_--we could never use the fourth,
F, or the seventh, B, if our melody ascended; if our melody
descended we should have to avoid the sixth, A[sharp], and the
third, E[double-flat]. As one can easily perceive, many strange
melodic effects are produced by these means. For instance,
in the _raga Mohanna_, in which the fourth and seventh degrees
of the scale are avoided in ascending, if it were employed in
the mode _Dehrasin-Karabharna_, which corresponds to our own
major scale, it would have a pronounced Scotch tinge so long
as the melody ascended; but let it _descend_ and the Scotch
element is deserted for a decided North American Indian,
notably Sioux tinge. The Hindus are an imaginative race, and
invest all these _ragas_ and modes with mysterious attributes,
such as anger, love, fear, and so on. They were even personified
as supernatural beings; each had his or her special name and
history. It was proper to use some of them only at midday,
some in the morning, and some at night. If the mode or _raga_
is changed during a piece, it is expressed in words, by saying,
for instance, that "_Mohanna_" (the new "_raga_") is here
introduced to the family of _Tanarupi_. The melodies formed
from these modes and _ragas_ are divided into four classes,
_Rektah_, _Teranah_, _Tuppah_, and _Ragni_. The _Rektah_ is in
character light and flowing. It falls naturally into regular
periods, and resembles the _Teranah_, with the exception that
the latter is only sung by men. The character of the _Tuppah_
is not very clear, but the _Ragni_ is a direct descendant
of the old magic songs and incantations; in character it is
rhapsodical and spasmodic.

IV

THE MUSIC OF THE EGYPTIANS, ASSYRIANS, AND CHINESE

In speaking of the music of antiquity we are seriously hampered
by the fact that there is practically no actual music in
existence which dates back farther than the eighth or tenth
century of the present era. Even those well-known specimens of
Greek music, as they are claimed to be, the hymns to Apollo,
Nemesis, and Calliope, do not date farther back than the third
or fourth century, and even these are by no means generally
considered authentic. Therefore, so far as actual sounds go,
all music of which we have any practical knowledge dates from
about the twelfth century.

Theoretically, we have the most minute knowledge of the
scientific aspect of music, dating from more than five hundred
years before the Christian era. This know