to indicate the various vikrits of each svara. Ettiyapuram Subrama Dikshita, his great grandson, has also written in Telugu a very important work on the southern system, which endeavours to apply the principles of Sarngadeva to modern music.
Many of the rajahs and princes of Cochin and Travancore were good musicians, among whom the most brilliant was Perumal Maharaja, whose compositions are in six languages : Sanskrit, Tamil, Telugu, Malayalam, Hindusthani, Marathi.
In Bengal, in the latter half of the nineteenth century, Sir S. M. Tagore produced a number of important works on music. His Universal History of Music is a work of considerable value. The Bengal pandits, including Tagore, adopted the old Hindusthani raga-ragim-putra classification for their ragas.
Dr. Rabindranath Tagore is a relative of Sir S. M. Tagore and exercises the most potent influence to-day upon music in Bengal. He has left the beaten tracks of Bengali music and has made new paths for his melodies. His songs have rare musical and poetical qualities and are known all over Bengal.
The Indian rajahs and princes still have in their service many famous musicians, but unfortunately many of them depend almost entirely upon tradition in the rendering of ragas and melodies. There seems to be no generally accepted system for Hindusthani music, though efforts are being made to-day by many scholars to work one out. The southern system, as readers will have guessed, is far more carefully systematized, and perhaps errs on the side of rigidity.
During the last few decades the scientific study of music in India has made great advances. Musical schools and associations have sprung up all over India; and to-day we find them in existence in such widely separated places as Bombay, Poona, Bangalore, Lahore, Gwalior, Baroda, Tanjore, Mysore, Trivandrum, Calcutta. The Gandharva Maha Vidyalaya, as the Bombay school is called, was first established in Lahore by Pandit Vishnu Digambar Paluskar in 1901 and then in Bombay in 1908. It has its
