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গ্রন্থপরিচয় Գ ՏՀ) TAGORE: Instruments are used, not for harmony, but for keeping time and for adding to the volume and depth. Has melody suffered in your music by the imposition of harmony ENSTEIN : Sometimes it does suffer very much. Sometimes the harmony Swallows up the inelody altogether. TAGORE : Melody and harmony are like lines and colours in pictures. A simple linear picture may be completely beautiful; the introduction of colour may make it vague and insignificant. Yet colour may, by combination with lines, create great pictures So long as it does not Smother and destroy their value. EINSTEIN : It is a beautiful comparison: line is also much older than color. It seems that your melody is much richer in structure than ours. Japanese music Sceils to be s(). TAGORE : It is difficult to analyze the effect of eastern and western music on our minds. an deeply moved hy western music- I feel that it is great, that it is vast in its structure and grand in its composition. Our own music touches me more deeply hy its fundamental lyrical appeal. European music is epic in character; it has a broad background and is Gothic in its structure. ENSTIN: Yes, yes, that is very true. When did you first hear European music TAGORI. At seventeen, when I first came to Europe I came to know it intinately. but even before that time l had heard European music in our own household. I had heard the music of Chopin and others at an early age. EINST. IN : There is aquestion we Europeans cannot properly answer, we are so used to our own music. We want to know whether our own music is a conventional or a fundamental human feeling; whether to feel consonance and dissonance is natural or a convention which we accept. TAGOki. Somehow the piano confounds me. The violin pleases me much (Y. EINSEIN ; lt would be interesting to study the effects of European music on an lndian who haud never heard it when he was young. TAGORE: Once I asked an English musician to analyze for me some classical music and explain to me what elements make for the beauty of a piece. FINSTEIN : The difficulty is that the really good music, whether of the East (or of the West, cannot be analy ved. TAGOR Yes, and what deeply affects the hearer is beyond himself. EMS IN : The same uncertainty will always be their about everything fundamental in our experience, in our reaction to art, whether in Europe or in