Relevant bibliographies by topics / Hindustani music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Hindustani music'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Hindustani music"

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Kandpal, Anupama. "Bollywood as a Facilitator of Indian Culture with Special Reference to Hindustani Classical Music." MediaSpace: DME Media Journal of Communication 3, no. 01 (January 31, 2023): 23–25. http://dx.doi.org/10.53361/dmejc.v3i01.05.

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Hindustani Classical Music has been the music of the subcontinent which is not only limited to India but also major regions of the current Pakistan. It is believed that the Hindustani Classical Music has undergone major transformation due to factors like popular folk music and religious music. It has received major boost from the Hindi film industry. With this in consideration a survey based study is conducted to find out how the classical musicians perceive the role of Bollywood in popularising classical music and how the classical music has been incorporated in the Hindi films. The findings suggest that the classical music has got ample boost from the film industry, particularly the Hindustani Classical. Its role has been prominenent in the past few years and it has continuously increased but the fusion culture has gained more significance than the Hindustani Classical as such.
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Groemer, Gerald, and Jose Luiz Martinez. "Semiosis in Hindustani Music." Asian Folklore Studies 61, no. 2 (2002): 343. http://dx.doi.org/10.2307/1178988.

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Rowell, Lewis, José Luiz Martinez, and Jose Luiz Martinez. "Semiosis in Hindustani Music." Journal of the American Oriental Society 119, no. 1 (January 1999): 193. http://dx.doi.org/10.2307/605600.

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Thompson, Gordon, and Jose Luiz Martinez. "Semiosis in Hindustani Music." Ethnomusicology 43, no. 2 (1999): 371. http://dx.doi.org/10.2307/852749.

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Nicholson, Rashna Darius. "“A Christy Minstrel, a Harlequin, or an Ancient Persian”?: Opera, Hindustani Classical Music, and the Origins of the Popular South Asian “Musical”." Theatre Survey 61, no. 3 (July 27, 2020): 331–50. http://dx.doi.org/10.1017/s0040557420000265.

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The story of South Asian colonial modernity and music offers up a multidirectional and polymorphous conceptual terrain featuring, among many agents, Hindustani royalty, touring minstrel and burlesque troupes, Jesuit missionaries and orientalists, and not least, social reformists. Nevertheless, scholarship on the history of Hindustani music consistently traces its development through classicization against the rise of Hindu nationalism while overlooking other palpable clues in the colonial past. This article argues for a substantial reevaluation of colonial South Asian music by positing an alternative and hitherto invisible auditory stimulus in colonial Asia's aural landscape: opera. Janaki Bakhle contends that “as a musical form, opera put down even fewer roots than did orchestral, instrumental Western classical music,” even though she subsequently states that “Western orchestration did become part of modern ceremonial activities, and it moved into film music even as it was played by ersatz marching bands.” Bakhle further argues that Hindustani music underwent processes of sanitization and systematization within a Hindu nation-making project, a view that has been complicated by historians such as Tejaswini Niranjana. Niranjana describes how scholarship that focuses exclusively on the codification or nationalization of Hindustani music through the interpellation of a Hindu public neglects “sedimented forms of musical persistence.” Not dissimilarly, Richard David Williams highlights how the singular emphasis on the movement of Hindustani music reform risks reducing the heterogeneous and complex musicological traditions in the colonial period to the output of a single, monolithic, middle-class “new elite.” Previous scholarship, he argues, concentrates on “one player in a larger ‘economy’ of musical consumption.” Following these calls for more textured perspectives on South Asian musical cultures, I suggest a somewhat heretical thesis: that opera functioned as a common mediating stimulus for both the colonial reinscription of Hindustani music as classical as well as the emergence of popular pan-Asian musical genres such as “Bollywood” music.
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Morcom, Anna. "Following the People, Refracting Hindustani Music, and Critiquing Genre-Based Research." Ethnomusicology 66, no. 3 (October 1, 2022): 470–96. http://dx.doi.org/10.5406/21567417.66.3.07.

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Abstract Ethnomusicologists and Indian musicologists have overwhelmingly studied Hindustani music as classical music, focusing on khyal, dhrupad, and instrumental solo, and its transmission in lineages. In my research, rather than following genre, I followed people, a ground-up method that equates to basic principles of practice theory. Focusing on the extended family of the Rampur-Sahaswan gharana, known for khyal, I looked for musicians regardless of the kind of music they were doing. This brought numerous “hidden musicians” (Finnegan 1989) and genres into view as an integral part of a “classical” lineage: singers of ghazal, qawwali, fusion, or commercial music. The greatest musicians of the past were in fact not “classical” ones, but versatile or chaumukhi artistes who sang “all genres.” My approach is also historical and political-economic, focusing on the lives and livelihoods of musicians and mobility. This enables me to map Hindustani music not just in the famous centers where classical music flourishes today, but in smaller cities and towns. Inspired in particular by Erik Wolf's (1982) history of capitalism, which revealed cultures and societies as interrelated and unbounded, I explore the shifts in and connections of centers and peripheries of Hindustani music—for example, the key role played by semi-classical and light genres in sustaining classical music. I critique genre as a frame for research, showing it as contributing to an ongoing process of classicizing Hindustani music. I show Hindustani music, rather, to be a sprawling, unbounded, but organically interconnected phenomenon created by people and their navigation of life's opportunities, resources, and structures.
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Komangoda, Lahiru Gimhana. "Vinay Mishra and the Artistry of the Harmonium." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (December 9, 2021): 39–46. http://dx.doi.org/10.30819/aemr.8-5.

