[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) › c8.s1.12 # A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c8.s1.12 A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c8.s1.12 - **Language:** English ### [c8.s1.12](https://indike.org/pramana/ins.art.bhatkhande-comparative.c8.s1.12) Whatever his reason we see that he recognises only one grama namely the shadja grama On the subject of murchhana, tana, alankara and prastara, he has hardly anything new to tell us There is no evidence to show that he understood clearly the functions of the ancient gramas and murchhanas. Then comes the Raga Adhyaya All music was based on twelve notes, as in the case of the other writers - [Previous: c8.s1.11](https://indike.org/pramana/ins.art.bhatkhande-comparative.c8.s1.11) - [Next: c8.s1.13](https://indike.org/pramana/ins.art.bhatkhande-comparative.c8.s1.13) - [Up: c8.s1](https://indike.org/pramana/ins.art.bhatkhande-comparative.c8.s1) --- Source: [https://indike.org/pramana/ins.art.bhatkhande-comparative.c8.s1.12](https://indike.org/pramana/ins.art.bhatkhande-comparative.c8.s1.12) · Pramāṇa