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⁵ Sir William Jones, ‘On the Musical Modes of the Hindoos: Written in 1784, and since much enlarged, By the President [of the Asiatic Society of Bengal]’, reprinted in Sourindro Mohun Tagore, Hindu Music (Delhi, 1882/1994), 131.

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⁶⁸ Rowbotham, John Frederick is known generally for A History of Music (3 vols, 1885)Google Scholar , and Wallaschek, Richard for Primitive Music: An Inquiry into the Origin and Development of Music, Songs, Instruments, Dances, and Pantomimes of Savage Races (London and New York, 1893)Google Scholar. Despite adopting a broadly evolutionary template, Rowbotham situates this within a larely Comtean pattern of developmentalism, as he says: ‘The Embryology of the Arts ends with the evolution or introduction of the 3 forms of instrument … [corresponding to] the order of the 3 Stages in the development of Prehistoric Music, the Drum Stage, the Pipe Stage, and the Lyre Stage, which, it seems to me, are to the Musician what the Theological, Metaphysical, and Positive Stages are to the Comtist, or the Stone, Bronze, and Iron Ages to the archaeologist.’ (Rowbotham, John Frederick, A History of Music, 3 vols (London, 1885), vol. 1, xix–xx)Google Scholar. Wallaschek's developmentalist underlay was influenced by the more overtly racializing heredity conceptions of Darwin's younger cousin, Francis Galton, who in 1883 coined the term ‘eugenics’ (Galton, Francis, Inquiries into Human Faculty and its Development (London, 1883/1973), 17)CrossRefGoogle Scholar and later defined it as ‘the study of agencies under social control that may improve or impair the racial qualities of future generations either physically or mentally’ (Galton, Francis, ‘Eugenics: Its Definition, Scope and Aims’ Nature 70 (1904), 82)Google Scholar. Writing on the development of harmony, for example, Wallaschek echoes Galton in suggesting that race, rather than historical circumstance, lies at the root of musical evolution: ‘Now we have seen that even uncivilised races know how to accompany a simple song by ear, while some of the more civilised ones, as the Chinese and other Oriental people, do not understand our harmony, although they have every opportunity of hearing our music. Thus the difference between people with and without harmonic music is not a historical but a racial one’ (Wallaschek, , Primitive Music, 144Google Scholar).

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⁷⁰ Myers, Charles Samuel, ‘Naturalism and Idealism’, The Philosophical Review 10/5 (Sep. 1901): 476CrossRefGoogle Scholar .

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