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from my own knowledge, as I can say little on the subject, 

 having been seldom pleased willi their vocal or instrumental 

 melody; nor, from those who had belter opportunities of being- 

 acquainted with it, did I ever hear much in its favour. Yet 

 as it has been differently treated by Sir William Jones, and other 

 writers, I submit to their superior judgment. The former thus 

 writes to a friend respecting it, " You touched an important 

 string when you mentioned the subject of Indian music, of which 

 I am particularly fond. I have just read a very old book on that 

 art in Sanscrit, and hope to present the world with the sub- 

 stance of it as soon as the transactions of our society can be 

 printed." 



Sir William Ousely, on the subject of oriental music, says 

 " the books which treat of it are numerous and curious. Sir 

 William Jones mentions the works of Amin, a musician ; the Dama- 

 dara, the Naraijan, the Ragarnava, and (not to add any more 

 Indian names) the sea of passions, the delight of assemblies, the 

 doctrine of musical modes, and many other Sanscrit and Hin- 

 doostani treatises. To these must be added an essay on the 

 science of music; the object of which is to teach the understand- 

 ing of the raugsand rauginees, and the playing upon musical instru- 

 ments. From this work it is briefly stated, that the Hindoos have 

 a gamut, consisting of seven notes, like our own; which being 

 repeated in three several ast'kans, or octaves, form in all a scale of 

 twenty-one natural notes. The seven notes which form the gamut 

 are expressed sa, ra, ga, ma, pa, da, na; or sa, ri, ga, ma, pa, dha, 

 ni; and, when written at length, stand thus: kau,redge; rekhub; 

 gundhauv; mad,dhum; punchum; dhazvoth; neekhaudh. Of these 



