Sangit Makarand

The provided text details the publication and content of Sangita Makaranda, a significant ancient Indian Sanskrit treatise on music and dance, attributed to the sage Narada. The text includes an extensive introduction by the editor, Mangesh Ramkrishna Telang, followed by the detailed contents of the work.

Here's a comprehensive summary based on the provided pages:

I. Publication and Editorial Information:

• Book Title: Sangita Makaranda
• Author: Narada
• Editor: Mangesh Ramkrishna Telang (Retired Head Shirastedar of the Bombay High Court, Editor of Sangita Ratnakara, etc.)
• Publisher: Central Library, Baroda (Published under the authority of the Government of His Highness the Maharaja Gaekwad of Baroda)
• Publication Year: 1920
• Price: Rs. 2
• Sponsorship: The project is a part of a larger initiative by Shri Ashapuran Parshwanath Jain Gyankhandar to digitize and preserve ancient manuscripts, particularly Jain texts. The specific publication of Sangita Makaranda was supported by various individuals and institutions, with the text being a part of a larger project of restoring and making accessible rare books.
• Catalog Link: https://jainqq.org/explore/034225/1
• Manuscript Source: The edition is based on a single manuscript from the Baroda Central Library, discovered by the wife of Mr. R. Ananta Krishna Shastry. This manuscript, written in Devanagari on yellowed paper, dates back to Shake 1599 (A.D. 1677).

II. Introduction by Mangesh Ramkrishna Telang:

• Significance of Sangita Makaranda: It's highlighted as one of the few printed Sanskrit works on music.
• Scope of Indian Music Literature: The introduction emphasizes the vastness of ancient Indian music literature, citing many masters (Vena, Matanga, Kobala, Tumburu, etc.) whose works, though often only mentioned by name by later commentators like Chaturanga Kallinatha, are not fully available.
• Vedic Music (Sama-gana): The origins of music are traced back to Vedic songs called "Samas."
• Bharata's Natya Shastra: Considered the most ancient available book on music, its dating is discussed (1st to 4th century AD). It's acknowledged as the foundation of the current music system.
• S'arngadeva's Sangita Ratnakara: Mentioned as a significant later work (AD 1210-1247), with a comprehensive list of authors and commentators cited by S'arngadeva.
• Narada's Authorship: The present work, Sangita Makaranda, is attributed to Narada, though his life and exact period are uncertain.
• Comparison with Naradiya Siksha: The introduction suggests that Sangita Makaranda and Naradiya Siksha, both attributed to Narada, might have different authors, with Naradiya Siksha appearing to be older and focusing more on Vedic music.
• Northern and Southern Indian Music Systems: The text discusses the bifurcation of Indian music into Hindustani (Northern) and Carnatic (Southern) systems, noting that the Raga classifications and practices in modern music differ significantly from ancient texts. Sangita Makaranda's classification of Ragas into primary Ragas and their wives suggests it aligns with the Northern Indian system.
• Observations on Sangita Makaranda:
  • The text is based on a single manuscript, leading to potential inaccuracies corrected by the editor with cross-references to other works.
  • The author of Sangita Makaranda is likely different from the Puranic Narada Rishi.
  • A unique classification of musical sounds into five types (based on nails, wind, leather, metal, and the human throat) is noted.
  • The work details the families, castes, colors, deities, metres, constellations, zodiac signs, planets, and sentiments associated with the seven musical notes, elements not all found in Bharata's Natya Shastra but present in Sangita Ratnakara.
  • The names of the 22 Srutis in Sangita Makaranda are distinctly different from those found in other major texts, suggesting an older, possibly lost, source.
  • Narada mentions 18 Jatis (as described by Bharata) but without definitions or examples.
  • The number of Alankaras (192) and Ragas (93) in Sangita Makaranda is compared to other works.
  • Narada's classification of Ragas into masculine, feminine, neuter, and further divisions based on quivering (kampa) is noted as absent in later works.
  • The text describes 18 (or 19) types of Vina, differing from S'arngadeva's list.
  • The content regarding singers and their merits is similar to Sangita Ratnakara, raising questions about interpolation.
  • Descriptions of the Natya Shala and audience are presented as independent of Sangita Ratnakara.
  • Narada enumerates 101 Talas, without the Marga/Desi division found in Sangita Ratnakara.
  • The account of dancing is brief compared to Sangita Ratnakara.
  • The style is simpler than the polished Sanskrit of Sangita Ratnakara.
• Dating of Sangita Makaranda: Based on the inclusion of Matrigupta (6th century AD) and the omission of later writers mentioned by S'arngadeva, the work is dated between the 7th and 11th centuries AD. This is further supported by the shared definition of Gandhara Grama with S'arngadeva.

