MUSIC AND EDUCATION IN INDIA.

•musicians, whose music even to a stranger is in some measi^pe
-an interpretation of the national genius, by a newly trained
brass band, the performances of which may, with good
fortune, rival those of a third rate German band in
England. The Raja buys also gorgeous gramophones and
.a mechanical violin, paying fabulous sums to have them
^decorated by their English manufacturers. • The true
:artists of the past he neglects ; the hereditary craftsmen,
makers of exquisite inlaid and painted lutes and marvel-
lous drums, are left to starve; and to the cultured
stranger it can but seem that his must have been an
inferior race, with little learning and few traditions worth
preserving, for he finds there 110 new revelation of human-
ity, only a distorted image of himself.

Quite possibly, such a Raja is at the same time * pro
.gressive' and ' enlightened.5 He spends money on
•* female ' education ; adopts the Resident's suggestions of
founding a museum, or the like, and believes himself to be
•all that he can or should be. There can be few more
•depressing sights than that of such men destroying with
•one hand what they endeavour to build up with the other.

Suppose, for the sake of argument, that one were to
•admit a superiority of harmony to melody, of European to
Indian music. It would be much as if we shauld say th^t
Greek architecture was superior to Gothic, or vice versa,
instead of recognising that each is the expression of a
-different temperament in relation to different environment
and different needs ; but let that pass, and ask even oa
this assumption of superiority, what does and must result
from an endeavour to introduce European music into India
sit the cost of Indian.

The comprehension of harmony, especially of its later
developments, is even in Europe necessarily confined to