सङ्गीतरत्नाकर: प्रथम भाग (शार्ङ्गदेव - स्वरगताध्याय सविस्तार व्याख्या व अनुवाद सहित)

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lakṣya to the lakṣaṇa of the grāma-rāga-s etc. describ-
ed in S. R.¹ In this context it is strange that he
does not refer to Vidyāraṇya² whose system of
mela-s had already been propounded. This is all
the more surprising since Vidyāraṇya too had
belonged to the same Vijayanagaram empire of
which Kallinātha was a citizen.
(b) Rāmakṛṣṇa Kavi in his Bharata Kośa states that
Rāmāmātya is the grandson (dauhitra) of Kalli-
nātha.³ One does not know the source from which
Śrī Kavi obtained this information, but it is very
curious that Rāmāmātya does not refer to Kalli-
nātha at all in his entire work. Again, while
Kallinātha frequently asserts his familiarity with
the musical tradition handed down by Bharata,
Mataṅga, Śārṅgadeva etc., i. e., the knowledge of
the 'sampradāya'⁴, Rāmāmātya seems to reveal
a lack of understanding of Śārṅgadeva's work
and his svara system in particular. Students of
history of music wonder how within the time of
Kallinātha and Rāmāmātya the tradition of S. R.
became unfamiliar.
(c) Equally strange is the fact that the author of S.
Sud. should find Vidyāraṇya accessible but
Kallinātha obscure.⁵
(iii) Kumbhakarṇa is now established as the author of
Saṅgītarāja. It is indeed strange that Kumbhakarṇa should
have been noticed as a commentator of S. R. Saṅgītarāja
is an independent work, the scope of which is larger than

1. K. on S. R., 2. 2. 159-160, vol. II, p. 114-116 (Revised edition)
2. Vidyāraṇya is the author of Saṅgītasāra, known to be the first
   work on mela-system and which is no more available.
3. Bharata Kośa, p. 550.
4. cf. K on S. R. 1, 4, 15ab-16, vol. I, p. 108; K on S. R.
   5.237-238 vol. III, p. 135 ln. 12-13.
5. S. Sud., p. 152.
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   that of S. R. in some respects. However, the bulk of its
   contents is an elaboration of S. R. and hence it may be called
   a commentary in an informal sense. It is, however, not known
   on what source this reference was based.
6. A manuscript of Gaṅgārāma's Hindi commentary
   'Saṅgīta-setu' is deposited in the library of the palace of the
   former Prince of Kashi, in Ramnagar, Varanasi.¹ The work
   is more of a translation, though some independent obser-
   vations or explanations of the commentator are found here
   and there². Indication of the verse or group of verses
   forming a unit of translation is also given with the initial
   word (pratīka), e. g., Brahmeti for the opening verse of the
   work.
   The order of Vādyādhyāya and Nartanādhyāya having
   been reversed, the commentary ends with the Vādyādhyāya³.
   The last colophon reads :
   इति श्री महाराजाधिराज श्री महाराजा श्री राजा बहादुर सीतारामचंद्र
   कृपापात्राधिकारी विश्वनाथ सिंह जू देव तदाज्ञा-प्रयुक्त-श्रीमाथुरकुलमणि
   तुलारामगर्भ-समुद्भूत-गंगाराम-कृत-संगीतसेतौ वाद्याध्यायः षष्ठः (सप्तमः ?)
   समाप्तिमगमत् तदेतद्विदुषां प्रीतये भूयात् ॥
   संवत् १९०२ के साल मिती भाद्रवदी ८ समाप्यः ॥
   श्री नृपमणे विसुनाथ तव मोद हेत सुख पाइ । लाला दौलत लिखत
   वाद्याध्याय बनाइ ॥
   The colophon gives the following information :-
   (a) The date of the work is Saṁvat 1903, i. e., 1903-
   57 = 1846 A. D.
   1 . A transcript of the same has been prepared by the Research
   Section of the Department of Musicology, B. H. U.
7. There is reference to Kenopaniṣad in the commentary to
   S. R. 1. 2, verse 18-20
   'Anāhata' is explained as that which is not the product of an
   attack or striking anywhere.
   In the context of Sādhāraṇa there are references to Saṅgīta-
   pārijāta and Nāradīyaśikṣā
8. This could have been the mistake of the copyist.