Log in

Relevant bibliographies by topics / Carnatic music / Journal articles

To see the other types of publications on this topic, follow the link: Carnatic music.

Journal articles on the topic 'Carnatic music'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Carnatic music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

N, Kiritharan Sharma. "Importance of Mridangam (Percussion Instrument) in Carnatic Music Concerts." International Research Journal of Tamil 4, S-9 (July 28, 2022): 69–75. http://dx.doi.org/10.34256/irjt22s910.

Full text

Abstract:

Music is an art that is loved by all the people of the world. Music is seen as the key factor in uniting all living beings in the world with God. There are many different types of music found all over the world. Among them, Carnatic music is found as a branch of Indian music genres. Carnatic music is seen as a music genre that mainly represents South India and is loved by many people worldwide. Our hymn is joyful. Music consists of three sections, namely: songs; instrumental music; and the mode of dancing. "Geetham" means vocal music, "Vaathiyam" means instrumental music, and "Niruthiyam" means dance. Carnatic music concerts are organised as vocal music and instrumental music concerts. The mridangam is the most important rhythmic and pitching instrument in Carnatic music concerts. The mridangam, the primary percussion instrument, is also the main instrument used in Carnatic music concerts to keep all the songs in a rhythmic pattern. In this research paper, the importance of the mridangam in Carnatic music concerts has been examined by presenting various matters. In that way, apart from the introduction and summary of the research paper, the introduction to the Carnatic music concert, the history of the mridangam instrument, and the uniqueness of the mridangam in Carnatic music concerts have been examined in this study.

APA, Harvard, Vancouver, ISO, and other styles

2

Niranjan, Sujatha. "How to Read Carnatic Music on Violin." Shanlax International Journal of Tamil Research 6, no. 2 (October 1, 2021): 70–75. http://dx.doi.org/10.34293/tamil.v6i2.4349.

Full text

Abstract:

The violin is a major stringed instrument in South Indian music. It is played as the main instrument in Carnatic music and as an accompaniment to musical performances such as vocals. This is not the heritage instrument of India. Today there is no concert without Carnatic music. Thus it plays an important role in Carnatic music.The present form of this violin was composed in 16th century Italy. The violin, a folk instrument, was first used in South Indian music in the 18th century. It is also more important than any other instrument. It also plays an important role in major concerts. There are many reasons why it is played as the main instrument in Carnatic music more than any other instrument. It has developed to the point where it can be read more than any other instrument in the 20th century for various performances such as vocals, other instrumental events, orchestras, and dance performances. It is also found that Carnatic musicians (male/female) can adjust their pitch to suit their convenience. Since its introduction to Carnatic music, many great scholars have read and succeeded in Carnatic music. In addition, it plays a very important role in Palliya music and has a wide place in Carnatic music.

APA, Harvard, Vancouver, ISO, and other styles

3

Radhakrishnan, Nandhu, Savithri S.R., and Rammohan Gangisetty. "Expression of Emotions in Carnatic Vocal Music." Music and Medicine 8, no. 3 (July 31, 2016): 108. http://dx.doi.org/10.47513/mmd.v8i3.438.

Full text

Abstract:

