If an Indian were to visit Europe, and who have never had opportunities of hearing music in its utmost perfection—who had never witnessed an opera, or a concert, directed by an able musician, but had merely heard blind beggers, and itinerant scrapers, such as frequent inns and taverns—were to assert that the music of Europe was execrable, it would perhaps never have occurred to his hearer that he had heard only such music as he would himself designate by the same title, and the poor traveller's want of taste would perhaps be the first and uppermost idea that would present itself. But when we possess the contrary testimonies of two enlightened travellers with respect to the same subject, surely we may have reason to appear somewhat sceptical. On the opinions given by Europeans on the music of India, I shall produce an example. A Treatise on the Music of India (I) Introduction (ii) The Gamut (iii) Harmony and Melody (iv) Melody of Indian Music (v) Ran gas and Raginis (vi) Compound Ragas (vii) Pictorial Representations of Musical Modes (Ragamala) (viii) Indian Musical Instruments (ix) Twenty Species of Vocal Compositions (x) Music and the Peculiarities of Indian Manners of Customs (xi) Celebrated Musicians of India (xii) Glossary of Musical Terms 2. On the Musical Modes of the Hindus