. . . . . . . . . . . . "Sangita Ratnakara"@es . . . . . . "\u30B5\u30F3\u30AE\u30FC\u30BF\u30FB\u30E9\u30C8\u30A5\u30CA\u30FC\u30AB\u30E9\uFF08\u30B5\u30F3\u30B9\u30AF\u30EA\u30C3\u30C8\u8A9E: \u0938\u0919\u094D\u0917\u0940\u0924\u0930\u0924\u094D\u0928\u093E\u0915\u0930\u3001IAST: Sa\u1E45g\u012Bta ratn\u0101kara\u3001\u76F4\u8A33\u300C\u97F3\u3068\u8E0A\u308A\u306E\u6D77\u300D\uFF09\u306F\u30A4\u30F3\u30C9\u306E\u53E4\u5178\u97F3\u697D\u7406\u8AD6\u300213\u4E16\u7D00\u8457\u3002\u30B5\u30F3\u30B9\u30AF\u30EA\u30C3\u30C8\u8A9E\u3002\u30D2\u30F3\u30C9\u30A5\u30B9\u30BF\u30FC\u30CB\u30FC\u97F3\u697D\u3068\u306E\u4E21\u65B9\u306E\u30A4\u30F3\u30C9\u53E4\u5178\u97F3\u697D\u306E\u4F1D\u7D71\u306B\u304A\u3044\u3066\u809D\u8981\u306E\u6559\u672C\u3068\u3055\u308C\u3066\u3044\u308B\u3002"@ja . . . "\u30B5\u30F3\u30AE\u30FC\u30BF\u30FB\u30E9\u30C8\u30A5\u30CA\u30FC\u30AB\u30E9"@ja . . . . . . . . "4010121"^^ . . . . . . . . . . . . . . . . . . . . . "The Sangita-Ratnakara, \u0938\u0919\u094D\u0917\u0940\u0924\u0930\u0924\u094D\u0928\u093E\u0915\u0930, (IAST: Sa\u1E45g\u012Bta ratn\u0101kara), literally \"Ocean of Music and Dance\", is one of the most important musicological texts from India. Composed by \u015A\u0101r\u1E45gadeva (\u0936\u093E\u0930\u094D\u0919\u094D\u0917\u0926\u0947\u0935) in Sanskrit during the 13th century, both Carnatic music and Hindustani music traditions of Indian classical music regard it as a definitive text. The author was a part of the court of King Singhana II (1210\u20131247) of the Y\u0101dava dynasty whose capital was Devagiri, Maharashtra."@en . . "20338"^^ . . . . . . . . . . . . . . . "1116536825"^^ . . . . . . . . . . "\u30B5\u30F3\u30AE\u30FC\u30BF\u30FB\u30E9\u30C8\u30A5\u30CA\u30FC\u30AB\u30E9\uFF08\u30B5\u30F3\u30B9\u30AF\u30EA\u30C3\u30C8\u8A9E: \u0938\u0919\u094D\u0917\u0940\u0924\u0930\u0924\u094D\u0928\u093E\u0915\u0930\u3001IAST: Sa\u1E45g\u012Bta ratn\u0101kara\u3001\u76F4\u8A33\u300C\u97F3\u3068\u8E0A\u308A\u306E\u6D77\u300D\uFF09\u306F\u30A4\u30F3\u30C9\u306E\u53E4\u5178\u97F3\u697D\u7406\u8AD6\u300213\u4E16\u7D00\u8457\u3002\u30B5\u30F3\u30B9\u30AF\u30EA\u30C3\u30C8\u8A9E\u3002\u30D2\u30F3\u30C9\u30A5\u30B9\u30BF\u30FC\u30CB\u30FC\u97F3\u697D\u3068\u306E\u4E21\u65B9\u306E\u30A4\u30F3\u30C9\u53E4\u5178\u97F3\u697D\u306E\u4F1D\u7D71\u306B\u304A\u3044\u3066\u809D\u8981\u306E\u6559\u672C\u3068\u3055\u308C\u3066\u3044\u308B\u3002"@ja . "The Sangita-Ratnakara, \u0938\u0919\u094D\u0917\u0940\u0924\u0930\u0924\u094D\u0928\u093E\u0915\u0930, (IAST: Sa\u1E45g\u012Bta ratn\u0101kara), literally \"Ocean of Music and Dance\", is one of the most important musicological texts from India. Composed by \u015A\u0101r\u1E45gadeva (\u0936\u093E\u0930\u094D\u0919\u094D\u0917\u0926\u0947\u0935) in Sanskrit during the 13th century, both Carnatic music and Hindustani music traditions of Indian classical music regard it as a definitive text. The author was a part of the court of King Singhana II (1210\u20131247) of the Y\u0101dava dynasty whose capital was Devagiri, Maharashtra. The text is divided into seven chapters. The first six chapters, Svaragatadhyaya, Ragavivekadhyaya, Prakirnakadhyaya, Prabandhadhyaya, Taladhyaya and Vadyadhyaya deal with the various aspects of music and musical instruments, while the last chapter