts starting with section three of the first chapter, with frequent mentions of
339:. Desi Sangita refers to regional improvisations that may not follow the classical rules and structure for the music and performance arts.
1936:
42:: Saṃgītaratnākara), literally "Ocean of Music and Dance", is one of the most important musicological texts from India. Composed by
333:
classifies
Sangita into two kinds: Marga-sangita and Desi-sangita. Marga refers to the classical techniques taught by Bharata in
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663:. The text forms a useful bridge between the ancient, medieval and the post-13th century periods of music history in India.
1916:
618:. Its dance chapter describes expressive styles, posture and body language as a form of silent communication of ideas, the
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884:
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969:
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372:, who is called the "embodiment of sound, sung about by the entire world" and the one delighting according to the
175:(Maharashtra). Śārṅgadeva worked as an accountant with freedom to pursue his music interests in the court of King
1901:
283:
21:
1911:
1941:
1303:
C. Kunhan Raja (1945), Sangitaratnakara of
Sarngadeva, Vol 1 – Chapter 1, Adyar Library, pages 6-9, 45-175
1676:
213:
1228:
Saṅgīta-Ratnākara of Śārṅgadeva: Sanskrit Text and
English Translation with Comments and Notes. Vol. 1
812:
A New
History of the Humanities: The Search for Principles and Patterns from Antiquity to the Present
720:
A New
History of the Humanities: The Search for Principles and Patterns from Antiquity to the Present
1598:
C. Kunhan Raja (1945), Sangitaratnakara of Sarngadeva, Vol 1 – Chapter 1, Adyar Library, pages 1-9
1294:
C. Kunhan Raja (1945), Sangitaratnakara of Sarngadeva, Vol 1 – Chapter 1, Adyar Library, pages 5-6
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67:
59:
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810:
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1946:
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783:
1641:. Vol. The Journal of the Music Academy, Madras, Volume 64. Music Academy. p. 104.
1319:. Vol. The Journal of the Music Academy, Madras, Volume 64. Music Academy. p. 102.
1166:
Singing the classical, voicing the modern: the postcolonial politics of music in South India
1931:
1896:
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theory categorized through nine emotions, and the art of individual movements of a dancer.
8:
164:
152:
368:
The first chapter has eight sections. It opens with reverential verses to the Hindu god
1828:
1541:
1277:
1269:
692:
171:, his family migrated south and settled in the Hindu kingdom in the Deccan region near
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deal with the various aspects of music and musical instruments, while the last chapter
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World Musics in Context: A Comprehensive Survey of the World's Major Musical Cultures
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55:
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The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent
1227:
1112:
A Companion to Sanskrit Literature: Spanning a Period of Over Three Thousand Years
1852:
1832:
1813:
Sangita Ratnakara of Sarngadeva: Sanskrit text and English translation, 2 volumes
1791:
1770:
1749:
1728:
1661:
Northern Indian Music, Volume 1. Theory & technique; Volume 2. The main rāgǎs
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1609:
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in chapter 2, while chapter 5 presents all classical (marga) and 120 regional
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regard it as a definitive text. The author was a part of the court of King
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677:
599:
43:
1822:
1273:
611:
603:
387:
155:, also spelled Sarangadeva or Sharangadeva. Śārṅgadeva was born in a
1854:
Worlds of Music: An Introduction to the Music of the World's Peoples
1575:
Confluence of cultures: French contributions to Indo-Persian studies
1323:
1265:
378:
244:
71:
47:
421:
311:
266:
176:
163:. In the era of Islamic invasion of the northwest regions of the
160:
156:
77:
The text is divided into seven chapters. The first six chapters,
63:
1851:
Titon, Jeff Todd; Cooley; Locke; McAllester; Rasmussen (2008).
654:
615:
406:
394:
592:
415:
398:
383:
373:
369:
319:
271:
239:
1775:(fourth ed.). Cambridge, MA: Harvard University Press.
1061:. Oxford University Press. pp. 87–90, context: 69–166.
1055:
Harold Powers (2001). Stanley Sadie and John Tyrrell (ed.).
987:
777:
591:. Chapter 3 opens with a summary of sangita practice in the
584:
449:(singing styles), meters and other basic musical concepts.
402:
315:
249:
39:
1850:
1189:
409:. The sections 3 through 8 of the first chapter describe
198:
1571:
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1450:
1448:
1446:
1225:
Sarngadeva, Translated by Ravindra K Shringy (1978),
1108:
964:. BRILL Academic. pp. 6 with footnote 37, 54.
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1634:
1540:
1481:
1443:
1422:
1402:. Fordham University Press. pp. 190 note 28.
