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

( xliv )

                                                    Verse Nos.
5. Viśuddhi-cakra                      ...     (129c-131b)
6. Lalanā-cakra                       ...     (131c-133b)
7. Ājñā-cakra                         ...     (133c-134b)
8. Manas-cakra                        ...     (134c-135b)
9. Soma-cakra                         ...     (136-138)
10. Sahasrapatra-cakra                ...       (139)
11. Meditation of cakra-s as
related to the cultivation of
music                             ...     (140-145b)
(ii) Brahma-granthi                           145c-148
(iii) Suṣumṇā and other nāḍī-s       ...     149c-163b
E. Conclusion                        ...     163c-168b
The value of music for enjoyment (bhukti) and for
enlightenment (mukti)                ...     163c-168b
Section 3 : Nāda, Śruti and Svara             1-60b
A. Nāda                              ...       1-7
(i) Nāda-brahman and its worship (upāsanā) ... 1-2
(ii) The process of manifestation of sound in the
human body                       ...       3-4
(iii) Fivefold nāda                  ...         5
(iv) The derivation of nāda          ...         6
(v) The threefold nāda in music      ...         7
B. Śruti                             ...      8-22
(i) Śruti and its number             ...     8-10b
(ii) The fourfold string-movement (catuḥ-sāraṇā) ... 10c-22
C. Svara and its different aspects   ...    23-60b
(i) Seven tones (svara-s)            ...    23-24b
(ii) The definition of svara         ...    24c-25b
(iii) Discussion regarding śruti-s causing the svara-s ... 25c-27b
(iv) The allocation of śruti-s as characterised by
their classes and names among the svara-s ... 27c-38
(v) Their sthāna-s (registers) of svara-s ...   39ab
(vi) Twelve modified notes           ...    39c-46b
(vii) Production of svara-s by the birds and animals ... 46c-47b
(viii) Sonant, consonant, dissonant and assonant
notes                            ...     47c-51
(ix) Lineage, caste, colour, continent, sage, deity,
metre and rasa (aesthetic delight) of svara-s ... 52-60b

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( xlv )

                                                    Verse Nos.
Section 4 : Grāma, Mūrcchanā, Krama, and Tāna  1-91
A. Grāma                             ...       1-8
(i) The definition of grāma          ...       1ab
(ii) The Two grāma-s                 ...     1c-2b
(iii) The definition of the ṣaḍja-grāma and the
madhyama-grāma                   ...     2c-3b
(iv) The gāndhāra-grāma              ...      3c-5
(v) Justification for the three grāma-s ...   6-7b
(vi) The presiding deities of the grāma-s ...  7cd
(vii) Periods of time as related to the grāma-s ... 8
B. The Mūrcchanā-s and krama-s       ...      9-26
(i) The definition of mūrcchanā      ...         9
(ii) The names of the mūrcchanā-s of the ṣaḍja
and madhyama grāmas              ...    10-12a
(iii) The tonal form of the mūrcchanā-s ... 12b-15
(iv) The classification of mūrcchanā-s ...   16-17
(v) Method of indicating the serial number of
a mūrcchanā                      ...        18
(vi) The mūrcchanā-series (krama-s) and their
number                           ...    19-20b
(vii) The presiding deities of the mūrcchanā-s ... 20c-22b
(viii) Narada's nomenclature for the mūrcchanā-s ... 22c-26
C. The Tāna-s                        ...     27-90
(i) The formation and the number of the
śuddha-tāna-s (specific combinational
note-series)                     ...     27-31
1. The definition of śuddha tāna ...    (27ab)
2. The hexatonic note-series     ...  (27c-29b)
3. The pentatonic note-series    ...  (29c-31b)
4. Total number of hexatonic
and pentatonic combinational
note-series (śuddha-tāna-s)   ...    (31cd)
(ii) The formation and the number of the
kūṭa (permutational) tāna-s (note-series) ... 32-49
1. The definition of kūṭa-tāna
(permutational note-series)   ...   (32a-c)
2. The enumeration of the
complete permutational
note-series                   ...  (32d-35a)