Features principles and technique of Indian music/ A.H.Strangways

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