of legendary veena Player Ustad Wazir Khan, a descendant of Miyan Tansen. Bhatkhande travelled to South India, arriving in Madras (now Chennai) in 1904. With the help of local contacts he began to familiarise himself with the world of Carnatic music. He established contact with stalwarts such as Thiruvottiyur Tyagier and Tachur Singaracharya in Madras, Poochi Srinivasa Iyengar in Ramanathapuram and Subbarama Dikshitar in Ettayapuram but the language barrier made these interactions less fruitful than he expected. Notes from a journal maintained of his time there were later published as Meri Dakshin Bharat Ki Sangeet Yatra (My Musical Journey in Southern India). While his conversations with exponents of Carnatic music weren't very successful, Bhatkhande procured two valuable manuscripts on the art: the Chaturdandiprakashika by Venkatamakhin and the Svaramelakalanidhi of Ramamatya, both treatises that sought to classify ragas. The two works along with others and his observations from his travels in North India enabled Bhatkhande to classify Hindustani ragas using a system of ten, much like the melakartas of the Carnatic style. Bhatkhande's first published work, Swar Malika, was a booklet containing detailed descriptions of all prevalent ragas. In 1909, he published Shri Mallakshaya Sangeetam, in Sanskrit, under the pseudonym 'Chatur-pandit'. To make this cultural heritage accessible to the common man, he published commentary on his own Sanskrit grantha in Marathi over a span of several years; it was published over four volumes bearing the title: Hindustani Sangeet Paddhati. These volumes form today the standard text on Hindustani music, an indispensable starting point for any student of Hindustani Classical Music. His disciple S N Ratanjankar, famous musician Shri. Dilip Kumar Roy, Ratanjankar's disciple K. G. Ginde, S.C.R. Bhatt, Ram Ashrey Jha 'Ramrang', Sumati Mutatkar and Krishna Kumar Kapoor are among the notable scholars who followed in the footsteps of Bhatkhande. His notation system became standard and though later scholars like Pandit V. D. Paluskar, Pandit Vinayakrao Patwardhan and Pandit Omkarnath Thakur introduced their improved versions, it remained a publisher's favorite. It suffered a setback with the onset of desktop publishing, which found inserting marks above and below Devanagari text cumbersome; as a result, books carrying compositions yielded to theoretical texts. A recently developed notation system Ome Swarlipi follows the logical structure introduced by Pt. Bhatkhande but uses symbols instead of Devanagari alphabets. After traveling widely and having discussions with practitioners of various schools, Bhatkhande arranged all the ragas of Hindustani classical