The Gita Govinda occupies a key position in the history of both music and dance and not only inspired numerous Sanskrit imitations but led to the outburst of a class of musical dance drama in the local languages, sometimes mixed with Sanskrit, in different parts of the compositions of Sankaradeva of Assam, of Umapati in Bihar, Bhagavatanatakas and Yakshaganas, Krishnattam and Kathakali of the Andhra, Karnataka, Tamil and Malayalam areas – all return to Geeta Govinda as the ultimate source and inspiration.
(‘Uparupakas and Nritya-Prabhandas’ by Dr. V Raghavan, Nartanam, May – Aug 2008)

Instruments found in the Silapadigaaram include melodic instruments like the Kuzhal (flute), Yazh (a form of harp) and Veena. Percussion instruments include the Thannumai, Muzhavu, Murasu, Aamandrika. There is no doubt that the music of the times was a thriving tradition but it is the later commentators, and not Ilango Adigal, who have elaborated on the musical details in the text. Some scholars of the 20th century have tried to equate the palai-s of the Silapadhigaaram to modern ragas.
(‘Celebrating unheard melodies’ by TM Krishna, The Hindu, Dec 25, 2010)

Scholars are still debating about whether there is any connection between the Natya Sastra and the music of the Silapadigaaram. Both these were musical traditions that belonged to a different era and the best we can do is to celebrate them without trying to derive any contemporary relevance.
(‘Celebrating unheard melodies’ by TM Krishna, The Hindu, Dec 25, 2010)
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