Voice is the element that makes speech audible. Apart from conveying the meaning of what is spoken, it can carry a variety of information about the speaker like gender, age, general health, mood, and emotions. Expressing emotions is a crucial aspect in speech communication and vocal music. Bhava, or emotions in vocal music convey the essence of the piece rendered by the singer. This preliminary study is to understand the role of the larynx in expressing emotions like joy and sorrow in Carnatic vocal music. Twelve Carnatic singers rendered vocal emotions at three levels, joy, sorrow, and neutral. The output was recorded, analyzed, and compared between each level. Results showed significant differences between the laryngeal dynamics of joy and sorrow. The results of this and future studies will help in designing voice therapy techniques for disorders like Parkinson’s disease that affect both facial and vocal expression of emotions. Keywords: emotions, carnatic, vocal, laryngealSpanishExpresión de Emociones en la música vocal carnáticaLa voz es el elemento que hace al habla audible. Aparte de trasmitir el significado de lo que se dice, puede llevar variedad de información sobre quien habla como el género, edad, estado de salud, humor, emoción. Expresar emociones es un aspecto crucial de la comunicación hablada y esto también ocurre en el canto. Las emociones en la música vocal transmiten la esencia de una pieza (Bhava) , dictada por el cantante. Este estudio preliminar es un intento de comprender el rol de la laringe en la expresión de emociones como alegría y tristeza en la música vocal carnática. Doce cantantes carnáticos interpretan emociones vocales en tres niveles: alegría, tristeza y neutro. La producción entre cada nivel fue grabada, analizada y comparada. Los resultados muestran diferencias significativas entre las dinámicas de la laringe en alegría y tristeza. El resulto de este y de estudios futuros ayudara a diseñar técnicas de terapia vocal para desordenes como la enfermedad de Parkinson que afecta la expresión vocal y facial de emociones.Palabras claves: Emociones, carnático , vocal , laringe GermanDer Ausdruck dvon Emotionen durch Carnatic vokale Musik Abstract: Die Stimme ist ein Element, das Sprache hörbar werden lässt. Abgesehen vom Inhalt dessen, was gesagt wird, überträgt sie verschiedenste Informationen über den Sprechenden, wie Geschlecht, Alter, allgemeine Gesundheit, Stimmung und Emotionen. Das Ausdrücken von Emotionen ist ein entscheidender Aspekt verbaler Kommunikation; dies ereignet sich auch beim Singen. Bhava oder Emotionen in vokaler Musik, überträgt die Essenz eines Stückes, das von dem Sänger wiedergegeben wird. Diese einleitende Studie ist ein Versuch, die Rolle der Larynx beim Ausdruck von Emotionen, wie Freude und Leid, durch Carnatic vokale Musik zu verstehen. 12 Carnatic Sänger interpretierten vokale Emotionen in drei Stufen: Freude, Leid und neutral. Der Output der drei Stufen wurde aufgenommen, analysiert und verglichen. Die Ergebnisse zeigten signifikante Unterschiede zwischen der Larynx- Dynamik bei Freude und Leid. Die Ergebnisse dieser und zukünftiger Studien werden helfen, vokale Therapietechniken für Krankheiten wie Parkinson zu erstellen, die beides, den mimischen und vokalen Ausdruck von Emotionen beeinflussen. ItalianEspressioi ed Emozioni nella Musica Vocale CarnaticaLa voce è l’elemento che rende le nostre parole udibili. Oltre a trasmettere il significato di ciò che viene detto, può trasportare una varietà di informazioni riguardanti chi in quel momento sta parlando come, il sesso, l’età , lo stato generale di salute, l’umore e l’emozione.. Esprimere un emozione è un aspetto cruciale nella comunicazione verbale e questo avviene anche nel canto. Bhava, o le emozioni in musica comunicano l’essenza di brano, trasmessa dal cantante.. Questo studio preliminare e`un tetativo di comprendere il ruolo della laringe nell’esprimere emozoni come la gioia e il dolore nella musica vocale Carnatica. 12 cantanti Carnatici hanno fornito 3 livelli di emozioni vocali: gioia, dolore e neutralità. Il prodotto tra I vari livelli è stato registrato, analizzato, e comparato. I risultati hanno mostrato differenze significative tra le dinamiche della laringe di gioia e di dolore. Questi risultati e gli studi futuri aiuteranno alla progettazione di tecniche di logopedia per disturbi come il morbo di Parkinson, che colpisce sia l’espressione facciale che vocale dell’espressione.Parole chiave: musica vocale carnatica, laringeJapaneseカルナータカ音楽の声における感情表現について声とは、ことばを聴覚化するための要素である。語られている事柄の意味を伝達するだけでなく、声は、語り手の様々な情報、例えば性別、年齢、健康状態、気分、感情などを伝える媒体となる。感情表現とは、言語的コミュニケーションにおける重要な要素であり、これは歌唱でも同様である。声楽音楽におけるバーヴァ（Bhava）また感情は、その曲の根本的要素であり、歌手によって表現されるものである。この予備研究は、カルナータカ音楽の歌唱で喜びや哀しみ等の感情を表現する際、歌手の喉頭部がいかに作用しているかについて理解するための検証である。方法は、12名のカルナータカ音楽の歌手が、３つのレベルの感情（喜び、悲しみ、ニュートラル）を歌唱表現する。各レベルの違いは、すべて録音され、分析され、比較された。結果として、喜びと悲しみの表現における喉頭部の動きに、大きな差が生じていることが分かった。この結果と将来的研究は、パーキンソン病などの表情や発語における感情表現に困難を持つ対象者に対して、声を使ったセラピーの技法を設計する際に有効になると考える。キーワード：感情、カルナータカ音楽、声楽、喉頭部

APA, Harvard, Vancouver, ISO, and other styles

4

Sruthy Chandrasekhar. "Kerala and Carnatic Music." Integrated Journal for Research in Arts and Humanities 2, no. 2 (March 31, 2022): 22–25. http://dx.doi.org/10.55544/ijrah.2.2.17.

Full text

Abstract:

In this chapter, keeping in mind the historical perspective of music in Kerala from pre-historic times, the evolution of Carnatic music from secular music in Kerala over a period of time has been enumerated and studied in detail.

APA, Harvard, Vancouver, ISO, and other styles

5

Sruthy Chandrasekhar. "Kerala and Carnatic Music." Integrated Journal for Research in Arts and Humanities 2, no. 2 (March 31, 2022): 22–25. http://dx.doi.org/10.55544/ijrasb.2.2.17.

Full text

Abstract:

In this chapter, keeping in mind the historical perspective of music in Kerala from pre-historic times, the evolution of Carnatic music from secular music in Kerala over a period of time has been enumerated and studied in detail.

APA, Harvard, Vancouver, ISO, and other styles

6

Sankar Ganesh, J. "Impact of Carnatic Raga-s on the Milk Yield of Cows." Shanlax International Journal of Arts, Science and Humanities 8, no. 2 (October 1, 2020): 83–87. http://dx.doi.org/10.34293/sijash.v8i2.3318.

Full text

Abstract:

Music is an integral part of human evolution. Indian music is religiously rooted and added as an essential part of religious activities. It is believed that Indian music originated and evolved from Samaveda. The origin of musical sounds perceived by birds and animals illustrates the close relationship of music with the environment. The other species of planet earth can also be influenced by music documented in various earlier literature. Experiments on the influence of music on the milking habit of cows started amid the 19th century in foreign countries. In India, this is a primordial attempt made by the author to study the influence of Carnatic music on the cows. This paper is intended to highlight the positive power of various aspects of Carnatic music on the milk yield of the cows. This paper is an outcome of the UGC- Major Research project, sanctioned to the author, entitled “Impact of Carnatic music on the milk yield of S.V. Gosamrakshanashala- Tirupati.”

APA, Harvard, Vancouver, ISO, and other styles

7

Wren, Toby. "Remembering Palghat Raghu." Ethnomusicology 67, no. 1 (January 1, 2023): 96–122. http://dx.doi.org/10.5406/21567417.67.1.07.

Full text

Abstract:

Abstract Palghat Raghu was a master of the mridangam and one of the leading figures in South Indian Carnatic music. In this article, I want to contribute a perspective on his musical life and, through my reflections on my time with him, contribute insights toward a fuller understanding of Carnatic music and Western engagements with it. I do so by drawing on fieldwork I conducted in Chennai, India, at various times between 2005–2013. Specifically, I use examples of solkattu from my lessons with him to illustrate Raghu's approach to rhythm and the general rhythmic approach within Carnatic music, including the kinds of musical-cognitive skills involved in rhythmic production within the Carnatic system. By describing aspects of his practice and his various interactions with other musicians, I also reflect on his position as a culture-bearer and on the relationships between musical cultures.

