Language: English
Pages: 248 (11 B/W Illustrations)
Preface
In this volume, an humble, though a pioneer attempt has been made to trace the beginnings and the later evolution of the raga-system of Indian Music—from authoritative sources, many of which are still buried in unpublished and rare manuscripts. Orthodox music practitioners, opposing any manner of new developments and innovations—on the belief that Indian Music is a stereotyped system hide-bound by strict rules and conventions prescribed by ancient musical Sages, to depart from which is to assail the individuality of Indian Musical thought--and, therefore, a musical crime, may find in this Volume much material which will contradict such a belief. Indeed, the history of the ragas, of which a bare outline, is, here presented de-monstrates that in all periods of its development—Indian Music has grown and progressed by assimilating new ideas from non-Aryan and aboriginal musical practices—and that the Classical Raga-System is firmly based on and is heavily indebted to Primitive Folk-music, having never disdained from borrowing and assimilating new data from alien or foreign sources. Yet the Indian Raga-System—has a structure of peculiar form—having fundamental rules and conventions of its own—which must be understood— in its essential character—before any innovation or a new development can be initiated. In the coming new order of things, Indian Music is destined to play a great part in vitalizing national culture. It is hoped that the free liberalizing role of music should not be restricted and subordinated by being harnessed to political propaganda. Both the necessity of saving Indian Music from such slavery and of extending its role—in a larger expansion of national life—in forms of
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