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•••<br/>The understanding of music as affected<br/>by national characteristics, by an anti<br/>quated system, by the absence of<br/>harmony, by difference of content,<br/>Causes of the particular form taken by<br/>Indian music due to the conservatism of<br/>India, to its size, to its climate, A<br/>concert. The future of Indian music.<br/>I A Musical Diary •••<br/>Conditions under which these songs<br/>were collected and caution with which<br/>they should be received, Chanties and<br/>labour songs. Occupation songs, Nagpur,<br/>Central Provinces, West coast, Travan-<br/>core, Maratha bards. Conclusions.<br/>n A Musical Diary — 50-72<br/>Garhwalis, Gurkhas, Punjabis, Cuttack<br/>dance, Bhavnagar, Lullabies, Children's<br/>songs. Conclusions.<br/>Page<br/>( viii)<br/>III Legend, History and the Present Day<br/>Absence of the historical Sense, Legend,<br/>History, The present day. Subbanna and<br/>Seshanna of Mysore, Ramachandra of<br/>Trivandrum, Sourendro Banerji ot<br/>Calcutta, Chandraprabhu of Bhavnagar,<br/>Rabindranath Tagore.<br/>IV The Scale<br/>The facts of folk-song and folk-instru<br/>ments, List of Sanskrit authorities.<br/>Technical terms. The gramas, Bharata,<br/>Date of his system, His twenty-two<br/>srutis. South India, Transilient scales,<br/>The huli in practical music, and m<br/>European music.<br/>V Mode<br/>Scale and mode, Indian conception of<br/>mode. The Greek parallel. Mode m<br/>actual practice, Appoggiatura, Absolute<br/>pitch, Grama and Rag, Ancient and<br/>modern mode.<br/>VI Raga<br/>The table of Rags, Appropriate times<br/>and seasons. Sources of Raga, Tessitura,<br/>ARag is not a tune, but is conforms to<br/>law. Conjunct motion. Harmony and<br/>harmonization, Instances of Rag, Re<br/>entrant Rdgs. The drone. Comparison<br/>with European melody, and with the<br/>ecclesiastical modes. Imitation. T e<br/>intervals chosen in melody have no basis<br/>in harmony.<br/>Vn Grace<br/>Grace is inherent in the note, not an<br/>appendage to it. Two main kinds of<br/> grace. Comparison with Scotch graces,<br/>and Hungarian, Grace in the Sanskrit<br/>theory. The Mohammedan Tappa, Grace<br/>may be traced to Sanskrit pronunciation.<br/>VIII Tala ... 191-224<br/>Stress and quantity, Sanskrit metres.<br/>The transition from poetical to musical<br/>metre. Metre in music. The Carnatic<br/>system of Time, The Hindustani system,<br/>Comparison with the European system.<br/>IX Drumming ... 225-245<br/>Indian<br/>and European drumming. Drums,<br/>Drum-words, drum-phrases, and drum-<br/>variants, Instances, Augmentation and<br/>diminution, and 'convergence* and<br/>'cumulation*. The drum used orna<br/>mentally not structurally.<br/>X The Saman Chant ... 246-279<br/>The Rgveda accent, The Samaveda, Its<br/>'form*, its rhythm, its scale, its original<br/>nucleus. Consonance, The Gandhara<br/>grdt Of The Sdmotif scale as transilient.<br/>The musical hand, The early Greek<br/>scale. Instances of Sdman chant. Nota<br/>tion, Some technical terms, A vocal<br/>scale.<br/>XI Form - 280-319<br/>Amsa and drone take the place of our<br/>dominant and tonic as the basis of form,<br/>The Kirihanam, Other forms. The Khyal,<br/>Subsidiary forms, Specimens of Rags,<br/>The cycle of Rags.<br/>Xll Melody ••• 320-342<br/>Melody is homogeneous, Conjunct and<br/>disjunct motion. Climax, Tessitura,<br/>(x)<br/>Rhythm, cross-metre, Analysis of a<br/>European, and of an Indian melody.<br/>Their characteristics contrasted<br/> |