APA, Harvard, Vancouver, ISO, and other styles

8

Diwakar, Pranathi. "City Music—A Reprise." Contexts 20, no. 1 (February 2021): 63–64. http://dx.doi.org/10.1177/1536504221997873.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Allen, Matthew, and T. V. Kuppuswami. "Carnatic Music and the Tamils." Notes 51, no. 4 (June 1995): 1345. http://dx.doi.org/10.2307/899141.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

N, Kiritharan Sharma. "Bharathiyar's Passion for Carnatic Music and Folk Music." International Research Journal of Tamil 4, S-11 (September 9, 2022): 104–10. http://dx.doi.org/10.34256/irjt224s1114.

Full text

Abstract:

Mahakavi Subramania Bharathiyar was a great poet of the twentieth century. Mahakavi Bharathiyar's works are considered as great treasures for the Tamil community. Even at an early age, Bharathiyar had a great affection and knowledge of the Tamil language. He started writing poetry at the age of seven while still studying at school. At the age of eleven, he showed his talent for poetry and the King of Ettayapuram, who appreciated his poetry, gave him the title of "Bharathi". From that day he was known as "Subramania Bharathiyar". Bharathiyar is also very passionate about music. Mahakavi Bharathiyar has given many works to this world through his attachment to music, many songs and many social ideas through his songs. In this way, some of Bharathiyar's musical works and musical messages have been examined in this research paper. The sub-topics of the study of this research paper are the sub-topics Bharathiyar and Carnatic Music, Bharathiyar and Folk Music except the introduction and conclusion respectively. Bharathiyar's attachment to music and his musical knowledge are explained under the subheading Bharathiyar's Music. Bharathiyar's attachment to Carnatic music is explained in the subtitle Bharathiyar and Carnatic Music. Finally, under the title Bharathiyar and folk music, the folk music songs created by Bharathiyar in folk music depicting the life and environment of the rural people are highlighted under this title. Therefore, various musical messages found in Bharathiyar's work under these three sub-headings have been examined in this review. These respectively are seen as the theme of this research paper.

APA, Harvard, Vancouver, ISO, and other styles

11

Anitha, R., and K. Gunavathi. "Carnatic Music Analysis based on Spectral Properties." Asian Journal of Research in Social Sciences and Humanities 6, no. 6 (2016): 118. http://dx.doi.org/10.5958/2249-7315.2016.00200.8.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Balaji, Srividhya. "‘Yati’ – Decorative mathematical patterns in Carnatic music." Journal of Mathematics and the Arts 14, no. 1-2 (April 2, 2020): 11–14. http://dx.doi.org/10.1080/17513472.2020.1729301.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Koduri, Gopala Krishna, Vignesh Ishwar, Joan Serrà, and Xavier Serra. "Intonation Analysis of Rāgas in Carnatic Music." Journal of New Music Research 43, no. 1 (January 2, 2014): 72–93. http://dx.doi.org/10.1080/09298215.2013.866145.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Samsekai Manjabhat, S., Shashidhar G. Koolagudi, K. S. Rao, and Pravin Bhaskar Ramteke. "Raga and Tonic Identification in Carnatic Music." Journal of New Music Research 46, no. 3 (May 28, 2017): 229–45. http://dx.doi.org/10.1080/09298215.2017.1330351.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Dhusyanthan, M. "Different Rhythmic Varna in Kalyani Raga: A Research." Shanlax International Journal of Tamil Research 7, no. 2 (October 1, 2022): 57–63. http://dx.doi.org/10.34293/tamil.v7i2.5236.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Anil Kumar S. "Effectiveness of various musical parameters in Carnatic raga identification." international journal of engineering technology and management sciences 7, no. 4 (2023): 137–42. http://dx.doi.org/10.46647/ijetms.2023.v07i04.021.

Full text

Abstract:

Raga are vital parts of Carnatic music and offer the performer a musical structure to improvise within them. Raga identification is considered to be a tedious task even for expert music listeners. As of now, we do not know a unique set of parameters which can precisely determine the raga of a Carnatic music. Even though several machine learning techniques are available to perform raga recognition, they all suffer from several issues like less recognition accuracy, poor scalability etc. In this work, we suggest a non machine model which has a high recognition accuracy. The model works on extracting five features of the music and then computing a similarity measure between the feature vectors of the input audio with the corresponding feature vectors stored in the database for raga recognition. Even though our system is not excellent in scalability, it is simple to implement and its recognition accuracy can be increased by increasing the feature vectors stored in the database.

APA, Harvard, Vancouver, ISO, and other styles

17

Aswale, Swati, Dr Prabhat Chandra Shrivastava, Dr Ratnesh Ranjan, and Seema Shende. "Indian Classical Music Recognition using Deep Convolution Neural Network." International Journal of Electrical and Electronics Research 12, no. 1 (February 5, 2024): 73–82. http://dx.doi.org/10.37391/ijeer.120112.

Full text

Abstract:

A divine approach to communicate feelings about the world occurs through music. There is a huge variety in the language of music. One of the principal variables of Indian social legacy is classical music. Hindustani and Carnatic are the two primary subgenres of Indian classical music. Models have been trained and taught to distinguish between Carnatic and Hindustani songs. This paper presents Indian classical music recognition based on multiple acoustic features (MAF) consisting of various statistical, spectral, and time domain features. The MAF provides the changes in intonation, timbre, prosody and pitch of the musical speech due to different ragas. The lightweight DCNN is used to improve the representation of the raga sound and to provide higher order abstract level features. The overall performance of the raga type is estimated using various performance metrics, including accuracy, precision, recall and F1-score. The proposed DCNN achieves an accuracy, precision, recall, and F1-score of 89.38%, 0.89, 0.89, and 0.89, respectively, for eight raga classifications. The extensive experimentation on eight classical ragas has shown a noteworthy improvement over the traditional state of art.

