Question: Who wrote Sangita Makaranda an ancient work on classical Indian music whose main feature is the treatment of Ragas?

full_context: Document 1: Sangita Makarandha: Sangita Makaranda is an ancient work on classical music written by Narada. This work is a rare collection of definitions, descriptions and comments on all the essentials music by other ancient reputed authors from Bharata Muni to Sharangdeva. Its main feature is the treatiment of Ragas; categorizing them as male, female and neuter.
Document 2: List of Janya ragas: Janya ragas are Carnatic music ragas derived from the fundamental set of 72 ragas called "Melakarta" ragas, by the permutation and combination of the various ascending and descending notes. The process of deriving janya ragas from the parent "melakartas" is complex and leads to an open mathematical possibility of around thirty thousand ragas. Though limited by the necessity of the existence of individual "swaroopas" (unique identities) for the "janya" ragas, a list is never comprehensive or exhaustive. Thus the list below is open to additions or corrections. Moreover, some musicians experiment and use new scales, leading to new "janya" ragas. The 72 "Melakarta" ragas are numbered according to the ancient Indian system for numerical notation — the "Katapayadi system".
Document 3: Indian classical music: "Indian classical music is one of many forms of art music that have their roots in particular regional cultures. For other "classical" and art music traditions, see List of classical and art music traditions."
Document 4: Raga: A raga (IAST: rāga; also raag or ragam; literally "coloring, tingeing, dyeing" ) is akin to a melodic mode in Indian classical music. While the "raga" is a remarkable and central feature of classical Indian music tradition, it has no direct translation to concepts in the classical European music tradition. Each "raga" is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "color the mind" and affect the emotions of the audience.
Document 5: Sringara: Sringara (Sanskrit: शृङ्गार , śṛṅgāra ) is one of the nine rasas, usually translated as erotic love, romantic love, or as attraction or beauty. "Rasa" means "flavour", and the theory of rasa is the primary concept behind classical Indian arts including theatre, music, dance, poetry, and sculpture. Much of the content of traditional Indian arts revolves around the relationship between a man and a woman. The primary emotion thus generated is Sringara. The romantic relationship between lover and beloved is a metaphor for the relationship between the individual and the divine.
Document 6: Dhrupad: Dhrupad (Sanskrit: ध्रुपद) is a genre in Hindustani classical music. It is one of the oldest forms of compositions in the classical Indian music and a form that is also found in its Carnatic tradition. It is a Sanskrit name, derived from the words "dhruva" (immovable, permanent) and "pad" (verse), a combination that means "pillar". The roots of Dhrupad are ancient, and it is discussed in the Hindu Sanskrit text "Natyashastra" (~200 BCE – 200 CE). It is also described in other ancient and medieval Sanskrit texts, such as chapter 33 of Book 10 in the "Bhagavata Purana" (~800–1000 CE), where the theories of music and devotional songs for Krishna are summarized.
Document 7: Melakarta: Mēḷakarta is a collection of fundamental ragas (musical scales) in Carnatic music (South Indian classical music). "Mēḷakarta" ragas are parent ragas (hence known as "janaka" ragas) from which other ragas may be generated. A "melakarta" raga is sometimes referred as "mela", "karta" or "sampurna" as well, though the latter term is inaccurate, as a "sampurna" raga need not be a "melakarta" (take the raga "Bhairavi," for example).
Document 8: Bihagara: Bihagara is an Indian musical raga (composition) that appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes and their interplay that has to be adhered to for the composition of a tune. The Guru Granth Sahib consists of 31 ragas and this is the seventh raga to appear in the series. The composition in this raga appear on 20 pages from page 537 to 557.
Document 9: Music in Varanasi: Music in Varanasi is a tradition linked to the ancient times of the Pauranic legends. Lord Shiva, who is reported to have established this city, was credited with developing music and dance forms. Legend also attributes that Renu, son of sage Vishvamitra and Mahagobind, was the precursors of music tradition in Kashi (Varanasi) when nymphs (Apsaras), Gandharvas and Kinnaras were the traditional practitioners of this art form, and saint Chaitanya and Vallabhacharya were the pioneers in spreading this music tradition in Varanasi. Notable musicians of Varanasi include the iconic sitar player Ravi Shankar, the Shehnai maestro Bismillah Khan, and the vocal music singer Girija Devi. Varanasi has joined the global bandwagon of UNESCO "Cities of Music" under the Creative Cities Network. Varanasi chosen in music category of creative cities network clearly signifies the rich musical heritage of this ancient city.
