First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

The History of Indian Philosophy is a comprehensive and authoritative examination of the movements and thinkers that have shaped Indian philosophy over the last three thousand years. An outstanding team of international contributors provide fifty-eight accessible chapters, organised into three clear parts: knowledge, context, concepts philosophical traditions engaging and encounters: modern and postmodern. This outstanding collection is essential reading for students of Indian philosophy. It will also be of interest to those seeking to explore the lasting significance of this rich and complex philosophical tradition, and to philosophers who wish to learn about Indian philosophy through a comparative lens.

In this volume, sixty-eight of the world's leading authorities explore and describe the wide range of musics of India, Pakistan, Bangladesh, Sri Lanka, Kashmir, Nepal and Afghanistan. Important information about history, religion, dance, theater, the visual arts and philosophy as well as their relationship to music is highlighted in seventy-six in-depth articles.

The Garland Encyclopedia of World Music is a ten-volume reference work, organized geographically by continent to represent the musics of the world in nine volumes. The tenth volume houses reference tools and descriptive information about the encyclopedia’s structure, criteria for inclusion and other information specific to the field of ethnomusicology. An award-winning reference, its contributions are from top researchers around the world who were active in fieldwork and from key institutions with programs in ethnomusicology. GEWM has become a familiar acronym, and it remains highly revered for its scholarship, uncontested in being the sole encompassing reference work with a broad survey of world music. More than 9,000 pages, with musical illustrations, photographs and drawings, it is accompanied by 300+ audio examples.

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