APA, Harvard, Vancouver, ISO, and other styles

18

Aswale, Swati, Dr Prabhat Chandra Shrivastava, Dr Ratnesh Ranjan, and Seema Shende. "Indian Classical Music Recognition using Deep Convolution Neural Network." International Journal of Electrical and Electronics Research 12, no. 1 (February 5, 2024): 73–82. http://dx.doi.org/10.37391/10.37391/ijeer.120112.

Full text

Abstract:

A divine approach to communicate feelings about the world occurs through music. There is a huge variety in the language of music. One of the principal variables of Indian social legacy is classical music. Hindustani and Carnatic are the two primary subgenres of Indian classical music. Models have been trained and taught to distinguish between Carnatic and Hindustani songs. This paper presents Indian classical music recognition based on multiple acoustic features (MAF) consisting of various statistical, spectral, and time domain features. The MAF provides the changes in intonation, timbre, prosody and pitch of the musical speech due to different ragas. The lightweight DCNN is used to improve the representation of the raga sound and to provide higher order abstract level features. The overall performance of the raga type is estimated using various performance metrics, including accuracy, precision, recall and F1-score. The proposed DCNN achieves an accuracy, precision, recall, and F1-score of 89.38%, 0.89, 0.89, and 0.89, respectively, for eight raga classifications. The extensive experimentation on eight classical ragas has shown a noteworthy improvement over the traditional state of art.

APA, Harvard, Vancouver, ISO, and other styles

19

Srinivasamurthy, Ajay, Sankalp Gulati, Rafael Caro Repetto, and Xavier Serra. "Saraga: Open Datasets for Research on Indian Art Music." Empirical Musicology Review 16, no. 1 (December 10, 2021): 85–98. http://dx.doi.org/10.18061/emr.v16i1.7641.

Full text

Abstract:

We introduce two large open data collections of Indian Art Music, both its Carnatic and Hindustani traditions, comprising audio from vocal concerts, editorial metadata, and time-aligned melody, rhythm, and structure annotations. Shared under Creative Commons licenses, they currently form the largest annotated data collections available for computational analysis of Indian Art Music. The collections are intended to provide audio and ground truth for several music information research tasks and large-scale data-driven analysis in musicological studies. A part of the Saraga Carnatic collection also has multitrack recordings, making it a valuable collection for research on melody extraction, source separation, automatic mixing, and performance analysis. We describe the tenets and the process of collection, annotation, and organization of the data. We provide easy access to the audio, metadata, and the annotations in the collections through an API, along with a companion website that has example scripts to facilitate access and use of the data. To sustain and grow the collections, we provide a mechanism for both the research and music community to contribute additional data and annotations to the collections. We also present applications with the collections for music education, understanding, exploration, and discovery.

APA, Harvard, Vancouver, ISO, and other styles

20

Hornabrook, Jasmine. "Gender, new creativity and Carnatic music in London." South Asian Diaspora 11, no. 2 (January 18, 2019): 193–208. http://dx.doi.org/10.1080/19438192.2019.1568663.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Rahaim, Matt. "Alapana: Four Views of Movement in Carnatic Music." American Anthropologist 116, no. 2 (May 26, 2014): 429–30. http://dx.doi.org/10.1111/aman.12104.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Venkatesan, Archana. "The Other Trinity: Saurashtra Histories of Carnatic Music." International Journal of Hindu Studies 22, no. 3 (November 14, 2018): 451–74. http://dx.doi.org/10.1007/s11407-018-9244-2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Bhat J, Prajna, and Rajalakshmi Krishna. "Effect of Listening Biographies on Frequency Following Response Responses of Vocalists, Violinists, and Non-Musicians to Indian Carnatic Music Stimuli." Journal of Audiology and Otology 25, no. 3 (July 10, 2021): 131–37. http://dx.doi.org/10.7874/jao.2021.00115.

Full text

Abstract:

Background and Objectives: The current study investigates pitch coding using frequency following response (FFR) among vocalists, violinists, and non-musicians for Indian Carnatic transition music stimuli and assesses whether their listening biographies strengthen their F0 neural encoding for these stimuli.Subjects and Methods: Three participant groups in the age range of 18-45 years were included in the study. The first group of participants consisted of 20 trained Carnatic vocalists, the second group consisted of 13 trained violinists, and the third group consisted of 22 non-musicians. The stimuli consisted of three Indian Carnatic raga notes (/S-R2-G3/), which was sung by a trained vocalist and played by a trained violinist. For the purposes of this study, the two transitions between the notes T1=/S-R2/ and T2=/R2-G3/ were analyzed, and FFRs were recorded binaurally at 80 dB SPL using neuroscan equipment.Results: Overall average responses of the participants were generated. To assess the participants’ pitch tracking to the Carnatic music stimuli, stimulus to response correlation (CC), pitch strength (PS), and pitch error (PE) were measured. Results revealed that both the vocalists and violinists had better CC and PS values with lower PE values, as compared to non-musicians, for both vocal and violin T1 and T2 transition stimuli. Between the musician groups, the vocalists were found to perform superiorly to the violinists for both vocal and violin T1 and T2 transition stimuli.Conclusions: Listening biographies strengthened F0 neural coding, with respect to the vocalists for vocal stimulus at the brainstem level. The violinists, on the other hand, did not show such preference.

APA, Harvard, Vancouver, ISO, and other styles

24

Benet, Neelesh, Rajalakshmi Krishna, and Vijay Kumar. "Enhancement of Processing Capabilities of Hippocampus Lobe: A P300 Based Event Related Potential Study." Journal of Audiology and Otology 25, no. 3 (July 10, 2021): 119–23. http://dx.doi.org/10.7874/jao.2021.00024.

