When Edward Maryon was in India he visited one of the temples and in watching the prayer wheels, noticed that a certain wheel moving at a certain speed produced a certain sound and a certain color, while another wheel moving at a different speed produced a different tone and a different color. It interested him so much that he learned from a Hindu priest about the relation of light and sound. This led to very interesting experiments and results which he has used in teaching music. The color red is supposed to correspond with the musical sound middle C, orange with D, yellow with E, green with F, blue with G, indigo with A, and violet with B. And recently in America we have been interested in seeing a color organ, the “Clavilux” invented by Thomas Wilfred which plays tones of colors instead of tones of sound. This is a direct twentieth century result of the so-called “magic” of primitive times. From this you can see how the magic of ancient days is explained by modern science. HINDU RAGS The Hindu songs presided over by special gods were called _rags_, but of course, the name has no relationship whatever to our _ragtime_. It seems that religious feeling has dominated everything in the Orient; for this reason every idea connected with music has a corresponding idea in Hindu mythology. The _rags_ were all named after the gods who brought music down from heaven to comfort man. The character of each god or goddess was supposed to be reflected in the _rag_, and it was not the result of scientific study as were, for instance, the scales of the Chinese. Our knowledge of the _rag_ has come down to us from what Sanskrit writers on Indian music have said, and what is practised today by the modern Hindu. No doubt Arabia and Persia once had a music system very much like this one of the Hindus. _Rags_, _ragas_, or _raginis_ were neither airs nor modes in our sense of the words, but something like the modes of the Arab songs, they were melodic forms, or themes, on which musicians either improvised or composed new songs, by using them in rhythms of endless variety. There were many many _rags_, and they were under the guidance of the gods of the rainy season, the cold season, the mild, the hot, etc., and could only be sung during their special seasons. It was thought that these songs sung at the wrong time would bring down calamity. Again, as with the American Indian (Chapter II), we find tribes who are most careful to sing certain music at certain times. It is told that a Hindu nobleman, long ago, tried to sing a night song in the daytime and darkness covered all things within the sound of his voice! As important as was the song from the earliest time, instrumental music held almost an equal place. ORCHESTRA