Summary: In the 19th and early 20th centuries, significant developments in Indian musical theory and practice occurred. Key figures such as N. Augustus Willard, S. M. Tagore, K. Banarji, and Pandit V. N. Bhatkhande played crucial roles in rejuvenating musical theory in Bengal. Bhatkhande's works, including Srimal-laksyasangitam and Hindusthani Sangit Paddhati, sought to reconcile theory and practice, tracing the historical development of rags and presenting standardized forms for each. The concept of octaves, tetrachords, and time-based rag performance were also explored. Ambiguity in scale divisions and the significance of drones in octave divisions were considered, offering multiple perspectives on the structure of scales. Intonation, surmised through oscillations in rags like Darbari, remained a subject of debate due to divergent traditions and varying performing standards. The text underscores the complex and evolving nature of Indian music theory and practice during this transformative period.