The Music of Hindostan c4: Table of Contents

The Music of Hindostan c4

Language: English

c4.1

The understanding of music as affected by national characteristics, 1, 2; by an antiquated system, 3; by the absence of harmony, 4, 5; by difference of content, 6, 7. Causes of the particular form taken by Indian music due to the conservatism of India, 7; to its size, 8; to its climate, 9, 10. A concert, 11–13. The future of Indian music, 14–16.

c4.2

CHAPTER I A MUSICAL DIARY

c4.3

Conditions under which these songs were collected and caution with which they should be received, 17, 18. Chanties and labour songs, 19–21. Occupation songs, 20–7. Nagpur, Central Provinces, 29–31. West coast, 32–8. Travancore, 39–45. Maratha bards, 46, 47. Conclusions, 48, 49.

c4.4

CHAPTER II A MUSICAL DIARY (continued)

c4.5

Garhwālīs, 50–6. Gurkhas, 57, 58. Panjābis, Cuttack dance, 59. Bhavnagar, 60, 61. Lullabies, 62–7. Children's songs, 68. Conclusions, 69–72.

c4.6

CHAPTER III LEGEND, HISTORY, AND THE PRESENT DAY

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Absence of the historical sense, 73, 74. Legend, 75–82. History, 83–5. The present day, 86–90. Subbanna and Seshanna of Mysore, 86. Ramachandra of Trivandrum, 88, 89. Sourendro Banerji of Calcutta, 88. Chandra Prabhu of Bhavnagar, 90. Rabindranath Tagore, 92–9.

c4.8

CHAPTER IV THE SCALE

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The facts of folk-song and folk-instruments, 100–4. List of Sanskrit authorities, 105. Technical terms, 106–8. The grāmas, 109–12. Bharata, 113. Date of his system, 114. His twenty-two śrutis, 115–18. South India, 119, 120. Transilient scales, 122–6. The śruti in practical music, 127–9; and in European music, 130–3.

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CHAPTER V

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MODE

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Scale and mode, 134-6. Indian conception of mode, 137-9. The Greek parallel, 140-3. Mode in actual practice, 144, 145. Appoggiatura, 146, 147. Absolute pitch, 148. *Grāma* and *Rāg*, 149. Ancient and modern mode, 150.

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CHAPTER VI

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RĀGA

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The table of *Rāgs*, 151, 152. Appropriate times and seasons, 153. Sources of *Rāga*, 154, 155. Tessitura, 156. A *Rāg* is not a tune, 157; but it conforms to law, 158, 159. Conjunct motion, 160-2. Harmony and harmonization, 163, 164. Instances of *Rāg*, 165-9. Re-entrant *Rāgs*, 170. The drone, 171-3. Comparison with European melody, 174-6; and with the ecclesiastical modes, 177, 178. Imitation, 179. The intervals chosen in melody have no basis in harmony, 180.

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CHAPTER VII

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GRACE

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Grace is inherent in the note, not an appendage to it, 181, 182. Two main kinds of grace, 183. Comparison with Scotch graces, 184, 185; and Hungarian, 186. Grace in the Sanskrit theory, 187. The Mohammedan *Tappa*, 188, 189. Grace may be traced to Sanskrit pronunciation, 190.

c4.19

CHAPTER VIII

c4.20

TĀLA

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Stress and quantity, 191, 192. Sanskrit metres, 193-200. The transition from poetical to musical metre, 201-3. Metre in music, 204-8. The Carnatic system of Time, 209-14. The Hindostani system, 215, 216. Comparison with the European system, 217-24.

c4.22

CHAPTER IX

c4.23

DRUMMING

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Indian and European drumming, 225, 226. Drums, 227. Drum-words, 228, 229; drum-phrases, 230; and drum-variants, 231, 232. Instances, 233-40. Augmentation and diminution, 241; and ‘convergence’ and ‘cumulation’, 242. The drum used ornamentally not structurally, 243-5.