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Synopsis Indian music, perhaps world’s oldest, is full of beauties and mysteries. Unlike Western Music, Indian music is not written down. It is handed down orally from the teacher to his student, from the Guru to his Shishya. To the uninitated terms such as the raga, tala, laya, alap, are exotic Jargaon, Thumri or Bhajan or ghazal equally mysteries. So is the whole range of persuasion and striuged instruments. The three volume work on the theory of Indian Music seeks to unravel the mystery of the unique performing art. It initiates a method of discovery which the reader experiences almost unconsciously as he reads on. Precise notations of important ragas on the pattern of western written music have made musical exercise easy, clear and methodical. Debates and controversies which are essential for the development and flowering of fresh knowledge have been included. Bhatkhande’s famous polemics over the interpretation of Ratnakara with Philharmonic Society is a part of the book. Also the suitability of Harmonium as an instrument of classical music is discussed. The concluding volume takes into account the universal notation and tuning for Kheyal instruments adopted by the Philharmonic Society. For anybody interested in performing listening and appreciating Indian Music, the volumes are indispensable source-books. The Wealth of information with practical lessons would delight any lover of music anywhere.