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412
Alamkara, Sangita and Natya
[330.
Description.-.Modern paper; Devanagari characters%3; clear, bold.
and legible hand-writing ; borders ruled with triple red lines; edges (right and left) ruled with single red lines; some topical headlines smeared with red pencil ; incomplete; folios I to 9appcar to comprise : the 3rd chapter viz. प्रकीर्णकाध्याय of the संगीतरत्नाकर of शान्देव as it appears to have been incorported in the present work as one of its chapters. This is clear from the following lines taken from the
beginning and end of the chapter:fol. 1- “अथ श्रीकृष्णानंदव्यासदेवरागसागरोद्भवसंगीतरागकल्पद्रमे
संगीतसहितायां प्रकीर्णाध्यायः प्रार(रंभ( भो? )स्य तथा च संगीत. . रत्नाकरे etc. fol. 9 – “इति श्रीमद्र(न)वद्यविद्याविनोदश्रीकरणाधिपतिः श्रीसोढलदेवनंदनश्रीम
निकश (श्रीमन्निःशङ्क)श्रीशाद्विदेव(श्रीशाङ्गदेव )विरचिते संगीतरत्नाकरे प्रकीर्णकाध्यायः तृतीयः - इति श्रीकृष्णानंदव्यासदेवरागसागरोद्भवसंगीतरागकल्पद्रुमे संगीतायां (=संगीतसंहितायां ) संगीतरत्नाकरे प्रकीर्णकाध्यायः The work संगीतरागकल्पद्रम proper appears to begin after this ( possibly interpolated ) chapter. The following are some of the works and authors mentioned or quoted from in the work:
नारदसंहिता ( fol. I0 ); संगीतभाष्य ( fol. I0, 19 ); शिवसंगीतरत्नाकर ( fol. 10); विज्ञानेश्वर (fol. I0, 27 ); विष्णुपुराण ( fol. 10, 19); संगीतनारायण ( fol. 10); शिवसंगीत ( fol. I0); संगीतदर्पण ( fol. 10, 22 ); सरस्वतीसंगीत ( fol. I0); ब्रह्मसंगीत ( fol. 10); नारायणसंगीत ( fol. I0); आंजनेय (fol. 12, 20, 28); संगीतलक्ष्मीनारायण ( fol. I0); संगीतरत्नाकर ( fol. 19); संगीतमहोदधि ( fol. 19, 21 ); नारदसंहिता ( fol. 20) संगीतसंहिता (fol. 21); संगीतसार ( fol. 22 ); संगीतचन्द्रिका ( fol. 22 ); वृहत्संगीतरत्नाकर ( fol. 22 ); हनूमन्मत ( fol. 22 ); भरतमत ( fol. 22 ); नारदसंगीत ( fol. 22 ); संगीतास( सिं?)धु ( fol. 22 ); संगीतपारिजात ( fol. 22);
I Cr. the statement of the Ms itself:fol. 9-“॥ श्रीमदहरिहंतायनमः ।। श्रीअमरानंदव्यासदेव तस्यात्मज श्रीहीरानंदव्यासदेव तस्यात्मज
श्रीकृष्णानंदव्यासदेव रागसागरोदभव संगीतरांगकल्पद्रुमनामक ग्रंथप्रारंभः।"