1312:
957:
903:
773:
771:
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1375:. University of Chicago Press. pp. 212–213.
1162:
1135:
930:
1888:
1607:
1027:
1395:
1348:. University of Chicago Press. pp. 12–13.
1058:The New Grove dictionary of music and musicians
863:. University of Chicago Press. pp. 11–13.
768:
737:
652:The text attracted secondary literature called
1538:
1534:
1532:
1508:
1251:
1247:
1245:
1231:, Ed: Sharma Prem Lata, Motilal Banarsidass,
1196:. Oxford University Press. pp. 330–332.
1054:
291:
1827:
1810:
1368:
1341:
1329:
1260:(4). Cambridge University Press: 1003–1004.
934:The Music and Dance of the World's Religions
355:Prabandhādhyāya (compositions, poetic meter)
1529:
1221:
1219:
1217:
1215:
1213:
1169:. Duke University Press. pp. 239–240.
1081:
1034:. Kalinga Publications. pp. vii–viii.
983:
981:
1485:Musicological literature, Volume 6, Part 1
1426:Musicological literature, Volume 6, Part 1
1242:
750:Musicological literature, Volume 6, Part 1
710:
298:
284:
1751:Sanskrit Play Production in Ancient India
1687:. Oxford & Indiana University Press.
1638:Indian Classical Music - A Bird's Eyeview
1316:Indian Classical Music - A Bird's Eyeview
1115:. Motilal Banarsidass. pp. 753–760.
1088:. Motilal Banarsidass. pp. 221–222.
1085:Sanskrit Play Production in Ancient India
1793:Music and Musical Thought in Early India
1726:
1675:
1655:
1461:. Taylor & Francis. pp. 33–34.
1372:Music and Musical Thought in Early India
1345:Music and Musical Thought in Early India
1210:
994:. Abhinav Publications. pp. 41–42.
978:
937:. Greenwood. pp. 64 with note 525.
860:Music and Musical Thought in Early India
815:. Oxford University Press. p. 116.
808:
788:. Abhinav Publications. pp. 42–43.
723:. Oxford University Press. p. 116.
716:
28:Sanskrit manuscript, verses 1.1.1-1.1.4.
20:
988:Reginald Massey; Jamila Massey (1996).
1889:
1789:
1768:
1709:
1611:Speaking of Dance: The Indian Critique
1515:. Abhinav Publications. pp. 1–2.
1239:, pages iii-viii, 1-14, 40, 51, 62, 79
856:
629:– a professor of Music and Drama, the
352:Prakīrņakādhyāya (performing practice)
179:(r. 1210–1247) of the Yadava dynasty.
1747:
1142:. Harman Publishing. pp. 18–21.
1018:, Indian Musicological Society, p. 46
559:Tivra, Kumadvanti, Manda, Chandovati
1190:Nicholas Cook; Mark Everist (1999).
753:. Harrassowitz. pp. 12, 33–34.
1834:Indian Music: History and Structure
1614:. D.K. Printworld. pp. 44–49.
1547:. Oxford University Press. p.
1455:Alison Arnold; Bruno Nettl (2000).
961:Indian Music: History and Structure
907:Indian Music: History and Structure
568:Vajrika, Prasarini, Priti, Marjani
310:The text is a Sanskrit treatise on
13:
1512:Kathak, Indian Classical Dance Art
1399:The Reinvention of Religious Music
571:Kshiti, Rakta, Sandipini, Alapini
14:
1958:
1872:
1572:Françoise Delvoye Nalini (1994).
1139:The Nāṭyaśāstra and Bharata Nāṭya
1014:Ramanlal Chhotalal Mehta (1996),
361:Vādyādhyāya (musical instruments)
1937:13th-century Sanskrit literature
1488:. Harrassowitz. pp. 14–21.
1429:. Harrassowitz. pp. 20–21.
1016:Musical Musings: Selected Essays
910:. BRILL Academic. pp. 6–7.
197:
1796:. University of Chicago Press.
1772:The Harvard Dictionary of Music
1649:
1628:
1601:
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1502:
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951:
583:The mammoth text describes 253
462:
1720:10.1093/obo/9780195399318-0071
1109:Sures Chandra Banerji (1989).
924:
897:
885:Sangitaratnakara of Sarngadeva
877:
850:
837:Sangitaratnakara of Sarngadeva
829:
802:
346:Svaragatādhyāya (sound system)
50:during the 13th century, both
1:
1031:Carnātic Music and the Tamils
703:
643:
342:The text has seven chapters:
134:
123:
1769:Randel, Don Michael (2003).