Full text

Abstract:

Background and Objectives: The influence of music training on different areas of the brain has been extensively researched, but the underlying neurobehavioral mechanisms remain unknown. In the present study, the effects of training for more than three years in Carnatic music (an Indian form of music) on the discrimination ability of different areas of the brain were tested using P300 analysis at three electrode placement sites.Subjects and Methods: A total of 27 individuals, including 13 singers aged 16-30 years (mean±standard deviation, 23±3.2 years) and 14 non-singers aged 16-30 years (mean age, 24±2.9 years), participated in this study. The singers had 3-5 years of formal training experience in Carnatic music. Cortical activities in areas corresponding to attention, discrimination, and memory were tested using P300 analysis, and the tests were performed using the Intelligent Hearing System.Results: The mean P300 amplitude of the singers at the Fz electrode placement site (5.64±1.81) was significantly higher than that of the non-singers (3.85±1.60; t(25)=3.3, <i>p</i><0.05). The amplitude at the Cz electrode placement site in singers (5.90±2.18) was significantly higher than that in non-singers (3.46±1.40; t(25)=3.3, <i>p</i><0.05). The amplitude at the Pz electrode placement site in singers (4.94±1.89) was significantly higher than that in non-singers (3.57±1.50; t(25)=3.3, <i>p</i><0.05). Among singers, the mean P300 amplitude was significantly higher in the Cz site than the other placement sites, and among non-singers, the mean P300 amplitude was significantly higher in the Fz site than the other placement sites, i.e., music training facilitated enhancement of the P300 amplitude at the Cz site.Conclusions: The findings of this study suggest that more than three years of training in Carnatic singing can enhance neural coding to discriminate subtle differences, leading to enhanced discrimination abilities of the brain, mainly in the generation site corresponding to Cz electrode placement.

APA, Harvard, Vancouver, ISO, and other styles

25

Peterson, Indira V. "Sanskrit in Carnatic music: The songs of Muttusvāmi Dīkita." Indo-Iranian Journal 29, no. 3 (1986): 183–99. http://dx.doi.org/10.1163/000000086790082082.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Rajan, Rajeev, and Sreejith Sivan. "Raga Recognition in Indian Carnatic Music Using Convolutional Neural Networks." WSEAS TRANSACTIONS ON ACOUSTICS AND MUSIC 9 (May 7, 2022): 5–10. http://dx.doi.org/10.37394/232019.2022.9.2.

Full text

Abstract:

A vital aspect of Indian Classical music (ICM) is raga, which serves as a melodic framework for compositions and improvisations for both traditions of classical music. In this work, we propose a CNN-based sliding window analysis on mel-spectrogram and modgdgram for raga recognition in Carnatic music. The impor- tant contribution of the work is that the pro- posed method neither requires pitch extraction nor metadata for the estimation of raga. CNN learns the representation of raga from the pat- terns in the melspectrogram/ modgdgram dur- ing training through a sliding-window analysis. We train and test the network on sliced-mel- spectrogram/modgdgram of the original audio while the nal inference is performed on the au- dio as a whole. The performance is evaluated on 15 ragas from the CompMusic dataset. Multi- stream fusion has also been implemented to identify the potential of two feature representations. Multi-stream architecture shows promise in the proposed scheme for raga recognition.

APA, Harvard, Vancouver, ISO, and other styles

27

Kaimal, V., and S. Barde. "Introduction to Identification of Raga in Carnatic Music and its Corresponding Hindustani Music." International Journal of Computer Sciences and Engineering 6, no. 6 (June 30, 2018): 955–58. http://dx.doi.org/10.26438/ijcse/v6i6.955958.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Padi, Sarala, Spencer Breiner, Eswaran Subrahmanian, and Ram D. Sriram. "Modeling and Analysis of Indian Carnatic Music Using Category Theory." IEEE Transactions on Systems, Man, and Cybernetics: Systems 48, no. 6 (June 2018): 967–81. http://dx.doi.org/10.1109/tsmc.2016.2631130.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Sridhar. "Latent Dirichlet Allocation Model for Raga Identification of Carnatic Music." Journal of Computer Science 7, no. 11 (November 1, 2011): 1711–16. http://dx.doi.org/10.3844/jcssp.2011.1711.1716.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Kumaraswamy, Balachandra, and Poonacha P G. "Recognizing ragas of Carnatic genre using advanced intelligence: a classification system for Indian music." Data Technologies and Applications 54, no. 3 (May 16, 2020): 383–405. http://dx.doi.org/10.1108/dta-04-2019-0055.

Full text

Abstract:

PurposeIn general, Indian Classical Music (ICM) is classified into two: Carnatic and Hindustani. Even though, both the music formats have a similar foundation, the way of presentation is varied in many manners. The fundamental components of ICM are raga and taala. Taala basically represents the rhythmic patterns or beats (Dandawate et al., 2015; Kirthika and Chattamvelli, 2012). Raga is determined from the flow of swaras (notes), which is denoted as the wider terminology. The raga is defined based on some vital factors such as swaras, aarohana-avarohna and typical phrases. Technically, the fundamental frequency is swara, which is definite through duration. Moreover, there are many other problems for automatic raga recognition model. Thus, in this work, raga is recognized without utilizing explicit note series information and necessary to adopt an efficient classification model.Design/methodology/approachThis paper proposes an efficient raga identification system through which music of Carnatic genre can be effectively recognized. This paper also proposes an adaptive classifier based on NN in which the feature set is used for learning. The adaptive classifier exploits advanced metaheuristic-based learning algorithm to get the knowledge of the extracted feature set. Since the learning algorithm plays a crucial role in defining the precision of the raga recognition, this model prefers to use the GWO.FindingsThrough the performance analysis, it is witnessed that the accuracy of proposed model is 16.6% better than NN with LM, NN with GD and NN with FF respectively, 14.7% better than NN with PSO. Specificity measure of the proposed model is 19.6, 24.0, 13.5 and 17.5% superior to NN with LM, NN with GD, NN with FF and NN with PSO, respectively. NPV of the proposed model is 19.6, 24, 13.5 and 17.5% better than NN with LM, NN with GD, NN with FF and NN with PSO, respectively. Thus it has proven that the proposed model has provided the best result than other conventional classification methods.Originality/valueThis paper intends to propose an efficient raga identification system through which music of Carnatic genre can be effectively recognized. This paper also proposes an adaptive classifier based on NN.

