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Introduction
music in this region and also the genius of Bengal in the realm of music. Elements of the music of this province reached the far -off places in Central Asia called Kashgar, Kuchi, Khotan etc. through travellers, Buddhist priests and merchants. The music of such non-Aryan races as Sabaras, Pulindas, Kambo. jas, Vangas, Kirātas and Drāvidas etc. infiltrated into the musical lore of the Aryans. The music of these tribes and races has been included under Deśī (local or regional) which is used in contradistinction to Mārga. But, curiously enough, the rāgas Pulindikā, Śabarī etc. have found a place in the exalted mārga samgitā. From this, it is evident that the con. tribution of non-Aryans to the evolution of Indian music is by no means negligible. Like the vocabulary of India the musical literature of this country was also developed by borrowings from the non-Aryans. Works and authors :
That a large number of works on music and dance were composed in India is attested by the mention of earlier writers on these subjects found in the extant works. Sărrigadeva alone has mentioned (Svaragatādhyāya, verses 15-21, of Samgitu-ratnākaru ) more than 20 predecessors. The number of extant works also is not negligible. Of these, comparatively a small numer of works has been published. Of the published works, the following are noteworthy :
1. Nātya-śāstra-ascribed to sage Bharata. According to some, chapters 28–33 of this work, dealing with music, were composed by Kohala.
The date of its composition is highly controversial. It has been variously assigned by different scholars to different periods from the 2nd century B.C. to the 2nd century A.D. Among its commentaries, Adhinavabhārati is the most wellknown and very widely read.
2. Dattilam-ascribed to Dattilācārya.
It has generally followed Bharata. The seven svaras have been mentioned by him no doubt; but, in his opinion, F-2
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