Therefore, Natya Sangeet caught popularity with masses in Maharashtra, so much so that during the British Raj they compared it with Operas. The key difference between Natyageet and Bhavageet is that the latter stresses more on words while the former gives a lot of significance to Raga. Natya Sangeet emerged essentially so that the common man could also understand classical music and enjoy the classical base. Common people were barred from enjoying classical music. Singers were called from all over the country to eneteratin the gathering of rich and royal people. In the early 19th century in Maharashtra, music was solely the union of the rich, aristocratic and royalty of India. The Natya Sangeet uses all the classical styles of singing including Khayal Ang, Thumri Ang and light classical forms like Dadra, Tappa and Bhavgeet. The ragas such as Bhimpalas, Yaman, Jaijaiwanti, Mand, Malkaunsa and others have been used in the music hence the songs are fadeless till date. So, musical drams are called Sangeet Natak in Marathi.

Natya Sangeet is lyrics in form of poetries/songs/gazals/nazm which are sung by the actors in a natak (drama). Natya Sangeet originates from Indian semi-classic and classical music style. The impact of natya sangeet on the Maharashtrian audience is unwavering. The great tradition started by him has continued till date and it has grown in each style of musical tune, script, outline, and acting. In the year 1880 Balwant Pandurang staged his first musical play Sangeet Shakuntal. The credit of staging Sangeet Natak (musical drame) in the state of Maharashtra goes to Balwant Panduarang Kirloskar (बळवंत पांडुरंग किर्लोस्कर) popularly known as Annasaheb Kirloskar.

Matsyagandha marathi drama