Sharang dev biography books name

  • Sangeet ratnakar was written by
  • Sangita ratnakara
  • Sangeet ratnakar was written by

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    Śārṅgadeva

    Indian musicologist (1175–1247)

    This article is about a Hindu music scholar. For Rajput ruler, see Vaghela dynasty.

    Śārṅgadeva (1175–1247),[1] also spelled Sharngadeva or Sarnga Deva, was a 13th-century Indianmusicologist who authored Sangita Ratnakara – a Sanskrit text on music and drama.[2] It is considered to be the authoritative treatise on Indian classical music by both the Hindustani and Carnatic music traditions.[3][4][5]

    Śārṅgadeva was born in a Brahmin family of Kashmir.[6] In an 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 ruled by the Yadava dynasty 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).[6][7][8]

    Ideas

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    Śārṅgadeva presented his ideas on music and dance in seven chapters of Sangita Ratnakara, but integrated it with philosophical context.[2] He systematically presented his ideas on the nature of sound, register, the smallest distinct sounds that humans can hear and musical inst

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    Sangita Ratnakara

    Sanskrit musicological text

    The Sangita-Ratnakara, संगीतरत्नाकर, (IAST: Saṃgītaratnākara), literally "Ocean of Music ", is one of the most important musicological texts from India.[1][2] Composed by 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.[3][4] The author was a part of the court of King Simhana (r. 1210–1247) of the Yādava dynasty whose capital was Devagiri, Maharashtra.[5]

    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).[6][7][8]

    The text is comprehensive synthesis of ancient and medieval musical knowledge of India.[9] The text ha

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