History of Indian Music and Its Instruments

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About the Book The present work is an outline sketch of the subject, it's a comprehensive study of Indian music. The chapters were written primarily with a view to stimulating interest in Indian music, to encourage non-Indians to pursue their studies further. The author has not attempted to treat the subject exhaustively, but has endeavoured, rather, to enumerate some of the many attractive features which emphasize the charm, dignity and interest of Indian music.

Foreword THE present work, an outline sketch of the sub- ject, does not claim to be a comprehensive study of Indian music. The chapters were written primarily with a view to stimulating interest in In- dian music, in the hope that English readers already acquainted with the subject might be encouraged to pursue their studies further, while new recruits might be added to the small group of Western music lovers, prepared to further the cause of Indian music. The author has not attempted to treat the subject exhaustively, but has endeavoured, rather, to enumer- ate some of the many attractive features which em- phasise the charm, dignity and interest of Indian music.

Introduction THE HE Vindhya mountains form a natural barrier between Hindustan and the Deccan. The dif- ferences between the inhabitants of Northern and Southern India are considerable, and the two great divisions of Indian music, into the Hindustani, or Northern, school and the Carnatic, or Southern, school must not be overlooked by any foreigner, who would become acquainted with the classification of ragas or melody modes. All vágas express cer- tain rásas, or emotions; when their language is under- stood, the soul of Indian music is revealed in all its beauty.