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C R Day, The Music and Musical Instruments of Southern India and the Deccan, London and New York: Novello, Ewer and co, 1891

173 pages, including an introduction by A J Hipkins and 17 chromolithograph plates by William Gibb; vellum bound with gilt text to the front board and leather title ticket pasted at the spine. Housed in a custom-made half-brown morocco and marbled paper slipcase with decorative gilt rules and title to the spine.
13 x 10.5 in (33.5 x 27 cm)

This is the deluxe edition limited to 700 copies and 50 artists' proofs.

MUSIC, CRAFT AND RITUAL: RARE DELUXE EDITION OF C R DAY’S PIONEERING STUDY OF SOUTH INDIAN INSTRUMENTS

First published in 1891, Musical Instruments of Southern India by C R. Day is a landmark work in the study of South Indian ethnomusicology. This meticulously researched volume offers a thorough exploration of the traditional musical instruments that have been integral to the rich and diverse musical heritage of Southern India, particularly within the Carnatic classical tradition and various regional folk genres.

The work is profusely illustrated with 17 chromolithographic plates by William Gibb, featuring detailed depictions of instruments such as the veena, mridangam, nadaswaram, gatham, and the flute, among others. These illustrations are accompanied by descriptive text that not only explains the construction and playing techniques of each instrument but also delves into their symbolic and cultural significance within Southern Indian society.

C R Day's contribution is pivotal, as the book documents instruments that were, at the time of publication, often unrecorded or poorly documented in other academic sources. Through a combination of field research, scholarly analysis, and ethnographic observation, Day offers invaluable insights into the craftsmanship and regional variations of these instruments, many of which were integral to religious rituals, court music, and community celebrations.

The book also serves as a testament to the importance of music in the cultural and social fabric of Southern India, capturing a moment in history when these instruments were undergoing transitions due to both colonial influence and modernisation. This study remains an essential reference for those interested in the history and performance practices of Indian classical and folk music.

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