1730:Semiosis in Hindustani Music
1727:Martinez, José Luiz (2001).
1254:The Journal of Asian Studies
640:relating to non-attachment.
7:
1917:Hindustani music literature
1714:. Oxford University Press.
1635:T.S. Parthasarathy (1993).
1482:Emmie te Nijenhuis (1977).
1423:Emmie te Nijenhuis (1977).
1313:T.S. Parthasarathy (1993).
958:Emmie Te Nijenhuis (1974).
904:Emmie Te Nijenhuis (1974).
747:Emmie te Nijenhuis (1977).
666:
562:Dayavati, Ranjini, Raktika
468:
16:Sanskrit musicological text
10:
1963:
1163:Amanda J. Weidman (2006).
1136:Hema Govindarajan (1992).
931:Ezra Gardner Rust (1996).
182:
1927:13th-century Indian books
1608:Mandakranta Bose (2001).
1028:T. V. Kuppuswami (1992).
634:exemplified ideas in the
322:(instrumental music) and
143:
1907:Indian non-fiction books
1710:Lidova, Natalia (2014).
1683:The Ragas of North India
1578:. Manohar. p. 102.
1396:Sander van Maas (2009).
1332:, pp. 13–14, 21–25.
1815:. Munshiram Manoharlal.
1754:. Motilal Banarsidass.
1733:. Motilal Banarsidass.
1539:Peter Fletcher (2001).
887:, Adyar Library Press,
839:, Adyar Library Press,
574:Madanti, Rohini, Ramya
349:Rāgavivekādhyāya (raga)
1902:Indian classical music
1790:Rowell, Lewis (2015).
1663:. London: C. Johnson.
1509:Sunil Kothari (1989).
857:Rowell, Lewis (2015).
688:Indian classical music
683:Indian classical dance
452:The suddha (pristine)
386:and the Hindu goddess
191:Indian classical music
66:(r. 1210–1247) of the
60:Indian classical music
29:
1912:13th century in music
1811:R.K. Shringy (2007).
1748:Mehta, Tarla (1995).
1369:Lewis Rowell (2015).
1342:Lewis Rowell (2015).
433:(derivative scales),
364:Nartanādhyāya (dance)
24:
1942:Indian music history
1082:Tarla Mehta (1995).
883:S.S. Sastri (1943),
835:S.S. Sastri (1943),
1880:"Sangita Ratnakara"
1829:Te Nijenhuis, Emmie
465:
460:, states the text.
326:(dance, movement).
165:Indian subcontinent
1837:, BRILL Academic,
991:The Music Of India
785:The Music Of India
693:Sangita Makarandha
463:
429:(primary scales),
70:whose capital was
30:
1864:978-0-534-59539-5
1803:978-0-226-73034-9
1782:978-0-674-01163-2
1761:978-81-208-1057-0
1740:978-81-208-1801-9
1621:978-81-246-0172-3
1585:978-81-7304-092-4
1558:978-0-19-816636-8
1522:978-81-7017-223-9
1495:978-3-447-01831-9
1468:978-0-8240-4946-1
1436:978-3-447-01831-9
1409:978-0-8232-3057-0
1382:978-0-226-73034-9
1355:978-0-226-73034-9
1330:Te Nijenhuis 1974
1203:978-0-19-879004-4
1149:978-81-85151-57-1
1122:978-81-208-0063-2
1095:978-81-208-1057-0
1068:978-0-19-517067-2
1041:978-81-85163-25-3
1001:978-81-7017-332-8
944:978-0-313-29561-4
870:978-0-226-73034-9
822:978-0-19-164294-4
809:Rens Bod (2013).
795:978-81-7017-332-8
778:Reginald Massey;
760:978-3-447-01831-9
730:978-0-19-164294-4
717:Rens Bod (2013).