Nartanadhyaya deals with dance. The medieval era text is one of the most complete historical Indian treatises on the structure, technique, and reasoning on music theory that has survived into the modern era, and is a comprehensive voluminous text on ragas (chapter 2) and talas (chapter 5). The text is comprehensive synthesis of ancient and medieval musical knowledge of India. The text has been frequently quoted by later Indian musicologists in their music and dance-related literature. Significant commentaries on the text include the Sangitasudhakara of Simhabhupala (c.\u20091330) and the Kalanidhi of Kallinatha (c.\u20091430)."@en . . . . . . . . . . . . . . . "Sangita Ratnakara"@en . . . . . . . . . . . . . . . . . "El Sangita Ratnakara, \u0938\u0919\u094D\u0917\u0940\u0924\u0930\u0924\u094D\u0928\u093E\u0915\u0930, (transliterado: Sa\u1E45g\u012Bta ratn\u0101kara), literalmente \u00ABOc\u00E9ano de M\u00FAsica y Danza\u00BB, es uno de los textos musicol\u00F3gicos s\u00E1nscritos m\u00E1s importantes de la India.\u200B\u200B Compuesto por (\u0936\u093E\u0930\u094D\u0919\u094D\u0917\u0926\u0947\u0935) en el siglo XIII, tanto la m\u00FAsica cl\u00E1sica indostan\u00ED como las tradiciones de m\u00FAsica carn\u00E1tica de la m\u00FAsica cl\u00E1sica de India lo consideran un texto definitivo.\u200B\u200B El autor form\u00F3 parte de la corte del rey Singhana II (1210-1247) de la dinast\u00EDa Seuna cuya capital era Devagiri, Maharashtra.\u200B"@es . . . . . . . . . . "El Sangita Ratnakara, \u0938\u0919\u094D\u0917\u0940\u0924\u0930\u0924\u094D\u0928\u093E\u0915\u0930, (transliterado: Sa\u1E45g\u012Bta ratn\u0101kara), literalmente \u00ABOc\u00E9ano de M\u00FAsica y Danza\u00BB, es uno de los textos musicol\u00F3gicos s\u00E1nscritos m\u00E1s importantes de la India.\u200B\u200B Compuesto por (\u0936\u093E\u0930\u094D\u0919\u094D\u0917\u0926\u0947\u0935) en el siglo XIII, tanto la m\u00FAsica cl\u00E1sica indostan\u00ED como las tradiciones de m\u00FAsica carn\u00E1tica de la m\u00FAsica cl\u00E1sica de India lo consideran un texto definitivo.\u200B\u200B El autor form\u00F3 parte de la corte del rey Singhana II (1210-1247) de la dinast\u00EDa Seuna cuya capital era Devagiri, Maharashtra.\u200B El texto est\u00E1 dividido en siete cap\u00EDtulos. Los primeros seis cap\u00EDtulos, Svaragatadhyaya, Ragavivekadhyaya, Prakirnakadhyaya, Prabandhadhyaya, Taladhyaya y Vadyadhyaya tratan de los diversos aspectos de la m\u00FAsica y los instrumentos musicales, mientras que el \u00FAltimo cap\u00EDtulo, Nartanadhyaya, trata de la danza. El texto de la era medieval es uno de los tratados hist\u00F3ricos indios m\u00E1s completos sobre la estructura, la t\u00E9cnica y el razonamiento de la teor\u00EDa musical que ha sobrevivido hasta la era moderna, y es un texto voluminoso y completo sobre ragas (cap\u00EDtulo 2) y talas (cap\u00EDtulo 5).\u200B\u200B\u200B El texto es una s\u00EDntesis exhaustiva de los conocimientos musicales antiguos y medievales de la India.\u200B Ha sido citado con frecuencia por music\u00F3logos indios posteriores en su literatura relacionada con la m\u00FAsica y la danza. Comentarios significativos sobre el texto incluyen el Sangitasudhakara de Simhabhupala (c. 1330) y el Kalanidhi de Kallinatha (c. 1430).\u200B"@es . . . . .