Ocean of Music, Volume 1

5 Sādhāraṇa Overlapping or common features of notes and melodies
6 Varṇālaṅkāra Melodic patterns and embellishments
7. Jāti The melodic prototypes or "parent" modes that preceded the modern Raga system
8 Gīti Styles of song or rhythmic lyrics

In the Calcutta edition,¹ the first of these prakaranas chapters or subdivisions is called the Introductory section and the rest of the adhyāya major book or chapter is divided into seven sections. In the Preface² there, the fifth section is called Sādhāraṇa and the Varṇālaṅkāra is spoken of as the fourth, but in the text itself the order of these sections is as given in the present edition. I am adding a detailed list of contents, which, it is hoped, will be of use to the readers to understand the whole subject matter at a glance.

Śārṅgadeva, the author of the Saṅgītaratnākara literally "The Ocean of Music," the most definitive 13th-century Sanskrit treatise on Indian music, gives some information about himself in the beginning of the work,³ before he begins the summary of the work, in the first prakaraṇa of the first adhyāya. The first verse is a mangala an auspicious invocation or prayer at the start of a literary work. Then he speaks of his family,⁴ which traces its origin to Kashmere.⁵ The family goes back to the sage Vṛṣagaṇa.⁶ In that family there was one Bhāskara,⁷ who migrated to the south.⁸ His son

¹ Preface, p 11
² p 111
³ Verses 2–14
⁴ There is a family that is the home of well-being original: "अस्ति स्वस्तिगृह वश" verse 2

⁵ Born in the illustrious land of Kashmere original: "श्रीमत्काश्मीरसम्भव" Ibid

⁶ Born from the sage Vṛṣagaṇa original: "ऋषेर्वृषगणाज्जात" Ibid

⁷ There was one as famous as the sun original: "तत्राभूद्भास्करप्रख्य" verse 4

⁸ Who journeyed to the southern region to adorn it original: "अलकर्तुं दक्षिणाशा यश्चक्रे दक्षिणायनम्" Ibid