The Music of Hindustan

CONTENTS INTRODUCTION 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 Chapter I A Musical Diary 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 20-27 Nagpur, Central Provinces 29-31 West coast 32-8 Travancore 39-45 Maratha bards 46, 47 Conclusion 48, 49 Chapter II A Musical Diary (continued) Garhwalis 50-6 Gurkhas 57,58 Panjabis, Cuttack dance 59 Bhavnagar 60, 61 Lullabies 62-7 Children's songs 68 Conclusions 69-72 Chapter III Legend, History, and the Present Day 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 Bhavanagar 90 Rabindranath Tagore 92-9 Chapter IV The Scale The facts of folk-song and folk-instruments 100-4 List of Sanskrit authorities 105 Technical terms 106-8 The gramas, 109-12 Bharata 113 Date of his system 114 His twenty-two srutis 115-18 South India 119, 120 Transilient scales 122-6 The sruti in practical music 127-9 And in European music 130-3 Chapter V Mode 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 Grama and Rag 149 Ancient and modern mode 150 Chapter VI Raga The table of Raga 151, 152 Appropriate times and seasons 153 Sources of Raga 154, 155 Tessitura 156 A Raga is not a tune 157 but it conforms to law 158, 159 Conjunct motion 160-2 Harmony and harmonization 163, 164 Instances of Raga 165-9 Re-entrant Raga 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 Chapter VII Grace 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 my be traced to Sanskrit pronunciation 190 Chapter VIII Tala Stree 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 Chatper IX Drumming Indian and European drumming 225, 226 Drums 227 Drum-words 228, 229 drum-phrase 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 Chapter X The Saman Chant The Rgveda accent 246-8 The Samaveda 249-52 Its 'form' 253 Its rhythm 255, 256 Its scale 257-9 Its original nucleus 260 Consonance 261, 262 The Gandhara grama 263 The Saman scale as transilient 264 The musical hand 264, 265 The early Greek scale 266 Instances of Saman chant 266-73 Notation 273 Some technical terms 274-6 A vocal scale 276-9 Chapter XI Form Amsa and drone take the place of our dominant and tonic as the basis of form 280, 281 The Kirthanam 282-5 Other forms 286 The Khyal 287-99 Subsidiary forms 299, 300 Specimens of Raga 301-16 The cycle of Raga 217-19 Chapter XII Melody Melody is homogeneous 320-2 Conjunct and disjunct motion 322-8 Climax 328-30 Tessitura 330-4 Rhythm cross-metre 334-6 Analysis of a European 337 and of an Indian melody 338 Their characteristics contrasted 338-42 APPENDIX I 343 APPENDIX II 345 BIBLIOGRAPHY 346 GLOSSARY AND INDEX 353