[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries](https://indike.org/pramana/ins.art.bhatkhande-comparative) › c5.23 # A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c5.23 A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c5.23 - **Language:** English ### [c5.23](https://indike.org/pramana/ins.art.bhatkhande-comparative.c5.23) The method of placing the shuddha and vikrita notes on the sounding wire of the Vina, or in other words the method of expressing the positions of the shuddha and Vikrita Swaras in terms of the lengths of the speaking wire of the vina is exactly the same as that used by Hrdaya in his Hrdaya Prakasha. We can therefore, safely say that the shuddha and vikrita swaras of Ahobala, are identically the same as those of Hrdaya with this exception that Hrdaya uses tivara-tara 'ga', tivra-tara 'ni' instead of Ahobala's tivra 'ga' and tivra 'ni'. The verses in which Ahobala describes the placing of his shuddha and vikrita notes are as under:— - [Previous: c5.22](https://indike.org/pramana/ins.art.bhatkhande-comparative.c5.22) - [Next: c5.24](https://indike.org/pramana/ins.art.bhatkhande-comparative.c5.24) - [Up: c5](https://indike.org/pramana/ins.art.bhatkhande-comparative.c5) --- Source: [https://indike.org/pramana/ins.art.bhatkhande-comparative.c5.23](https://indike.org/pramana/ins.art.bhatkhande-comparative.c5.23) · Pramāṇa