INDIAN MUSIC. 177

India, ' does not want art; she wants desperately to be
practical. Time will show whether she alone, and for the first
time in history, can be or become great with such ideals.

Early Indian music, as explained in the Sanskrit
books, appears to have differed much from the modern
practice. Its principal feature was a division of the scale
into 22 parts called sriLti^ of which four corresponded to a
major tone, three to a minor, and two to a semitone. The
modern theory, modes and notation are derived from the
ancient; but " the whole system has undergone a complete
change and gradual refinement, until between the ancient
and modern music there exists a difference as clearly mark-
ed and perceivaMe, to even the most casual observer, as
that between the modern Anglican chant and the ancient
Gregorian tones."*

But there is music still in India. It is not too late
to" understand this intimate expression of Indian culture*
The principal characteristics of modern Indian music are
briefly as follows. The octave is divided into 12 semitones,
as nearly as possible identical with the notes of European
instruments, tuned to equal temperament.t From these
twelve semitones, 72 scales or modes (melaJcartas) are
formed; of these only 36 are in general use. A raga or
melody-type, is a Ģi melodic extension of certain notes of a
particular scale or mode, according to certain fixed rules ";
the number of ragas is exceedingly large. Each is deemed
to correspond to or awaken a particular definite emotion,
Almost the only harmony consists in the use of a drone, a
continuation of the low or dominant music as in the
Scottish bagpipes. The seven notes of the Indian scale

* Captain Day, 'Music and Musical Instruments of S. India
and the Deooan.'

t Do; but see below.
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