The Saṁgītaratnākara of Śārṅgadeva has left an indelible mark on the field of musicology and beyond, influencing texts, traditions, and practices across centuries. The Saṁgītaratnākara is one of the most influential treatises in Indian musicology, bridging ancient traditions with medieval and modern developments which has influenced non-musical texts, and Indo-Persian traditions of later times. It has served as the primary reference for subsequent texts on musicology, including Saṁgītasudhā by Raghunātha and Saṁgītacintāmaṇī by Acārya Bṛhaspati. These works adopted and expanded Śārṅgadeva’s theories on svara, rāga, and tāla. Later scholars adapted the concepts in Saṁgītaratnākara to regional and contemporary needs, showcasing its flexibility. For example, the incorporation of deśī (regional) rāgas and tālas influenced both Hindustani and Carnatic traditions. Classical musicians still rely on its theoretical frameworks for interpreting rāgas and rhythmic cycles. The text’s detailed treatment of rasa (sentiment) and śruti (audible sound) inspired subsequent works on dramaturgy, linking music and movement with emotional expression through the nine rasas. Again, during the medieval period, Indian music interacted with Persian influences, resulting in a fusion of traditions. Concepts from the Saṁgītaratnākara found their way into Indo-Persian texts and Mughal-era works like Āīn-i-Akbarī enriching both traditions. The detailed exploration of rhythms, rāgas, and instruments in Saṁgītaratnākara helped shape musical forms in the Mughal courts and beyond. This paper examines Saṁgītaratnākara’s far-reaching impact in three main domains, viz., musicological treatises, non-musical texts, and Indo-Persian traditions. Its principles continue to guide musicians, ensuring its legacy remains integral to the evolution of Indian classical music.