Sangeet Ratnakar

'Sangeet Ratnakar' is an ancient and famous book of Indian music. This book was composed by Pt. Sharangdev Ji in the 13th century. Pandit ji's birth is said to be after 1210 A. D. . His ancestors were Kashmiris who later settled in Devagiri (Daulatabad). His father was a senior employee in the royal court and he received a good education. Pandit ji worshiped the gods and traveled to many places. After this he composed the book Sangeet Ratnakar.

This text book is considered the foundation text of Northern and Southern musical systems. This book is divided into seven parts. In which the definitions of singing, body and dance and other things have been highlighted. Although Panditji has followed Bharat, given more details than Matanga Muni. Still, his originality and talent is reflected in Murchchhana, Sarana Chatushtai, omission of Madhyam Gram and many distorted voices.

In 'Sangeet Ratnakar', Naad, Shruti, Swar, Gram, Murchhna, Jaati have been explained very well.

The seven chapters are as follows:-

(1) Swaradhyaya, (2) Raga Vivekadhyaya, (3) Prakirnadhyaya, (4) Prabandhadhyaya,

(5) Taladhyaya, (6) Vaadyadhyaya, (7) Nrityadhyaya.

(1) Swaradhyaya:-

In this chapter, Pandit ji has explained about the definition of Naad, the origin of Naad and its differences. Without this, Gram, Alankar and Varna have been explained. Apart from this, Sarna Chatushtai was used by tying 21 strings on the Veena.

1. Naad:-

According to Pandit ji, that musically useful melodious sound whose number of movements is regular and constant is called Naad. The origin of Naad is believed to be from the combination of Nakar and Dakar i.e. air and fire. And its two types are considered to be Aahat Naad and Anahata Naad.

2. Shruti:-

It is said about Shruti that the sound which can be heard separately and clearly from each other is called Shruti. Pandit ji has considered their number as 22 and has divided them on the basis of 4:3:2:4:4:3:2.

3. Swar:-

According to Pandit ji, the color Naad itself is called Swar. He considered 7 pure and 12 distorted notes.

4. Gram :-

Pandit ji says that such a group of vowels which is the basis of unconsciousness (Murchana) is called Gram. These are of three types.

(1) Shadaj Gram (2) Madhyam Gram (3) Gandhaar Gram

5. Murchhna:-

Pandit ji calls the ascending and descending of the seven notes in the order of Murchhna. He considered 7-7 unconsciousness of Shadaj and Madhyam Gram.

6. Varna:-

According to Panditji, the act of singing is called Varna. These are of four types

(1) Permanent alphabet (Varna) (2) Ascending alphabet (Varna) (3) Descending alphabet (Varna) (4) Communicative alphabet (Varna).

7. Alankar:-

Pandit ji calls a particular varna community as Alankar. According to him, the use of Alankar increases the tonality in singing and playing and helps in knowing the correct position of the notes.

8. Thaat:-

Pandit ji considered pure Thaat to be Kafi but nowadays pure Thaat is considered as Bilawal.

(2) Raga Vivekadhaya:-

In this chapter Pandit ji has divided all the ragas into 10 parts: -

(1) Raga (2) Gram Raga (3) Uparaga (4) Bhasha (5) Vibhasha (6) Antarbhasha (7) Ragang (

8) Bhasang (9) Upang (10) Kriang. All these parts are famous by the name of 'Das Vidhi Raga Classification'. Along with this, division of male and female ragas has also been considered.

(1) Ragas whose number is considered to be 20

(2) The number of Gram Ragas is considered to be 30.

(3) The number of Uparaga is considered to be 08.

(4) The number of languages (Bhasha) is considered to be 96.

(5) The number of Vibhasha is considered to be 20.

(6) The number of interlanguage (Antarbhasha) is considered to be 04

(7) The number of Ragang is considered to be 08.

(8) The number of languages (Bhasang) is considered to be 21.

(9) The number of Upang is considered to be 03.

(10) The number of actions (Kriang) is considered to be 12.

(3) Prakirndhyaya:-

In this chapter Pandit ji has discussed 28 qualities of Vaggeykar. The merits and demerits of the singer have been explained without this. Pt. ji has called that musician a Vaggeyakar who composes both words and music. Vaggeyakar had many qualities like grammar, rhyme, rasa, ornamentation (alankar), rhythm (Laya), rhythm, voice (Swar), raga and knowledge of quick poetry etc.

(4) Prabandhadhyay:-

In this chapter, Pandit ji has thrown light about country (Deshi) music, Margi music, bounded (Nibandh) and non-bounded (Anibandh) songs, ragalap, roopkalaap etc. under the subject of Prabandh.

1. Country (Deshi) Music:-

The music we use, which entertains the public and is vocal based is called country music.

2. Margi Sangeet:-

The music which Gandharva people used to attain salvation and used for devotion to God, the rules of which were very strict, was called Margi Sangeet.

3. Nibuddha and Anibuddhagaan songs:-

The compositions which are bound to the rhythm are called Nibiddha songs and the compositions which are not bound to the rhythm are called non-bounded (Anibandha) songs.

4. Ragalap:-

While singing a raga, when 10 signs were followed in the raga, it was called Ragalap.

5. Rupkalaap:-

Rupkalaap was done after Ragalap. This alap was considered better than ragalap. It was sung in different sections. Words were not used in this.

(5) Taladhyay:-

In this chapter, Pandit ji has thrown light on the popular rhythms (Taalas) of that time. All these locks (Taalas) have been divided into Margi and Deshi locks (Taalas).

(6) Vadyadhyaya (Vadyadhyaya):-

In this chapter, Pt. ji has divided all the instruments into four parts.

(1) Tat Vadya, (2) Sushir Vadya, (3) Avanad Vadya, (4) Ghan Vadya.

Pandit ji has also told about the merits and demerits of the instruments and players.

1. String instruments (Tat Vadya):-

Stringed instruments are called string instruments like sitar, guitar, sarangi and veena etc.

2. Wind instruments (Sushir Vadya):-

The instruments which are played by filling air are called wind instruments. Like flute, shahnari conch etc.

3. Avanad instruments:-

The instruments in which leather is used are called Avanad instruments. Like- Dholak, Tabla, Dhol, Damru, Nagara etc.

4. Solid instruments (Ghan Vadya):-

The instruments which are made of metal are called solid instruments like bell, manjira, cymbal, khartal, tap tarang, pellet tarang etc.

(7) Nrityadhyaya:-

In this chapter, topics related to dance and dramas have been highlighted. Music is considered an important part of drama. Along with acting, dance, singing and playing instruments have been told in the drama,.

In the end, Pandit Sharangdev ji says that just as a river gets satisfaction after meeting the ocean, in the same way, I have combined the knowledge I had in Sangeet Ratnakar and offered it to all the people.

'Sangeet Ratnakar' is a wonderful contribution of Pandit Sharangdev ji in the world of music.

Sangeet Ratnakar, Sangeet Parijat, Natya Shastra