Sangeeta Narayan is a Sanskrit treatise on music and dance written in 18th century. It is ascribed to Gajapati Narayan Deva, king of Orissa who ruled from 1718 to 1767. From the colophons in the end of every chapter his lineage is known as Chodaganga Vansa and he is said to be the son of King Padmanabha. The work is divided into four chapters known as Parichhedas.
The first chapter is extensive and contains many musical subjects together. The author quotes extensively from the Vishnu Purana, Narada Samhita, Kohaliyam, Sangita Sara, Sangita Damodara. Narayan Deva begins with a prayer to the pioneer of dance, music and instruments- Lord Hari. This chapter has five hundred and forty six Slokas. It deals with the technicalities of Indian music such as Nada, Swara, Grama, Murchana, Raaga and Raaginis. The first seventy seven Slokas describe Ahata Nada and Anahatanada, Swaras, their origin, birth place, colour and lineage. He has also given the names of their deities. The author has described the twenty two Srutis with their names. These names are similar to those in Sangeet Makaranda, Panchamsara Samhita, Geeta Prakash, Sangeeta Kaumudi etc. Gramas, Murchanas, Tanas etc. are also defined. He describes sixty two Alankaras with the four Varnas. From the seventy-eighth Sloka the Jati Lakshanas are described. But the author mentions only Graha, Ansha and Nyasa and elaborates the eighteen Jatis i.e. seven Shuddha and eleven Vikrita Jatis with their names and other descriptions. From the ninety-ninth Sloka the term `Raaga` is defined and male and female Raagas are named following Sangeet Damodara. Six Raagas and thirty six Raaginis are described and their meditating verses are given. The time theories of Raagas are given according to Panchamasara Samhita.
In the same chapter Prabandhas are also dealt with. He mentions Shuddha Salaga and Sudha Sankirna Prabandha. Six Angas and four Dhatus are named and they resemble Harinayaka`s list of other twenty five Prabandhas. Main Prabandhas described are Kayavala, Svararartha, Matruka. Then he discusses the Margi-Desi Talas in the same chapter. The names of Desi Tala are similar to those mentioned in other Grantha like Sangeeta Makaranda and Sangita-Ratnakara. Names and characteristics of nine Suda Talas are given. The songs set in these ten Talas are mentioned.
The Tala with its definition and ten Pranas is also explained. 108 Desi Talas and Suddha Talas have been mentioned. This is also found in Carnatic treatises. Desi Talas are described with their Lakshanas and are illustrated frequently. The unique feature of the works written by authors of Orissa is the description of Kshudra Geeta. They get plenty of elaborations. They are three fold: Divya, Manushi and Divya Manushi. Divya is a Kshudra Geeta which is set in Margi Tala and Sanskrit language is used in the verbal structure. Manushi is sung in Prakrit language and is set in Desi Talas. Divya Manushi is a mixture of both. The Gamaka, the merits and demerits of music, musicians and master composers are also discussed in the first chapter.
The second chapter, Vadyaprakarana, is devoted to the various instruments, different kinds of drums and their construction techniques. The second chapter is a small one consisting of one hundred thirty one Slokas. In this chapter four main types of instruments are described.
The third chapter is the longest chapter containing eight hundred twenty eight Slokas. This chapter is devoted mainly to dramaturgy, dance and description of auditorium, stagecraft and subjects related to performance of dance and drama. It begins with the definitions of Nritta, Nritya, Nartana and Natya. The the king and the court, courtiers, scholars and artists are described. The participants, heroes and heroines are also included in the description. The special feature of this work is the description of cosmetics and make-up materials like moustaches, dresses and the method of making them. Then comes the language to be used and specific terms of address to king, Brahmin, Danava, etc. In short, all the forms of dialogue, metre and expressions related to drama are explained.
The comprehensive description of topics related to dramaturgy ends with the scenes to be avoided while performing a drama and proper time for holding the show. From Sloka number two hundred fifty five to the end of the chapter discuss the dance, the various postures of body, movements of hands, waist, eyes, eyebrows, legs, feet, Sthanakas, etc. They are similar in descriptions as in Natyashastra and Sangeet Damodara.
The fourth chapter contains illustration of various Sanskrit songs set in different Talas and Raagas.