APA, Harvard, Vancouver, ISO, and other styles

31

Subramanian, Lakshmi. "The reinvention of a tradition: Nationalism, Carnatic music and the Madras Music Academy, 1900-1947." Indian Economic & Social History Review 36, no. 2 (June 1999): 131–63. http://dx.doi.org/10.1177/001946469903600201.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Ranganathan, Rajeswari. "Emergence of an Ecumene: Transnational Encounters in South Indian Carnatic Music." Asian Music 52, no. 1 (2021): 57–87. http://dx.doi.org/10.1353/amu.2021.0000.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Lakshmi, Dandibhotla VJ. "Intersecting at spirituality and Carnatic Indian classical music tradition cum education." International Journal of Humanities and Arts 6, no. 1 (January 1, 2024): 73–75. http://dx.doi.org/10.33545/26647699.2024.v6.i1a.67.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Bhalke, Daulappa Guranna, Betsy Rajesh, and Dattatraya Shankar Bormane. "Automatic Genre Classification Using Fractional Fourier Transform Based Mel Frequency Cepstral Coefficient and Timbral Features." Archives of Acoustics 42, no. 2 (June 27, 2017): 213–22. http://dx.doi.org/10.1515/aoa-2017-0024.

Full text

Abstract:

Abstract This paper presents the Automatic Genre Classification of Indian Tamil Music and Western Music using Timbral and Fractional Fourier Transform (FrFT) based Mel Frequency Cepstral Coefficient (MFCC) features. The classifier model for the proposed system has been built using K-NN (K-Nearest Neighbours) and Support Vector Machine (SVM). In this work, the performance of various features extracted from music excerpts has been analysed, to identify the appropriate feature descriptors for the two major genres of Indian Tamil music, namely Classical music (Carnatic based devotional hymn compositions) & Folk music and for western genres of Rock and Classical music from the GTZAN dataset. The results for Tamil music have shown that the feature combination of Spectral Roll off, Spectral Flux, Spectral Skewness and Spectral Kurtosis, combined with Fractional MFCC features, outperforms all other feature combinations, to yield a higher classification accuracy of 96.05%, as compared to the accuracy of 84.21% with conventional MFCC. It has also been observed that the FrFT based MFCC effieciently classifies the two western genres of Rock and Classical music from the GTZAN dataset with a higher classification accuracy of 96.25% as compared to the classification accuracy of 80% with MFCC.

APA, Harvard, Vancouver, ISO, and other styles

35

Sridhar, Rajeswari, and T. V. Geetha. "Raga identification of Carnatic music based on the construction of Raga model." International Journal of Signal and Imaging Systems Engineering 6, no. 3 (2013): 172. http://dx.doi.org/10.1504/ijsise.2013.054795.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Aravinthon, Suhanya. "Padam in Historical Perspective." International Research Journal of Tamil 4, no. 2 (April 26, 2022): 128–33. http://dx.doi.org/10.34256/irjt22216.

Full text

Abstract:

It is a fact of history that songs have appeared in Tamil art culture from time to time and have enriched the arts. Language and art are generally interdependent within the cultural elements of a community. In this way, it is possible to know through the histories that the genres of songs have changed without any change in the cultural changes that have taken place in the history of music and dance in Tamil Nadu from time to time. This article is intended as a historical overview of the genre of Padam, an item that is considered important in the Carnatic music and Bharatanatyam tradition. This article will annualize about what we mean by term, the source, content, usage of this term and other aspects in Padam.

APA, Harvard, Vancouver, ISO, and other styles

37

Amemane, Raksha, Archana Gundmi, and Kishan Madikeri Mohan. "Effect of Carnatic Music Listening Training on Speech in Noise Performance in Adults." Journal of Audiology and Otology 25, no. 1 (January 10, 2021): 22–26. http://dx.doi.org/10.7874/jao.2020.00255.

Full text

Abstract:

Background and Objectives: Music listening has a concomitant effect on structural and functional organization of the brain. It helps in relaxation, mind training and neural strengthening. In relation to it, the present study was aimed to find the effect of Carnatic music listening training (MLT) on speech in noise performance in adults.Subjects and Methods: A total of 28 participants (40-70 years) were recruited in the study. Based on randomized control trial, they were divided into intervention and control group. Intervention group underwent a short-term MLT. Quick Speech-in-Noise in Kannada was used as an outcome measure.Results: Results were analysed using mixed method analysis of variance (ANOVA) and repeated measures ANOVA. There was a significant difference between intervention and control group post MLT. The results of the second continuum revealed no statistically significant difference between post training and follow-up scores in both the groups.Conclusions: In conclusion short-term MLT resulted in betterment of speech in noise performance. MLT can be hence used as a viable tool in formal auditory training for better prognosis.

APA, Harvard, Vancouver, ISO, and other styles

38

Pearson, Lara. "Cultural Specificities in Carnatic and Hindustani Music: Commentary on the Saraga Open Dataset." Empirical Musicology Review 16, no. 1 (December 10, 2021): 166–71. http://dx.doi.org/10.18061/emr.v16i1.7974.

Full text

Abstract:

This commentary explores features of the "Saraga" article and open dataset, discussing some of the issues arising. I argue that the CompMusic project and this resulting dataset are impressive for their sensitivity to cultural specificities of the Hindustani and Carnatic musical styles; for example, the dataset includes manual annotations based on music theoretical concepts from within the styles, rather than imposing conceptual categories from outside. However, I propose there are aspects of the dataset's manual annotations that require clarification in order for them to be used as ground truths by other researchers. In addition, I raise questions regarding the representativeness of the dataset – an issue that has ethical implications.

