mostly contenting itself with the mere technical juxtaposing of several patterns. and with demonstrating the' skill and craftsmanship rather than the creative form of the rendering. The only major exception, perhaps, has been the work of Kumar Gandharva who has created a lyrical-romantic style ofkhayaJ singing on the basis of a profound research into folk tunes, folk songs and saint poetry. Though Kumar Gandharva \s approach is different, for he tries to bring about a relationship between music and life and to define a musical design in a lyrical-romantic fashion, he is nevertheless a product of this process of eclecticism set into motion and practised by Paluskar. Eclecticism implies an objective study of a body of knowledge, and has to be understood within a social context, of introducing a 'modern' approach. Paluskar was only tentatively aware of the basic interactions between music and society, music and the individual, and the individual and society that gave rise to an eclectic approach. But it remains for contemporary students of music to create a modern perspective of music out of this. Paluskar also introduced bourgeois values into the field of music, a process that seems to have culminated in the present-day commodification and commercialization of music. Pricing one's work was relevant in his time, since it asserted the status of the musician. But again a contemporary student can no longer accept bourgeois values regarding social status, etc., in the same terms, for those have now become part of the conservatism of an establishment. One has to work wdth discernment, and try to humanize the process of the dissemination of ideas and the presentation of creative work. Paluskar has certainly paved the way for such work. Journal of Arts & Ideas 115