"The first iconographic record of the hand bell or ghaṇṭā is not conclusive. As late as the seventh century it is depicted in one of the caves at Aurangabad; yet five hundred years earlier, the greco-Syrian philosopher, Bardesanes, had related that while the Hindu priest prayed, he sounded the bell. It was small and tulip-shaped, with a thick clapper. As it was exclusively used by priests in the worship of Hindu divinities, the handle was finely decorated with religious symbols, such as Siva's trident, Vishnu's eagle or Hanuman, the king of the apes."

“the comparatively large share of drums, however, indicates the neighborhood of India”

“China also passed on to Japan the ceremonial dances of India with their music, which were Japanized as the solemn and colorful Bugaku.”

“We know that two basic principles have shaped scales all over the world: the cyclic principle with its equal whole tones of 204 and semitones of 90 Cents, and the divisive principle with major whole tones of 204, minor whole tones of 182, and large semitones of 112 Cents. Bharata’s system derives from the divisive principle, and this, in turn, stems from stopped strings. But the earlier part of Indian antiquity had no stringed instrument except the open-stringed harp; no lute, no zither provided a fingerboard. India must have had the up-and-down principle, and it cannot but be hiding somewhere.”

“It seems that the modes or, better, the melodies ascribed to the modes, matter today only from the standpoint of choosing the adequate time for performance: pieces in nem are to be played between seven and midnight; sanga is the right mode for the early morning between midnight and three and for the afternoon between noon and seven; manjura belongs to the hours between 3:00 A.M. and noon. This time table is unmistakably Indian. The name salendro points also to India. It probably stemmed from the Sumatran Salendra Dynasty, which ruled Java almost to the end of the first thousand years A.D. and had come from the Coromandel Coast in South India. Thus it might be wiser to connect slendro with ragas like madhyamāvati, mohana, or hamsadhvanī than with the Chinese scale”

“In the retinue of Buddhism, it had a decisive part in forming the musical style of the East, of China, Korea and Japan, and with Hindu settlers it penetrated what today is called Indo-China and the Malay Archipelago. There was a westbound exportation too. The fact, of little importance in itself, that an Indian was credited with having beaten the drum in Mohammed's military expeditions might at least be taken for a symbol of Indian influence on Islamic music. Although complete ignorance of ancient Iranian music forces us into conservation we are allowed to say that the system of melodic and rhythmic patterns characteristic of the Persian, Turkish and Arabian world, had existed in India as the rāgas and tālas more than a thousand years before it appeared in the sources of the Mohammedan Orient.”

“When we read in Bharata's classical book of the twenty-two microtones in ancient Indian octaves, of innumerable scales and modes, and of seventeen melodic patterns and their pentatonic and hexatonic alterations, we realize that music at, or even before, the beginning of the first century AD was by no means archaic. Indeed, there is no reason to believe that India's ancient music differed substantially from her modern music.”