[1] The patron of the work Gajapati Jagannatha Narayana Deva was the erstwhile ruler of Paralakhemundi, one of the largest and most powerful kingdoms in ancient Odisha.
The king identifies himself as a disciple of Kabiratna Purusottama Misra in a graceful tribute to his Guru.
[6] The text deals with the conventional trio of gita, vadya, nrtya that form sangita and it does so in exemplary detail.
[1] Like most Odia authors, Misra begins his treatise with a customary invocation to Jagannatha, the venerable deity of Odisha.
[3] The ragas described in the Sangita Narayana are Sri, Natta, Karnāta, Rebagupta, Basanta, Bhairaba, Bangāla, Soma, Āmrapanchama, Kāmoda, Megha, Drābidagouda, Turaska Gouda, Barādi, Drabida Barādi, Desi Barādi, Suddha Barādi, Gujjari, Sourastra Gujjari, Dakhina Gujjari, Todi, Mālabasri, Saindhabi, Debakiri, Rāmakiri, Prathama Manjari, Nattā, Belābali, Goudi, Gouda, Nāta, Ghantāraba, Nata Nārāyana, Bhupati, Sankarābharana, Madhyamādi, Mallāra, Desapāla, Mālaba, Andolita (Hindola), Nagadhwani, Gundakiri, Khambhābati, Madhyamādi, Mallāra, Desapāla, Mālaba, Megharanji, Manju Kalyānikā, Chhāyātodi, Pratāpabelābali, Pourabi, Nattamallārika, Ballabi, Gouri, Saranga, Āsābari and Mukhābari.