The history of music book writing in Bengali has received much scholarly attention in recent times (Williams 2016; Atarthi 2017; Bhattacharyya 2024). In this context, the history of early print culture in Bengal has also received scholarly attention (Roy 1995, 2019; Ghosh 2002, 2003) which reveals how the modern technology of print accommodated pre-print oral cultures and the performativity of specific musical genres in print. The print technology in nineteenth-century Bengal created a new modality of musical knowledge production, which can roughly be categorized into three genres/categories: music treatises (shastra), song collections (sangraha), and music-learning books (siksha). The shastras were the early Bengali music treatises which comprised rudimentary knowledge of technical terms and concepts derived from Sanskrit and Indo-Persian musicological sources, and practical knowledge of the song repertoire in the form of songs texts accompanied by cursory melodic (raga) and rhythmic (tala) information. The second category consisted of the song-collections that were produced to archive musical repertoire mainly in the form of song-lyrics,

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