Music in Hindu musical theory is regarded as only a means to a definite emotional from each note singly, and from notes in succession, and the creation of a specific mood by this means is the ultimate object of all musical composition.

Central to the idea of Indian music is the notion inherent in shabda or sound of the manifested sounds which constitute the domain of music, the human voice is the highest form, hence intoning, chanting, the recitation of mantras, and singing, are regarded as the most effective means of expressing sound, next on the scale of sound comes the musical instrument, which helps in creating the desired mood that is purpose of all music.

The adhyaya or divisions under which music is considered in Sanskrit works are 1) tala, time 2) svara, notes 3) grama, scales 4) raga, tunes 5) vadya or vaditra, musical instruments, 6) nritta or dance, 7) gayan, singing 8) rasa, the emotional elements of musical theory are first found in the Vedas, especially the sama veda.

Patronized by the Yadava kings of Devanagiri, was Sharangadeva author of Sangita Ratnakara (Music Jewel-mine). It covers sundry topics like cosmogony, the human body, before it gets down to the subject of music. It is chiefly valuable for the abhinaya dance movements described by him.