The harmonium holds an ambiguous reputation in India as well as in
its "home continent" of Europe. There is an abundance of clear
statements made by distinguished Indian musicians, theoreticians and
also politicians who time and again would decry the instrument.
Rabindranath Tagore's famous description of the harmonium as "that bane
of Indian music" is just one example. And yet, the harmonium is arguably
the instrument most widely used for accompanying the foremost medium of
North Indian classical music, i.e. the human voice. Thus, by all
appearances the anxiety about the harmonium's potentially destructive
impingement on traditional music, is not shared by the majority of the
musicians.
This book seeks to understand the complex history of
the harmonium in North India, analyse the apparent conflict between
musical theory and practice and describe how the instrument is used in
musical practice. Is the harmonium an instrument suitable for Indian
music? Can it live up to the requirements of Indian music? Can it live
up to the requirements of Indian music? These questions pervade the
whole book, at the end of which, they will appear in a whole new light.
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