Shankar of Kinnara School of Music in Los Angeles have firmly put Indian classical music on the world-map. The efforts of the UNO and UNESCO are fostering a great appreciation of the cultures and fine arts of countries other than one's own. The great strength of Indian music is its flexibility and resilience to absorb new nuances and ideas. It is difficult to predict the future of Indian music, but one can rest assured with the feeling that it will have a great impact on other countries and may hopefully combine and enrich both tradition and innovation in the years to come.

NOTES AND REFERENCES

1. Yagnavalkya, the great Indian sage wrote in his connection: He who knows the inner meaning of the sound of the lute, who is expert in intervals and in modal scales and knows the rhythms travels without effort upon the way of liberation.'
2. Mookerjee, R.K., Hindu Civilisation, p. 124.
3. Raichaudhry, Majumdar and Dutta, An Advanced History of India.
4. Ranande, G.N., Hindustani Music, p.40.
5. Gangoli, O.C., Ragas and Raginis, p.105.
6. Chief Khalsa Diwan Gurmat Sangeet (in Punjab), p.11.
7. See Klaus Ebeling's Ragamala Painting, published by Ravi Kumar, Basel, paris and New Delhi.
8. Karnani, C., Listening to Hindustani Music, p.7.

Shankar of Kinnara School of Music in Los Angeles have firmly put Indian classical music on the world-map. The efforts of the UNO and UNESCO are fostering a great appreciation of the cultures and fine arts of countries other than one's own. The great strength of Indian music is its flexibility and resilience to absorb new nuances and ideas. It is difficult to predict the future of Indian music, but one can rest assured with the feeling that it will have a great impact on other countries and may hopefully combine and enrich both tradition and innovation in the years to come.

NOTES AND REFERENCES

1. Yagnavalkya, the great Indian sage wrote in his connection: He who knows the inner meaning of the sound of the lute, who is expert in intervals and in modal scales and knows the rhythms travels without effort upon the way of liberation.'
2. Mookerjee, R.K., Hindu Civilisation, p. 124.
3. Raichaudhry, Majumdar and Dutta, An Advanced History of India.
4. Ranande, G.N., Hindustani Music, p.40.
5. Gangoli, O.C., Ragas and Raginis, p.105.
6. Chief Khalsa Diwan Gurmat Sangeet (in Punjab), p.11.
7. See Klaus Ebeling's Ragamala Painting, published by Ravi Kumar, Basel, paris and New Delhi.
8. Karnani, C., Listening to Hindustani Music, p.7.