Oriental Music in European Notation BY A. M. C. Mudaliatr

It is not always possible to express in written language every idea springing in the human brain, in a manner sufficiently clear to all, nor can any written language reproduce the thousand variations met with in the articulation of the same sounds or the pronunciation of the same alphabetical character—much less can it convey the peculiar impressions produced by gestures and other graces employed by effective public speakers. None but Musicians can realize the difficulties inherent to the task of clothing in any written language these intricate fluctuations and indescribable flexibilities of the human voice or the flights and sublime aspirations of the human soul. No notation however complete can fully delineate those magnificent fore-shod Owings of eternal beatitude which fill the imagination of the composer in the moment of highest inspirations.

The sentiment of keen appreciative regret applies to none more aptly and appropriately than the priceless treasures of the spice fraught balms of “Oriental Music”. But unfortunately they lie muffled up in unapproachable recesses darker than the caves of the Ocean and deeper than the heart of Desert.

Herculean efforts are being made in every direction to extricate the remnants of the above pressures from the darkness of secrecy and from the labyrinths of intricacy by which they are environed.

The beautiful work brings out the skill and ingenuity of the Oriental Music from the dire fate of obscurity, oblivion and obloquy to which they have hitherto been doomed, setting it in the understandable European Notation systematically and in a complete and authentic form.

A gem of purest ray for the Music-loving population of the world-professionals as well as amateurs.