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

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.


Introduction
Bharata, in the course of her long musical history, has evolved many healthy traditions.Though many of these have not been recorded, they are still observed by votaries of art.These traditions reflect the concentrated wisdom of centuries.The opinions, doctrines, and practices of the musical intelligentsia based on sound aesthetic experience provide the foundation for the development of rich traditions.(Sambamoorthy,1960).Though Indian music training methods are based on completely oral traditions, it was not possible to attempt to write them down on sheets.However, from the Vedic period onwards, musicologists have attempted to show the pitch and register of notes that are mentioned in ancient literature.From the Sama Ved to the Natya Shastra and from Brudadeshi to Sangeet Ratnakar, some experiments have been done on notations in each musical text.From the 14 th to the 17 th centuries, Indian music changed its shape and presentation due to the different monarchs.From the 18 th century onwards, music education slowly entered the institutional system, and in this race, pt.V.N.Bhatkhande made his extreme contribution to establishing the teaching and learning process through his own music notation system for Hindustani style.At the same time, Carnatic music was also established by the trinity of Carnati-Tyagaraj, Muthuswami Dikshitar, and Shyama Shastri.Odissi Music is another classical form of Bharata, which has a very long and pure tradition of art, music, and culture.This tradition belongs to Lord Jagannatha, who is a great lover of music and dance.Since a

Pt. V N Bhatkhande of Hindustani Classical Music
Hindustani Music is known as North Indian Classical Music.It exists in eight major forms: Dhrupad, Khayal, Tarana,Thumuri, Tappa, Kajari,Chaiti and Bhajan.The Most ancient system is Dhrupad after that the other form have evolved.There are several major schools or Gharanas of Hindustani Music have been established by their respective Gurus or Ustads.From 19 th century onwards North Indian Music became more systemized and standardized for teaching learning process and for this pt.V N Bhatkhande's contribution is remarkable.Pt Bhatkhande is knownas the ambassador of Hindustani Music not because of creating the notation but also solve other foremost theoretical issues.The notation system of pt.V N Bhatkhande is most widely used in the modern age.This music notation system is commonly utilized in the academic institution and published literature due to its ease of use and simplicity.Books published under the title " Hindustani Sangeet Padhati , Kramika Pustak Malika (6 parts)" feature a notation system developed by pt.V N Bhatkhande .For the aim of publication, it turned out to be really convenient.
• Sudha Swara (no sign) : Sa Re Ga • Komal Swara (Horizontal line bellow the swara) : Re Ga • Tivra Swara (vertical line above the swara) : Ma : SaReGaMa • 1/3 rd beat (Sa, Re, Ga are all 1/3 rd beats) : SaReG • Symbol of meend :Ga Pa • Symbol of Khatka : (PDMP) This book has got the acknowledgement "Prashamsapatramidam" in 1917 by "Pradhan Pandit" Shree Ramanuja Chari and he mentoned that Shree Samanant has greatly inspired the "Sangeet Ratnakar".The Musical sign and symbols according to the "sangeeta Kalakar" is as follow: • If there is a sign " o " above the Swara, it means Taara saptak swara, If there is a sign " o " underneath the Swara, it means Mandra Saptak Swara and if there is no sign then it means Mandhya Saptak Swar.• If there is a sign " " above the Swara, it means that swara has to be sung as long as two syllable such as : " ସା = ସା ଆ " • If there is a sign " ୨ " right side of the Swara, it mean the swara has to be sung till that syllable timing as the number of signs used right side of the swara .(Example-" ସା ୨ ୨ ୨" is to be sung as "ସା ଆଆଆ" • If there is a sign " ୨ " left side of the Swara, it indicate the symbol of silent of rest timing of starting point of the composition and its depend upon the number of the signs only.• If there is a sign " -" in between of the Swaras , it mean that note need to be sung with staccato.
• If there is a sign " II " in the last part of the Taal cycle, it begins the Ghaatapadi.
• If there is a sign " __ " underneath of the Swara.It means the timing of the swara will be (½ Swara) Ardha akshyara Kaal.
(Example-1 " ସା ରେ" is to be sung in one beat or matra.
(Example-2 " ସା ରେ ଗା ମା" is to be sung in two beats or matras • " , O, I, S, S / ,+ " the symbols are used in the taal is as follows

Conclusion
The primary significance of these two volumes lies in their preservation of our nation's historical musical compositions in written form or notation.Here, however, there are two main distinctions: the first is the notation of Bhatkhande, which is extensively used by the nation's artists, and the second is Shree Samant's notation for Odissi music, which has entirely disappeared for a variety of reasons.While many symbols are different between the two forms, some are identical.The Taal witting system is largely fairly different.
In India, everyone from the north listens to Hindustani music, whereas those from the south are more familiar with Carnatic music.Only those in Odisha are familiar with Odissi music, which is a very small number compared to other regions.The purpose of this page is to assist the few individuals who are listening to Osissi music.The purpose of this paper is to assist the few individuals who are listening, learning and researching to Osissi classical music.

Table - 1
. Indicates the twelve notes of Indian sargam as per the Basudev samant