n they have
played far into the night, and fall asleep from sheer exhaustion, they
wake up in the morning to begin again.

Though native instruments and the method of playing them does not
usually appeal to the English ear, except for condemnation, it must
also be said that Indians in general assert that they do not recognise
any particular beauty in English melodies; and the wealth of sound of
a full band, performing the composition of some great master, only
suggests to the Eastern mind a confused medley of meaningless noise.
At the weddings of wealthy men who wish to make a special display,
there sometimes appears what they call a "Europe" band, which consists
of Indian performers, dressed in cast-off uniforms and with Western
instruments, on which they play what are meant to be English popular
airs. But there is usually the old-fashioned band also in attendance,
and there is no question as to which band the guests really cared to
listen.

The truth appears to lie in the fact that the two nations are looking
for different effects in music. Europeans value the melody, and the
harmony which enriches it. Easterns care little for the melody,
dislike the harmony, but think everything of the time. It is the
unvaried repetition of the same meagre tune, repeated over and over
again with apparently wearisome monotony, which is the attractive
feature. And the amount of pleasure to be found in listening to any
musical exercise is proportionate to the skill of the performer in
beating out his even measure on drum, or pipe, with unwearied
pertinacity.

Sir George Clarke, Governor of Bombay, at a meeting of an Indian
Choral Society in Poona, in August 1911, in sketching the diverse
developments of Eastern and Western music, suggested that the tones of
the instruments in vogue had affected the art of singing, and that the
falsetto style, common amongst Indians, is in imitation of the
shrillness of their reed instruments, while the fuller voice,
cultivated in Europe, follows the development of the ampler harmonies
of Western instruments. Each style of music represents a cultivation
of certain qualities with a neglect of others. The ultimate result of
intelligent study should be the combination of the great qualities of
both into a richer music than either East or West has known hitherto.
Sir George Clarke went on to say that, before Indian music could
develop or become widely known, it must be reduced to some
intelligible metho