No one feels more than the author the deficiencies of this book and the inadequacy of its presentation of a great and living culture. My only real qualification is my love for India, and a keen interest in both the practice and theory of Indian music. This little work is sent out into the world in the hope that it may help to make known the great value of Indian music and that it may play some part, however small, in the improvement and spread of this O culture throughout India.
My deepest obligations are to Mr. A. H. Fox Strang- ways, whose Music of Hindostan is the best of the few books which seek to give something like an adequate account of the subject. India can never be too grateful to this musical scholar for the limitless labour, love and imagination he has lavished on Indian music. I have drawn very freely from his book not only accepting many of his ideas as to the development of music both within and without India, but also borrowing a few of his brief definitions and some expository passages of greater length. I owe him a further debt for the large amount of personal help he has given me. He read my manuscript from beginning to end more than once, explained a number of musical difficulties, and, above all, provided the material for the account of the Indian scale, and allowed me to consult him freely while I worked up the material into Chapter iii.
I also wish to acknowledge with deep gratitude the large help I have received from a number of friends in India. The following have done so much for me that it is a pleasure to mention their services. Mr. N. V. Bhat khande, M.A., LL.D., author of a number of musical treatises in Marathi and Hindi, read the draft of the manuscript and suggested many corrections. M. R. Ry. C. R. Srinivasa Aiyengar, B.A., LT., of the Sanskrit College, Mylapore, gave much assistance with regard to the Saman chant and ancient books on Indian music; Sahabzada Syed Sadat Ali Khin Bahadur, Home Secretary of Rampur State, who is an accomplished musician, gave many hours of valuable time to satisfy my desire for a better practical knowledge of the music of the north; the Rev. L. I. Stephen of Erode taught me much of what I know, both of theory and practice, in south Indian music; while Takhur M. Nawab Ali Khan of Lucknow rendered value. Able help. Thanks are also due to the editors of the Heritage of India series for their kind assistance, and especially to Dr. J. N. Farquhar, who has read through all the proofs with the greatest care and made many suggestions of great value.
To every other one who, whether in conversation or by letter, has given me information or led me to clearer insight I would express my sincere gratitude and thanks.
**Contents and Sample Pages**
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