Which scholar has described the 'Chyut' and 'Achyut' types of Shadaj swara?

Question

Accepted Answer

The correct option is 3:
Pandit Sharangdev, the author of the monumental 13th-century Sanskrit treatise Sangeet Ratnakar, is the scholar who first systematically described the 'Chyut' and 'Achyut' types of Shadaj swara. This classification is a critical component of his in-depth analysis of the Graam system. Achyut Shadaj literally means the 'immovable' or 'unmoved' Shadaj, which is the foundational tonic (Sa) that remains fixed and is the principal reference point for the entire scale. Conversely, Chyut Shadaj means the 'slipped' or 'fluctuating' Shadaj, which he used to describe subtle variations or shifts of the note from its primary Shruti position for melodic movement, demonstrating the complexities of microtonal articulation even for the tonic. Sharangdev's work served as a bridge between ancient and medieval musicology, preserving and systematizing such intricate concepts.

The incorrect option is 1:
Bharat Muni, the traditional author of the Natyashastra (c. 200 BCE – 200 CE), is the earliest and most foundational musicologist, but he did not use the terms Chyut and Achyut for Shadaj. His focus was on establishing the Graam-Murchhana system and defining the 22 Shrutis (microtones) through the famous *Veena* experiment. Bharat's work introduced the primary classification of notes based on the number of Shrutis they occupy, such as *Dwishrutika* or *Chatushshrutika*. While he laid the groundwork for *Swara* theory, the specific, more nuanced categorization of the *Shadaj* as *Chyut* and *Achyut* is a later development.

The incorrect option is 2:
Matang Muni, the author of Brihaddeshi (c. 6th–8th century), is celebrated for being the first to clearly define the term Raaga (melodic mode), distinguishing it from the older *Jati* system. He also categorized music into *Maarga* (classical) and *Deshi* (regional). While his work expanded significantly on *Nada*, *Shruti*, and *Graam*, his major contribution lies in systematizing the regional and folk melodies that eventually evolved into the modern *Raaga* system. The specific terminology of *Chyut* and *Achyut* Shadaj is not found in Matang's seminal text, the *Brihaddeshi*.

The incorrect option is 4:
Ahobal Pandit, the author of Sangeet Parijat (17th century), significantly post-dates Sharangdev and represents a major theoretical shift. He moved away from the ancient *Shruti* and *Graam* concepts by establishing the positions of the notes (*Swara*) based on precise, measurable lengths of a *Veena* wire. This revolutionary approach provided an objective, fixed basis for the notes. His work focused on the modern 12 *Swara* system of Shuddha and Vikrita notes, making the ancient concept of a 'fluctuating' Shadaj (*Chyut*) largely obsolete in his framework.