MUSIC AND EDUCATION IN INDIA. 205"»

seen, depending on the same causes, in ScotliySjt and'J
Ireland. Ireland has had the strength to react iii^ j?i^%»:t *
and renationalise her education, as far as might be in. ffieT-
face of educational authorities quite as unimaginative as<
those we are familiar with in India. The only hope in
India, lies in a control of education by Indians.

Another direct result of the present neglect of Indian
music in education is what I may call the boycott of Indian
musical instrument makers in favour of manufacturers of
gramophones and harmoniums. This fact, further elaborat-
ed on p. 165, I present to workers in the Swadeshi move-
ment for due consideration in all its ramifications and
parallels.

Education in Indian music, that is, education in folk-
music in elementary schools, will make possible the educa-
tion of older boys and girls, and young men and women,,
who possess musical talent, in the art-music of India, song,,
the vina, the sarangi. The advantage of these over more
mechanical instruments lies in the fact that only the truly
musical can master them. A gramophone, and even a
piano, often enables the most unmusical person to inflict'
a- suffering audience with his ideas. It is true some efforts
have been made by Indians in recent years to provide for-
education in Indian music, and some of these may be
briefly noticed. The Gayan Samaj in Poona and Madras ;
the Academy of Music in Calcutta, founded by Raja Sir-
B. M. Tagore, Mus. D. (Oxon.) ; the Bengal Music School
in Calcutta; schools in the Central Provinces ; individual*
teachers such as the Us tad of Baroda, court nmsicians of
the Gaekwar, and others : all these by their publications:
and through their pupils have contributed to the preserva-
tion of Indian music. But the influence of even these
schools is not always certain. One of the most important