When we read in Bharatas classical book of the twenty-two microtones i — Curt Sachs

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

"[And here is what Sachs has to say about the 7-tone-22-shruti system of notes described in Bharatas text:] 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."

"The strange, never-ceasing drones used in the choral singing of Tibet belong in the Indian, not the Chinese sphere of Tibetan civilization."

"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 Mohammeds 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 raagas and taalas more than a thousand years before it appeared in the sources of the Mohammedan Orient"

"The oldest preserved style, the classical Sino-Japanese Bugaku dances […are…] of Indian origin, and Chinese and Japanese music on the whole were under Indian influence in the second half of the first millennium AD And yet the most typical trait of Indian music, its sophisticated rhythmical patterns or taalas, had no chance in the East In 860 AD, someone wrote a treatise on drumming in China, with over one hundred ‘symphonies’ which doubtless were Indian taalas; but nothing came of this, and not one of the Far Eastern styles has preserved the slightest trace of such patterns The three rhythms used in Tibetan orchestras, and kept up in percussion even when the other parts are silent, are obviously not Far Eastern, but deteriorated Indian patterns The elaborate polyrhythm of Balinese cymbal players that Mr Colin MePhee has recently described is not Far Eastern either"