V.N.Bhatkhande

Vishnu Narayan Bhatkhande (1860–1936) was one of the greatest musicologists, reformers, and scholars in the history of Hindustani classical music. Revered as the architect of the modern system of North Indian musicology, he brought structure, scientific analysis, and academic rigour to an art that had been transmitted orally for centuries.
Through his pioneering efforts, music evolved from being the guarded legacy of hereditary musicians (Gharanas) to an accessible, codified discipline taught in universities and institutions. Bhatkhande’s contributions revolutionised the understanding, teaching, and performance of Indian classical music, placing him alongside ancient theorists such as Bharata Muni and Sarngadeva.

Early Life and Education

Vishnu Narayan Bhatkhande was born on 10 August 1860 in Walkeshwar, Bombay (now Mumbai), into a cultured Chitpavan Brahmin family. His father, Bhatkhande Narayanrao, was a Sanskrit scholar who encouraged his son’s intellectual pursuits.

• Bhatkhande pursued a Bachelor of Arts (B.A.) and then a Bachelor of Laws (LL.B.) from Elphinstone College, Bombay University.
• Initially, he practised law as a pleader in the Bombay High Court.
• Despite his professional success, his passion for music dominated his life. He studied Dhrupad and Khayal under leading gurus and began researching the theoretical foundations of Indian classical music.

After the death of his wife and daughter, Bhatkhande dedicated himself entirely to the study and systematisation of music.

Context and Need for Reform

Before Bhatkhande’s time, Indian classical music was largely transmitted through the guru–shishya parampara (oral tradition). Each gharana (school) had its own interpretations of raga and tala, leading to inconsistencies and lack of standardisation.

• Theoretical treatises like Nāṭyaśāstra (by Bharata Muni) and Sangita Ratnakara (by Sarngadeva) were centuries old and no longer reflected the living practice of Hindustani music.
• The musical knowledge was confined within select families and court musicians, inaccessible to the common public.

Bhatkhande recognised the urgent need to bridge the gap between theory and practice, document musical knowledge, and modernise pedagogy without losing the essence of tradition.

Major Contributions

1. Systematisation of Ragas

Bhatkhande classified the vast number of Hindustani ragas into a rational and comprehensible system known as the Thaat System.

• He proposed Ten Thaats, each serving as a parent scale from which individual ragas were derived.
• The ten Thaats are:
  1. Bilawal
  2. Kalyan
  3. Khamaj
  4. Bhairav
  5. Poorvi
  6. Marwa
  7. Kafi
  8. Asavari
  9. Bhairavi
  10. Todi

This classification, though inspired by the Melakarta system of Carnatic music, was based on practical observation of performance traditions in North India. It remains the most widely used framework in Hindustani music today.

2. Standardisation of Musical Notation

Before Bhatkhande, compositions (bandishes) were passed orally, and there was no uniform system of notation.

• He introduced a notation system to record compositions accurately, indicating swaras (notes), taalas (rhythmic cycles), tempo, and ornamentations.
• His notation was simpler than Western staff notation and accessible to Indian musicians.
• This innovation allowed for systematic preservation, teaching, and publication of compositions across regions and schools.

3. Scholarly Writings

Bhatkhande’s writings form the foundation of modern musicology in North India. His works are both analytical and practical, combining historical insight with field research.
Major Works:

1. Hindustani Sangeet Paddhati (Vols. I–IV) – His magnum opus, written in Hindi.
   • Presents an in-depth analysis of ragas, talas, and performance practices.
   • Introduces the Thaat system and classification of ragas.
   • Explains ornamentations, alankars, and bandish structures.
   • Remains a foundational text for music students and scholars.
2. Kramik Pustak Malika (Vols. I–VI) – A graded textbook series of compositions in various ragas, meant for students.
   • Provides practical examples for each theoretical principle.
   • Still used as a teaching guide in Indian music institutions.
3. Sangeet Shastra (Musicology Treatises):
   • Analytical commentaries on ancient texts such as Sangita Ratnakara, Raga Tarangini, and Swaramela Kalanidhi.
   • Comparative studies of ancient and modern ragas.
4. A Short Historical Survey of the Music of Upper India (1908):
   • Written in English for an international audience.
   • Among the earliest attempts to trace the evolution of Hindustani music historically and scientifically.

4. Field Research and Documentation

Bhatkhande undertook extensive tours across India between 1900 and 1930 to document the living traditions of music.

• He met Hindustani and Carnatic musicians, scholars, and temple singers to understand regional variations.
• Compared South Indian (Carnatic) and North Indian (Hindustani) systems, identifying their similarities and divergences.
• Collected rare compositions (dhrupads, khayals, taranas) and documented their structures.

These travels gave him deep insight into the continuity of Indian music from Vedic chant to classical ragas.

5. Establishment of Music Institutions

Bhatkhande was a visionary who believed music should be taught in a structured institutional framework, accessible to all sections of society.
He played a key role in founding:

• Madhav Music College, Gwalior (1918) – one of India’s oldest music schools.
• Marris College of Music, Lucknow (1926) – now known as Bhatkhande Music Institute Deemed University, named in his honour.

These institutions were the first to introduce graded syllabi, examinations, and academic degrees in music, bringing it to par with other fields of study.

6. Organisation of Music Conferences

To promote intellectual exchange, Bhatkhande organised All-India Music Conferences in cities like Baroda, Delhi, and Bombay.

• These gatherings brought together musicians, scholars, and patrons from across the country to discuss pedagogy, theory, and performance.
• The conferences helped bridge the divide between traditional hereditary musicians (kalawants) and academically trained performers.

Bhatkhande’s Philosophy and Vision

Bhatkhande believed that music was both an art and a science. His approach combined empirical observation with rational classification.
His core ideas included:

• Music should be accessible to all, not confined to hereditary lineages.
• Indian music, while spiritual and aesthetic, required scientific study and documentation.
• Both Hindustani and Carnatic traditions shared a common ancestry and philosophical base.
• The ultimate purpose of music was to evoke rasa—the aesthetic and emotional experience of the listener.

His reforms were sometimes resisted by traditionalists, who feared that codification might stifle creativity. However, Bhatkhande emphasised that his system was meant to guide, not restrict, artistic expression.

Relationship with Vishnu Digambar Paluskar

Bhatkhande’s contemporary, Pandit Vishnu Digambar Paluskar (1872–1931), was another great reformer who established music schools such as Gandharva Mahavidyalaya.

• While Paluskar focused on the spiritual and pedagogical revival of music,
• Bhatkhande emphasised theoretical systematisation and academic foundation.

Together, they laid the groundwork for the modern institutionalisation of Indian classical music.

Legacy and Influence

Bhatkhande’s work continues to shape Indian music education and research.
Enduring Contributions:

• The Thaat system remains the standard framework for classifying ragas.
• His notation system and textbooks are still used in universities and conservatories.
• His institutions (especially the Bhatkhande Music Institute) continue to train generations of musicians.
• He established the model for musicology as a discipline in India.
• His writings bridge the gap between ancient Sanskrit treatises and modern performance traditions.

Through his reforms, music became a codified academic subject, ensuring its preservation and evolution in the modern era.

Honours and Recognition

• The Government of India and numerous state academies have honoured his memory through music festivals, awards, and research chairs in his name.
• His birthday, 10 August, is observed by musicians and students as a day of homage.
• Statues and memorials in Mumbai, Lucknow, and Gwalior commemorate his contribution to Indian culture.