III. Contents of Sangita Makaranda (Chapter-wise):

The provided text outlines the subject matter for each chapter and sub-chapter (Pada) of the Sangita Makaranda:

• Sangita Adhyaya (Chapter on Music):

  • Pada 1: Invocation, division of music into Gita, Vadhya, and Nritya; origin and types of Nada (Anahata and Ahata); five types of Ahata Nada (Nakhayu, Vayu, Charm, Loha, Sharira); origin of the seven Swaras (notes) from the navel, heart, throat, palate, nose, teeth, and lips; resemblance of Swaras to animal sounds (peacock, chataka, goat, crane, cuckoo, horse, elephant); the role of Saraswati in teaching music; the divine power of music; the nature of Sthayi and other Swaras; definitions of Vadi, Samvadi, Vivadi, and Anuvadi Swaras; classification of Swaras by caste and origin; colors of Swaras; origin of Swaras from different islands (Jambudweepa, etc.); deities of Swaras; metres (Chandas); Gotras; Nakshatras; Rashis (zodiac signs) and their deities; classifications of Swaras as Rakshasa, Manusha, Daivata; sentiments (Rasas) associated with Swaras; definition of Grama; the three Gramas (Shadja, Madhya, Gandhara); their principal Swaras; definition of Murchana; Swara Prakriti and Vikriti.
  • Pada 2: Description of the Vina (its body and parts); names of important music scholars and deities; glory of music; classification of Swaras as Prakriti and Vikriti, and Vina Prakriti and Vikriti.
  • Pada 3: Names of Ragas sung at different times of the day (Surya-ansh, Chandra-ansh); classification of Ragas into Pulin, Stri, and Napumsaka (masculine, feminine, neuter); Ragas based on Rasas; classification of Ragas based on movement (K Pita, Ardha-k CMPita, Kampita-vihina).
  • Pada 4: Description of Mridanga; types of Vina; types of wind instruments (Sushira); classification of musical sounds and their sources; description of singers (Vaggeyakara) and their qualities; faults of singing.

• Nritya Adhyaya (Chapter on Dance):

  • Pada 1: Description of the Natya Shala (dance hall); description of the Sabha (assembly); qualities of a Vidvan (learned person), Kavi (poet), Bhatta (bard), Gayaka (singer), Paribhasaka (jester), Itihasajna (historian), Jyotisha (astrologer), Vaidya (physician), Pauranika (storyteller); qualities of the Sabhapati (head of the assembly); description of Nataviseha (types of dancers) and Ghargharikas; description of Patra (actress/dancer) and their embellishments; definition of Pushpanjali; origin of the five Talas (Rhythmic cycles).
  • Pada 2: Lists 101 Talas and their definitions.
  • Pada 3: Discussion of Chaturastra and other Talas; descriptions of ten types of Tala Prabhandhas; concept of Anga Talas; explanation of Tala Shambhu; definition of Kala (time); Margalaksana (characteristics of Margas); Deshi Kriya; definition of Angas of Tala; concept of Graha; classification of Jatis; definition of Laya Kala; Prastara (permutation and combination).
  • Pada 4: Origin and characteristics of the Mridanga; description of various hand movements (hasta), Mudras, and dances (e.g., Arekha, Sarini, Prasrini, Kuruḍāyi, etc.).

IV. Appendices:

• Appendix 1: A table showing the number of Srutis and the names of pure and modified Swaras.
• Appendix 2: A list of ancient musical works not yet published, along with their authors, and a list of cited works.

In essence, the book is a foundational text on Indian music and dance, covering:

• The theoretical aspects of Nada (sound), Swara (notes), Grama (modes), Murchana (melodic patterns), and Raga (melodies).
• The practical elements of Vina, Mridanga, and other instruments.
• Detailed classifications of Ragas, Talas, and dance postures.
• The historical and philosophical context of music and dance in ancient India.

The meticulous editorial work by Mangesh Ramkrishna Telang ensures that this valuable ancient text is made accessible to scholars and enthusiasts, contributing significantly to the study of India's rich musical heritage. The Jain connection lies in the publisher's initiative to digitize and preserve such significant cultural works.