Editing Nīlakanṭha’s Sangītār̥ṇavacandrikā treatise (section)

=== Chapterisation ===
The text ''Sangītārṇavacandrikā'' begins by offering salutations to deities ''Padmanābha'' and ''Rādha-Krishna'', followed by a ''Cūrṇikam'', which is a style of prose composition. 

The text goes on to discuss on the topics of ''Nāda'' (sound), ''Śruti'' (pitch), ''Svara'' (musical notes), ''Gamaka'' (glides between the notes), ''Grāma'' (a collection of properly fixed ''svaras''), ''Mūrchhana'' (a specific selection of the ''svaras'' starting from a designated root note), ''Tāna'' (elaboration) and ''Jāti'' (a rhythmic pattern).

Further, the text deals with ''Rāgas'' (colour), ''Rasas'' (essence) with ''Nāyakas'' (heroes) and ''Nāyikās'' (heroines). Later on, the text goes on to further deal with ''prabandhas'' (compositions) and gives the characteristics of few of them. The text gives a detailed treatment of all varieties of ''Kṣudragītas'' (minor compositions) with necessary illustrative songs from different sources such as ''Gītaprakāśa, Sangīta Nārāyaṇa'', etc. A separate chapter on ''Tāḷa'' or the time measure is dealt with, followed by singers of three types – ''Uttama, Madhyama'' and ''Adhama''. The faults of the singers and qualifications of a ''Vāggeyakāra'' (a composer) have been described.

The last chapter of ''Sangītārṇavacandrikā'' deals with both ''Vādya'' (musical instruments) and ''Nṛtya'' (dance). The four kinds of ''Vādyas'' like ''Tata, Suṣira, Ānaddha'' and ''Ghana'' are described. A complete and vivid description with process of manufacture of few stringed instruments like ''Alāvani, Brahmavīna, Kinnari'' and many more can be seen.

Also, the ''Mardala, Mṛdanga, Muraja'', and different techniques of playing the ''mṛdangam,'' different kinds of strokes, different ''gatis'' (rhythmic progression), are all given.

The Ghana or the solid instruments like ''Tāḷa (Kamsyatāḷa)'' and ''Karatala'' have been described in detail.

With respect to the ''Suśira Vādyas'', the author introduced such as ''Vamśa, Pari, Mādhuri, Tittiri, Śankha, Kahaḷa, Todahi, Murali, Cukka, Sṛṇgika, Svaranābha, Sṛṇkhala, Pikavaṁśa, Carmavaṁśa''.