The Music and Musical Instruments of Southern India and the Deccan c5.44

c5.44

The theoretical part of Hindu music when compared to that of Europe is naturally very simple, as it treats entirely of simple melody and measure. The most noticeable points are the extraordinary importance which the Hindus, like all the ancient nations, have from the first attached to mode—the transposition of the natural scales; the peculiar rhythmical measures, frequently irregular; the noisy methods of beating time; and the almost entire absence of harmony. The only harmony, if it can be called so, is a continuation as a pedal of the tonic or dominant, as was done in old "pastorales," and which is still found in Scotch or Irish bagpipe music. The use of all kinds of grace is common. The rules laid down for the composition of pieces in what are called râgas are curious, and should be noticed; certain progressions of melody being forbidden, while others are lawful. Whether the ancient Greeks made any employment of râga is not known, but it seems extremely probable, since they attributed the greater part of their science of music to India,¹¹ and that most Eastern nations still employ either râga or its equivalent.¹²