=Hindoo Musical Philosophy=.—Hindoo myths ascribe a divine origin to music. A close connection was established between the scale and their religious ideas. Each single tone was under the protection of a nymph, and the first syllables of the names of these nymphs, according to Clement, the French historian, were given to the tones, thus: Sa, Ri, Ga, Ma, Pa, Da, Ni, seven in all, differing in that respect from the _pentatonic_ form _usually_ found among the early races. In their endeavor to satisfy the melody of speech, the inflections of the voice in speaking, the Hindoos divided the interval of the octave into small parts, and transposed the scale freely up and down; so it is easily conceivable that their complete system recognized 960 scales, their sacred writings speaking of 16,000. In practice they contented themselves with 36, some writers say 72. The following is given as the scale: [Music] The principal feature of Hindoo music is the melody and rhythm, the latter being very complicated. Of harmony in our sense of the word there is no sign. In accompanying the voice the Hindoos used only the pure fifth, which they considered a perfect consonance, the fourth, an imperfect consonance, and the octave. =High Esteem of Music Among the Hindoos=.—Music had a high place among the Hindoos, all festivities made use of it, and the private and social life demanded it. It was used freely in the Hindoo drama, the latter calling for the dance, spoken and sung dialogue and instrumental music and songs. The main reason why Hindoo music did not develop in the past centuries doubtless lies in the fact that, as in Egypt, the ruling power was vested in the priesthood, which controlled all the arts and sciences. Music was so interwoven with their religious rites and observances, and so hedged around with irrevocable and sacred laws that the slightest alteration was considered a sacrilege. In closing this section it may be added that investigators refer the gipsies, particularly those of Hungary, who are noted for their musical temperament, to Hindoo origin, probably the pariah caste. Their music, with its wild, free rhythm and elaborate melodic embellishment, has a marked resemblance to the music of the Hindoos. REFERENCES. Smith.—The World’s Earliest Music. Anderson.—The Story of Extinct Civilizations. Rice.—What is Music? Piggott.—Music and Musical Instruments of Japan. Day.—Musical Instruments of the Deccan. QUESTIONS. What is the source of our information as to the beginnings of music? What countries are being explored by archæologists? Where was the cradle of the human race? Which branch was probably the first to “swarm off”? How ancient are some Chinese records concerning music? What are the sound-giving bodies according to Chinese theories? Give an example of each kind. Describe the _Sheng_, _Kin_, _Che_ and _Tche_. What kind of scale is used in Chinese vocal music?