631:Sangita Ratnakara
581:
580:
555:Sangita Ratnakara
456:are those in the
445:(embellishment),
425:(microinterval),
358:Tālādhyāya (tala)
331:Sangita Ratnakara
329:The 13th-century
308:
307:
167:and the start of
149:Sangita Ratnakara
122:of Simhabhupala (
38:, संगीतरत्नाकर, (
35:Sangita-Ratnakara
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110:(chapter 2) and
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46:(शार्ङ्गदेव) in
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702:
701:
700:
698:Music of India
695:
690:
685:
680:
675:
673:Dance of India
668:
665:
645:
642:
627:Peter Fletcher
608:membranophones
579:
578:
575:
572:
569:
566:
565:Rudri, Krodhi
563:
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550:
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477:
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366:
365:
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306:
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295:
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269:
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252:
247:
242:
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229:
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224:
223:
222:
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216:
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209:Carnatic music
203:
202:
194:
193:
184:
181:
145:
142:
68:Yādava dynasty
58:traditions of
52:Carnatic music
15:
9:
6:
4:
3:
2:
1959:
1948:
1945:
1943:
1940:
1938:
1935:
1933:
1930:
1928:
1925:
1923:
1920:
1918:
1915:
1913:
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1844:90-04-03978-3
1840:
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1237:9788121505086
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1214:
1205:
1199:
1195:
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1186:
1178:
1176:9780822336310
1172:
1168:
1167:
1159:
1151:
1145:
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1140:
1132:
1124:
1118:
1114:
1113:
1105:
1097:
1091:
1087:
1086:
1078:
1070:
1064:
1060:
1059:
1051:
1043:
1037:
1033:
1032:
1024:
1017:
1011:
1003:
997:
993:
992:
984:
982:
973:
971:90-04-03978-3
967:
963:
962:
954:
946:
940:
936:
935:
927:
919:
917:90-04-03978-3
913:
909:
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893:0-8356-7330-8
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845:0-8356-7330-8
842:
838:
832:
824:
818:
814:
813:
805:
797:
791:
787:
786:
781:
780:Jamila Massey
774:
772:
762:
756:
752:
751:
743:
741:
732:
726:
722:
721:
713:
709:
699:
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691:
689:
686:
684:
681:
679:
676:
674:
671:
670:
664:
662:
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650:
641:
639:
638:
637:Bhagavad Gita
632:
628:
625:According to
623:
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336:Natya Shastra
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114:(chapter 5).
113:
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103:Nartanadhyaya
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27:
23:
19:
1947:Music guides
1853:
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1712:Natyashastra
1711:
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831:
811:
804:
784:
749:
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660:
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600:chordophones
597:
582:
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377:
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219:Odissi music
173:Ellora Caves
148:
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111:
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34:
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31:
25:
18:
1932:Music books
1897:Hindu texts
1857:. Cengage.
847:, pages v-x
678:Hindu texts
138: 1430
127: 1330
99:Vadyadhyaya
1891:Categories
704:References
644:Importance
612:idiophones
604:aerophones
553:Srutis in
486:(गान्धार)
431:murcchanas
159:family of
153:Śārṅgadeva
129:) and the
95:Taladhyaya
44:Śārṅgadeva
1282:171023214
458:Sama Veda
437:(color),
413:(sound),
388:Saraswati
131:Kalanidhi
1831:(1974),
1679:(1968).
1659:(1949).
782:(1996).
667:See also
513:(Short)
506:(निषाद)
499:Dhaivata
496:(पञ्चम)
491:(मध्यम)
489:Madhyama
484:Gandhara
443:alankara
441:(mode),
419:(tone),
379:Samaveda
245:Alankara
227:Concepts
72:Devagiri
48:Sanskrit
1823:5051774
1274:2054840
501:(धैवत)
494:Pañcama
476:(षड्ज)
471:(Long)
312:Sangita
267:Sangita
183:Content
177:Simhana
161:Kashmir
157:Brahmin
64:Simhana
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616:Kathak
504:Nisada
481:(ऋषभ)
479:Rsabha
454:svaras
427:gramas
407:Moksha
395:Dharma
235:Shruti
144:Author
1703:11369
1278:S2CID
1270:JSTOR
589:Talas
585:ragas
548:(नि)
523:(रि)
511:Svara
474:Sadja
469:Svara
435:varna
422:śruti
416:svara
399:Artha
384:Shiva
374:Vedas
370:Shiva
324:Nrtta
320:Vadya
272:Vadya
240:Svara
112:talas
108:ragas
1859:ISBN
1839:ISBN
1819:OCLC
1798:ISBN
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1756:ISBN
1735:ISBN
1699:OCLC
1689:ISBN
1665:OCLC
1616:ISBN
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1490:ISBN
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1377:ISBN
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1233:ISBN
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1144:ISBN
1117:ISBN
1090:ISBN
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1036:ISBN
996:ISBN
966:ISBN
939:ISBN
912:ISBN
889:ISBN
865:ISBN
841:ISBN
817:ISBN
790:ISBN
755:ISBN
725:ISBN
620:rasa
610:and
543:(ध)
538:(प)
533:(म)
528:(ग)
518:(स)
447:giti
439:jati
411:nada
405:and
403:Kama
316:IAST
260:Tala
255:Rasa
250:Raga
97:and
54:and
40:IAST
32:The
1716:doi
1549:253
1262:doi
541:Dha
140:).
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521:Ri
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314:(
299:e
292:t
285:v
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