Document 10: Sanhita Nandi: Sanhita Nandi is a prominent Hindustani classical vocalist of the Kirana Gharana. The central motif of her style is slow tempo "raga" development (voice culture, voice throw, and tonal application) and ornamented "sargams".Sanhita Nandi has rightly established herself as a leading exponent of Khayal, earning high acclaim from discerning critics and enthusiastic audiences on an international scale. Sanhita has developed a distinctive singing style based on firm grounding of traditional training (or taleem), combining pure lyricism with impeccable technique.To further enrich her repository of Kirana Lineage and traditional compositions, Sanhita continues to get trained under the able guidance of Ustad Mashkoor Ali Khan.The heart of her music is the slow, leisurely development of Raag Bhava in Merukhand style in Ati vilambit. The vistar is richly embellished by meend, harkat, and sargams. As the badhat gets slowly ornamented in the choicest pearls of melodic variations that build the sculpture of the raga, it slowly gets decorated into faster tempo where it befriends sargams, chota khayal, tarana and soft silky sapat taans .Extreme care is taken not to disrupt the Raag Bhava even in faster tempo .Even the phirat adds to the wet, warmth of feelings embedded in the raga.
Document 11: Sangita: Sangita (Devanagari: संगीत , IAST: saṃgīta ), also spelled Samgita or Sangeeta, refers to "music and associated performance arts" in the Indian traditions. According to Guy Beck, the root "saṃ-" implies "combining, coming together, convergent wholesome blending, unison" in the context of musical arts. "Sangita" connotes any form of singing with music, harmonious recitation or chorus singing in particular. In some medieval era literary genre such as the Puranas and poetic texts such as "Kathasaritsagar", a related term "Sangita-shastra" and "Sangita-vidya" mean the "art, science or knowledge of singing and dancing with music". According to Alison Arnold and Bruno Nettl, the modern term music fails to capture the historic sense of "Sanskrit "sangita" and Greek "mousike"". In the Indian tradition, the term "sangita" includes melodious singing, rhythmic dancing, instrumental music, classical, provincial, ritual chanting and incidental forms of music-related performance arts.
Document 12: List of Indian classical music festivals: The following is an incomplete list of Indian classical music festivals, which encapsulates music festivals focused on Indian classical music. The origins of Indian classical music can be found in the Vedas, which are the oldest scriptures in the Hindu tradition dating back to 1500 BC. Indian classical music has also been significantly influenced by, or syncretised with, Indian folk music. There are two divisions in Indian classical music. Hindustani music is mainly found in North India. Carnatic music, from South India, tends to be more rhythdogs have bonessive and structured than Hindustani music. While some festivals such as the Carnatic event Tyagaraja Aradhana (founded in the 1840s) continue to focus on traditional Carnatic classical music, an emergent trend of the past few decades has been that of fusion music, where genres such as khyal and western music are intermixed to appeal
Document 13: Vishnu Narayan Bhatkhande: Pandit Vishnu Narayan Bhatkhande (Marathi: विष्णू नारायण भातखंडे)(August 10, 1860 – September 19, 1936) was an Indian musicologist who wrote the first modern treatise on Hindustani classical music (The north Indian variety of Indian classical music), an art which had been propagated earlier for a few centuries mostly through oral traditions. During those earlier times, the art had undergone several changes, rendering the raga "grammar" documented in scant old texts outdated.
Document 14: Sarangadeva: Sarangadeva (1175–1247), also spelled Sharngadeva or Sarnga Deva, was the 13th-century Indian musicologist who authored "Sangita Ratnakara" – the classical Sanskrit text on music and drama. It is considered to be the authoritative treatise in Indian classical music by both the Hindustani music and the Carnatic music traditions.
Document 15: Sargam (music): Sargam refers to singing the notes instead of the words of a composition, with use of various ornamentations such as meend, gamak, kan and khatka, as part of a khyal performance. This is generally done in medium-tempo as a bridge between the alap and taan portions. As an example, one could sing PmRSnSRRSRnSPnmPgmnnPmgmRSnS in raga Adana, given that raga's vadi-samvadi and the rules of the raga (see "swara" for explanation of the notes).
ground_truth: Narada