இதன்பின் சில நாள் பொறுத்து இந்திய சங்கீதத்தை அறிய விரும்பும் மேற்றிசை சங்கீத வித்துவசிரோமணிகளுக்கு "இந்திய சங்கீதம்" என்ற வியாசம் எழுதி அடியில் கண்ட இங்கிலீஷ் வர்த்தமான பத்திரிகைகளாகிய "Royal Society of Arts," John Street Adelphi, London. "The Music News" 3, Wine Office Court, Fleet street, London. "The Musical Standard" 83, Charing cross road, London. "The Musical Times" 160, Wardour street, London. இவைகளுக்கு அனுப்பினேன்.

அவ்வியாசம் வருமாறு :-

"Indian Music has been, for some time, an attractive and interesting study to Englishmen. Some of them have also been touring in this country in order to make their own researches and obtain first-hand information in the field of Indian Music. One of these tourists, Mr. A. H. Fox Strangways, was recently in our midst here at Tanjore. holding interviews with the eminent musicians of the place with a view to know the inherent quality and worth of Indian music. Writing on this subject in the "Madras Mail," 2 few months ago, he observed that Indian musicians who are disposed to wrap up their musical practice in mystery and who deliberately with hold the knowledge which their pupils had paid for, have no need of an acoustic theory. He regretted that not even one in a hundred cared to inquire into the theory of the SRUTI. He further said that there was room for good work in recording the excellent Indian songs. but that no Indian would think of it; that the work, however, would be published in Germany and sold in America.

In regard to these remarks of his. I wish to say a few words. Students of Indian Music who wish to have a knowledge of the Srutis ransack all their books in vain to find out (a) the principle which underlies and pervades them all, (b) the method of constructing melodies out of the Srutis, and. (c) the MELAKARTHA which contains all the melodies. No problem relating to Indian Music could be solved without a definite knowledge of these three things. Professors of Indian Music have devoted a whole life-time to a single RAGAM and have composed GHEETAMS, VARNAMS, KIRTANAMS and PALLAVIS out of it, leaving the fundamental theory thereof to remain an enigma. Only the old Ragams are sung at the present day and nobody thinks of attempting the various new Ragams, although they are furnished with the basis-scales of all the Ragams. New discoveries and unusual phenomena relating to earth and sky are coming to light every day, but, in the realms of Indian Music, time-honoured methods prevail, and so the music remains where it was. While allowing that there are a few things that are, of course, excellent in what is ancient. my humble opinion is, that in respect of Indian Music, time-honoured methods have been the betc noir of progress.

Before proceeding to explain what I have to say regarding SRUTI, RAGA-SPUTAM and KARTHA, I wish to say a few words as to the MOTHER-RAGAM in Indian Music and the JANYAMS or melodies that are born of them.