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INTRODUCTION.
above principle. In that system the Ragas are divided according to the different scales on which they are based. Sangita Ratnakara, Sangita Parijata, Ragavibodha &c., follow this system.
Division of Râgas followed in the present work-The present book Sangita Makaranda) mentions two different divisions of the Ragas into six principal Ragas and their wives1. This division of the Ragas suggests that the book belongs to the Northern India system. But it must be observed that the current Ragas obtaining in the practice of modern Music of Northern and Southern India differ widely from the definitions given in all the ancient Sanskrit Books such as Sangita Ratnakara, Sangita Parijata, Ragavibodha, Sangita Darpana &c.
A few observations on the present work-The text of Sangtta Makaranda is inaccurate in many places as it is based on only one manuscript supplied to me by the Baroda authorities, The manuscript is full of the mistakes of the copyist. I have eorreeted many of these mistakes as far as possible with the help of Sangita Ratnakara, &c. But in many places there are apparently deviations from the rules of syntax. I did not think it proper to correct these in the absence of another copy. But in such cases I have given the suggested readings in brackets or in footnotes or made a query against the words of the text.
Our author seems to have been different from the Nârada Rishi of the Puranas as his name is mentioned by our author in the Mangala verse 2 on page 1.
Our author divides musical sounds into five kinds viz. 1 sound produced by playing Vina-strings with nails, 2 sound produced by means of wind through wind instruments, 3 r sound produced by means of leather through instruments, such as drums, &c., 4 sound produced by metal pieces, such as cymbals &c., 5 शारीरज sound produced by the human throat. As far as I know none of the printed ancient works introduce this peculiar division of Musical sounds.
1.
Vide verses 68 to 78, pages 19 and 20.
2
