on Singhalese Music. 



205 



by a timid reliance on mathematical intervals., has established 

 an unnatural scale, to which his ear has been attuned by the 

 force of habit. The European instrument is the creature 

 of science: the native art is the creature of its instrument. 



8. The scales of European and native music, are there- 

 fore, essentially different. And the idea which is sometimes 

 entertained, that Singhalese music is in the minor keys, is a 

 libel on the music of the West. European airs, both in the 

 major and minor scales, are vented by the same instrument. 

 Thus, there are intermediate vents for the chromatic semi- 

 tones, introduced in the 8-keyed flute. The notes sounded 

 by these vents may accidentally coincide with those produced 

 on a native instrument ; but the acoustic and musical in- 

 tervals will be found essentially different. 



9. It follows from the preceding considerations, that in 

 investigating Singhalese music, the most perfect native in- 

 struments should be obtained, — their gamut ascertained ; — 

 and, if necessary, a new system of notation adopted, every 

 note of which should have a defined value and relation to 

 the European musical scales. In obtaining instruments, 

 Tamul ones should not be confounded with Singhalese. 

 Tamul music is, I have no hesitation in saying, essentially 

 diatonic in its character. And I could illustrate this by 

 quoting an instance of an air, which I have myself heard 

 sung by Malabars, which has been set to English words, and 

 also incorporated in a set of Quadrilles by the omnivorous 

 Jullien. It is well known, also, that Hindoo airs have not 

 only been written in the European notation, but harmonized; 

 which latter circumstance alone would be a test of unfailing 

 efficacy. 



10. In conclusion, I may indicate the means, by which I 

 consider the investigation, proposed, could be carried out by 

 this Society. 



1858] 



