The author has set to notation the six principal Rages of the Hindus, adopting their national notation as the one indispensable for the thorough expression of Hindu Music. To impart picture-sequences to the treatise, as well as to clothe it with orientalism, he has also given their emblemetical representations.
The word Sangeeta has a complex significance. It means the union of three things-eta par and it or song, percussion and dancing. The works that treat of the principles and laws of both local and instrumental music, and of the rules and directions with regard to the whole scope of theatric representation, are called Sangeeta Shaastras. Sangeeta Shastra may be considered in a two-fold view-as a science and as an art.
Considered as a Science, it treats of the origin and propagation of Nanda or sound of the doctrine of Shrutis or the theory of Sanskrita intervals, of the doctrine of sparas or musical sounds, of the formation of the different species of scales, of the rules of moorchchannas and tatas, of the composition of rangas and their various modifications and variations of the variety, of tanlas or times conformable to regular metre and of the rules and directions with respect to the various styles of theatric representation.
Considered as an art, it lays down the necessary directions for the cultivation of the human voice, for the performance of instrumental music, and for the various motions and gestures in dancing. Sangeeta Shaastra is accordingly divided into two portions; namely, Aupapattika and Kreyasidahn or theoretical and practical. The general and most essential characteristic of geeta, sadya and nritya is rakti or the power of affecting the heart.
WITH a view to imparting His Royal Highness an idea of the Indian Melodies, the Author has set to notation the six principal Ragas of the Hindus, adopting their national notation as the one indispensable for the thorough expression of Hindu Music. To impart picturesqueness to the treatise, as well as to clothe it with orientalism, he has also given their emblematical representations. As a preliminary matter, the Introduction treats of topics, a knowledge of which is necessary for the due comprehension of the Ragas.
In the Appendix, the Author has noted down a few songs of Jayadeva-a true 'poetic child'-to marry at the auspicious moment of the Prince's advent, Music to immortal Verse."
Conscious as the Author is that the offering ae brings to the throne, is not worthy of His Royal Highness, he hopes and believes that what may be wanting in the book, will be considered made up for by his devoted loyalty.
**Contents and Sample Pages**
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