APA, Harvard, Vancouver, ISO, and other styles

39

Santhanam, Sushruti. "Performance of memory and the making of Pallaki Seva Prabandhamu of Maharaja Sahaji Bhonsale II." Indian Theatre Journal 4, no. 1 (August 1, 2020): 19–38. http://dx.doi.org/10.1386/itj_00004_1.

Full text

Abstract:

The Pallaki Seva Prabandhamu is a geya nataka (musical play) in lyrical Telugu language composed in the early eighteenth century by Sahaji Bhonsale II (r. 1684‐1712), the Maratha king of the Tamil-speaking region of Thanjavur. Using its most current iteration, the production of a digital album in 2012, as the locus, the article explores the historical vicissitudes of music construction in Carnatic music. The continuous recasting of old repertoire like the Pallaki illuminates the intangible agencies and exigencies of this process of historical record-keeping in southern Indian music. This article showcases the many historical and epistemic locations through which the Pallaki has passed, in the process exposing some critical gaps and misses in historical writing on the southern Indian musical repertoire. It also proposes an alternative, more direct engagement with musical material, in order to write about historical contexts of music and pushes the historian of music to yield more agency to the musician in co-writing the histories of music. The article raises two methodological possibilities: a critical inclusion of ‘performed repertoires’ as an archive of music history; and the inclusion of publishing, notating and other conventional archival of manuscripts within a larger conceptual framework of performance of text.

APA, Harvard, Vancouver, ISO, and other styles

40

Viraraghavan, Venkata Subramanian, Arpan Pal, Rangarajan Aravind, and Hema A. Murthy. "Data-driven measurement of precision of components of pitch curves in Carnatic music." Journal of the Acoustical Society of America 147, no. 5 (May 2020): 3657–66. http://dx.doi.org/10.1121/10.0001313.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Plaja-Roglans, Genís, Thomas Nuttall, Lara Pearson, Xavier Serra, and Marius Miron. "Repertoire-Specific Vocal Pitch Data Generation for Improved Melodic Analysis of Carnatic Music." Transactions of the International Society for Music Information Retrieval 6, no. 1 (2023): 13–26. http://dx.doi.org/10.5334/tismir.137.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Elfrida Yuliana Simamora. "Pertumbuhan Musik Klasik Barat di Kota Medan." Jurnal Riset Rumpun Seni, Desain dan Media 3, no. 1 (February 28, 2024): 14–22. http://dx.doi.org/10.55606/jurrsendem.v3i1.2282.

Full text

Abstract:

Edward Van Ness is a violinist, conductor, writer and teacher who has lived and worked in Indonesia cumulatively for more than forty years. Composition and world music studies were completed at Wesleyan University, conducted at the Eastman School of Music, with further graduate studies also at Boston University. He undertook research on South Indian Classical Music, was a concert player in the Carnatic Vina, and founded the Madras Chamber Orchestra. He founded the music department in 1986 at the Medan International School and became head of the music and technology department at the Indonesian Music Academy, University of North Sumatra and HKBP Nommensen University. A founder of the Indonesian Promusik group. Also known as the conductor and artistic director of the first complete performance of Handel's historic Messiah with the Ensemble Nommensen and Promusika in 1987 (in the original Baroque performance style). He is also known as the first musician invited by the institution and the Vietnamese government by leading the orchestra with cellist Cecylia Barczyk from the Ho Chi Min Conservatory Orchestra in Vietnam in April 2005. Since 2003 he has led the Nusantara Symphony Orchestra in many concerts. . Most recently he was the music director and conductor of the Indonesian National Christmas celebration in December 2018 in Medan. Until now he is a Music Teacher at the Sumatra Conservatoire.

APA, Harvard, Vancouver, ISO, and other styles

43

Iyengar, Dr Kalpana Mukunda, Mrs Veena Prasad, and Dr Roxanne Henkin. "A Study of Asian Indian and Asian Indian American Carnatic Music Students on Emotive Responses to Six Carnatic Ragas: Qualitative Analysis of Student Responses." IOSR Journal of Research & Method in Education (IOSRJRME) 4, no. 5 (2014): 29–36. http://dx.doi.org/10.9790/7388-04532936.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

VictorDevadoss, A., and S. Aseervatham. "The Emotional Effect of Semi Classical Carnatic Music using Linguistic Aggregated Fuzzy Relational Maps." International Journal of Computer Applications 114, no. 2 (March 18, 2015): 26–32. http://dx.doi.org/10.5120/19951-1767.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Rao, B. Tarakeswara, Venkata Naresh Mandhala, Debnath Bhattacharyya, and Tai-hoon Kim. "Automatic Instrumental Raaga ? A Minute Observation to Find Out Discrete System for Carnatic Music." International Journal of Multimedia and Ubiquitous Engineering 10, no. 6 (June 30, 2015): 99–112. http://dx.doi.org/10.14257/ijmue.2015.10.6.10.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Krishnan, Vijaya, and Dr Sarada Sridhar. "INDIAN MRIDANGAM ARTIST AND ASSOCIATED MUSCULOSKELETAL DISORDERS." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (May 24, 2022): 341–48. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.113.

