Why sangeet ratnakar has been most important granth in the history of indian music
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Sańgītaratnākara is a very important text and this is evident from the many commentaries written on it.[2] It remains as a reference text in the contemporary times among the Indian musicologists and music schools.[34]
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.[20][35] Sarangdeva expanded the more ancient and medieval ideas as well, such as with his ideas on lasyas.[36] The text forms a useful bridge between the ancient, medieval and the post-13th century periods of music history in India.[37]
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.[20][35] Sarangdeva expanded the more ancient and medieval ideas as well, such as with his ideas on lasyas.[36] The text forms a useful bridge between the ancient, medieval and the post-13th century periods of music history in India.[37]
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