Analytical Study Between the Notation System of “V.N. Bhatkhande” for Hindustani and Basudeba Samant for Odissi Classical Music

Abstract

In India, ancient and copious traditions of verbal discourse about music have been transmitted across the generations in writing, often long after the performing traditions with which they may have been connected have vanished or evolved out of all recognition. And they are almost always provided with examples in sargam. the syllabic notation that is still the basis of the various present-day Indian musical notation. The thirteenth-century sangeet Ratnakar and its sources are given lengthy examples in sargam notation. Pandit Vishnu Narayan Bhatkhande has provided six volumes of noted compositions in his kramika Pustak Malika (1913-37) which he took down in the sargam notation of his own devising from the noted artist of his day. At the same time in odisha, Shree Basudev Samant noted some odissi music compositions in his book Sangeeta Kalakar in a different notation style. This research paper has discussed all the signs and symbols of both notation styles and analyzed the similarities and differences.