Full text

Abstract:

Background: Percussion artists are prone to develop musculoskeletal injuries. Mridangam is one of the most popular accompaniments in an Indian Carnatic Music recital. Thus, the aim of the study is to explore the prevalence of musculoskeletal disorders amongst Mridangam artists. Methodology: This was a descriptive cross-sectional study. Mridangam artists from various music school participated in the study over the period of 6 months. Self-made questionnaire was administered to artists comprising of demographic data, practice habits, and information about instrument usage.Using a video camera, the posture was recorded and analyzed. The recorded video was evaluated for risk factors. Results: This study revealed a 40% prevalence of playing related musculoskeletal affection among the Mridangam artists. Low back region was the most affected followed by knee and shoulder. Conclusion: The assessment of hazards revealed that the artists have medium exposure level of risk factors. Mridangam a form of percussion instrument has minimal detrimental effects on the artists must be promoted more. Title: Indian Mridangam Artist and Musculoskeletal Disorders

APA, Harvard, Vancouver, ISO, and other styles

47

Bagchi, Tista. "The Signing System of Mudra in Traditional Indian Dance." Paragrana 19, no. 1 (November 2010): 259–66. http://dx.doi.org/10.1524/para.2010.0017.

Full text

Abstract:

AbstractBody language involving manual gestures of a highly stylized nature is used in traditional Indian dance forms. Termed Mudras, such gestures are related to but distinct from Mudras in Buddhist and/or Tantric iconography and in Carnatic music of Southern India. The Mudra signs in dance occur in families or classes, which often cut across the basic dichotomy between combined-hand and separate-hand gestures, and which reflect linguistic and sociolinguistic classes of words and signs, such as question expressions and hierarchically differentiated pronouns, used in the domain of language. However, the Mudra signing system is also combined with facial mime or acting illustrative of different feelings such as romantic love, mirth, anger, disgust, fear, and sadness, to yield a richly communicative and dynamic aesthetic in Indian dance forms.

APA, Harvard, Vancouver, ISO, and other styles

48

Getter, Joseph M. "Nadopasana: My Own Carnatic TutorRaganidhi: A Treasure Trove of RagamsCarnatic Krithis and Varnams Audio Archive." Ethnomusicology 50, no. 3 (October 1, 2006): 529–32. http://dx.doi.org/10.2307/20174486.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Gowrishankar, Bettadamadahally Shivakumaraswamy, and Nagappa U. Bhajantri. "Raga classification using enhanced spatial bound whale optimization algorithm." Indonesian Journal of Electrical Engineering and Computer Science 30, no. 2 (May 1, 2023): 825. http://dx.doi.org/10.11591/ijeecs.v30.i2.pp825-837.

Full text

Abstract:

A raga is a unique set of notes with certain rules that carefully followed, retain and protect its purity and produce amazing musical effects. An automated raga transcription and identification is important for computational musicology, which is an important step for musicology for indexing, classifying, and recommending tunes. In the present research, the audio features such as mel frequency cepstrum coefficients (MFCCs), spectral flux, short time energy, audio feature extractor, and spectral centroid features are used for the prediction of a raga. The model showed more complexity which means it required lots of training data. The proposed enhanced spatial bound whale optimization algorithm (ESBWOA) is used that overcome the feature selection problem of high dimensional features. In addition to this, a weighted salp swarm algorithm (SSA) is used for selecting the tone-based features from the ragas based on amplitude or each raga sample. The features were fed for bidirectional long short-term memory (Bi-LSTM) network, which enhanced the success rate for raga identification and classification. The present research uses CompMusic dataset in the research work where 9 classes for Carnatic music and 7 classes in Hindustani music are considered for the classification of ragas.

APA, Harvard, Vancouver, ISO, and other styles

50

Kunikullaya, U. Kirthana, Vijayadas, Radhika Kunnavil, Jaisri Goturu, Vadagenahalli S. Prakash, and Nandagudi Srinivasa Murthy. "Short-term effects of passive listening to an Indian musical scale on blood pressure and heart rate variability among healthy individuals – A randomised controlled trial." Indian Journal of Physiology and Pharmacology 66 (May 31, 2022): 29–44. http://dx.doi.org/10.25259/ijpp_126_2021.

Full text

Abstract:

Objectives: Listening to music is entertaining but also has different health benefits. Music medicine involves passive listening to music, while music therapy involves active music-making. Indian music is broadly classified into Hindustani and Carnatic music, each having its system of musical scales (ragas). Scientific studies of Indian music as an intervention are meagre. The present study determines the effect of passive listening to one melodic scale of Indian music on cardiovascular electrophysiological parameters. Materials and Methods: After informed consent, healthy individuals aged 18–30 years of either gender were recruited and randomly divided into two groups (n = 34 each). Group A was exposed to passive listening to the music intervention (Hindustani melodic scale elaboration [Bhimpalas raga alaap]), while Group B received no intervention except for a few natural sounds (played once in every 2 min). Blood pressure (BP, systolic, SBP; diastolic, DBP) and electrocardiogram in Lead II were recorded with each condition lasting for 10 min (pre, during and post). Heart rate variability (HRV) analysis was done. Data were analysed using SPSS 18.0 version and P ≤ 0.05 was considered significant. Results: In Group A, the SBP did not change during the intervention but increased mildly after the intervention (P = 0.054). The DBP increased in both the groups during the intervention, significant in Group A (P = 0.009), with an increase of 1.676 mmHg (P = 0.012) from pre-during and 1.824 mmHg (P = 0.026) from pre-post intervention. On HRV analysis, mean NN interval increased and HR reduced in both the groups, but was significant only in Group B (P = 0.041 and 0.025, respectively). In Group A, most of the HRV parameters were reduced during music intervention that tended to return toward baseline after the intervention, but the change was statistically significant for total power (P = 0.031) and low frequency (P = 0.013); while in Group B, a consistent significant rise in parasympathetic indicators (SDNN, RMSSD, total power and HF [ms2]) over 30 min was observed. Conclusion: Unique cardiovascular effects were recorded on passive listening to a particular Indian music melodic scale. The scale, raga Bhimpalas, produced a mild arousal response. This could be due to attention being paid to the melodic scale as it was an unfamiliar tune or due to the features of this melodic scale that led to an arousal or excitation response. In contrast, the control group had only a relaxation response. Exploring electrophysiological effects of different genres, melodic scales and their properties after familiarising with the music may thus be illustrative.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!