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Vinay Mishra is an accomplished Indian solo and accompanying harmonium player born and brought up in Benaras and currently residing in Delhi serving as a faculty member of the Department of Music, Faculty of Music and Fine Arts, University of Delhi. The rigorous training of both vocal and instrumental music under veteran Hindustani Music virtuosos, the academic and scholarly scope built up till the degree of PhD in Music, the realizations, and understandings on music must have conspicuously made an impact of his practice and artistry as a harmonium player. Harmonium was originated in the west and adopted by Indian musicians in the colonial era which was brought up to the present day through many artistic, cultural and political controversies, and obstacles. This work focuses on discovering the insights of the harmonium art of Vinay Mishra. Hence, his academic background, musical training, musical career, his playing style as a soloist, general techniques and techniques of accompaniment, sense of machinery, perspectives on raga Taal, and thoroughly the tuning methods were studied in-depth through personal conversations and literature resources where it was observed that modern Hindustani harmonium artists favor a typical natural tuning method over the 12 equal temperaments of the common keyboard instruments. According to him, the stable sound of the harmonium was the reason to be vocal music- friendly in classical and light vocal music accompaniment which was only interrupted by the equal temperament earlier and was later overcome by the artists and harmonium makers. The idea was also raised that apart from gaining the basic command of an instrument, a Hindustani instrumentalist may learn and practice all other aspects of Hindustani music from the teachers of other forms too. Vinay Mishra’s thoughts of machinery, musical forms, compositions, applying Hindustani vocal, and plucking string instrumental ornamentations on the Harmonium were also reviewed.
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Dhankar, Rita. "Major Classical Instrument of Hindustani Music." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 2 (February 20, 2022): 08–11. http://dx.doi.org/10.31305/rrijm.2022.v07.i02.002.

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The strings of the musical instruments are struck by rubbing them with the hair of a horse mounted on a gaz or a wooden stick. These instruments completely imitate the singing styles. Instruments like sarangi, dilruba and israj are the main classical instruments of the Musical category. The stringed instrument used in concerts is made of a single piece of wood and is about sixty centimeters long. Due to the contact of prostitutes, this instrument was neglected in the prestigious society for many years, but due to its personal characteristics, at this time it has managed to get the most important place in musical instruments. Dilruba and Israj are similar instruments. It is also said that Dilruba is a combination of Sitar and Sarangi. Israj is played with both singing and tantkari styles. This instrument is an invention of the 20th century AD. The promotion of this instrument is more in the Bengal region. Abstract in Hindi Lanaguge: वितत वाद्यों की तारों पर प्रहार गज या लकड़ी की छड़ी पर लगे घोड़े के बालों से घिसकर करते हैं। ये वाद्य गायन-शैलियों का पूर्ण अनुकरण करते हैं। सारंगी, दिलरूबा और इसराज जैसे वाद्य वितत श्रेणी के प्रमुख शास्त्रीय वाद्य हैं। संगीत सभाओं में प्रयुक्त सारंगी वाद्य लकड़ी के एक ही टुकड़े का बना होता है और लगभग साठ सेंटीमीटर लम्बा होता है। वेश्याओं के संपर्क के कारण यह वाद्य प्रतिष्ठित समाज में कई वर्षों तक उपेक्षित रहा, परन्तु अपनी निजी विशेषताओं के कारण इस समय यह संगीत-वाद्यों में सर्वाधिक महत्वपूर्ण स्थान प्राप्त करने में सफल हुआ है। दिलरुबा व इसराज मिलते जुलते वाद्य हैं। यह भी कहा जाता है कि दिलरुबा, सितार और सारंगी का मिला-जुला रूप है। इसराज गायकी तथा तंतकारी दोनों शैलियों से बजाया जाता है। यह वाद्य ई0 20वीं सदी का आविष्कार है। इस वाद्य का प्रचार बंगाल प्रदेश में अधिक है। Keywords: हिन्दुस्तानी, शास्त्रीय, वितत, वाद्य सारंगी, दिलरुबा, इसराज, जोगी सारंगी, अलबख्य डाँड, कुंडी, मन्द्र।
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Manuel, Peter, and Wim van der Meer. "Hindustani Music in the 20th Century." Asian Music 18, no. 1 (1986): 208. http://dx.doi.org/10.2307/834168.

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Shukla, Rakesh. "Psychoanalysis and Hindustani Classical Music: Resonances." International Journal of Applied Psychoanalytic Studies 15, no. 4 (November 20, 2017): 292–96. http://dx.doi.org/10.1002/aps.1552.

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Dissertations / Theses on the topic "Hindustani music"

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Brown, Katherine Ruth Butler. "Hindustani music in the time of Aurangzeb." Thesis, SOAS, University of London, 2003. https://kclpure.kcl.ac.uk/portal/en/theses/hindustani-music-in-the-time-of-aurangzeb(7c90c03c-e026-4c73-9cf8-e6fb630ecee1).html.

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The long reign of the last Great Mughal emperor, Aurangzeb (r.1658-1707), is highly controversial in Indian history. An orthodox Muslim, Aurangzeb is infamous for his bigoted and oppressive political and cultural policies. Scholars have long argued that he banned music throughout his reign, leaving a crucial period in Indian music history unexamined. This thesis investigates North Indian musical life in the time of Aurangzeb, through a critical analysis of musical discourse in contemporary Persian language sources. These demonstrate that far from having banned music, musical practice thrived under Aurangzeb. My thesis aims 1) to refute the story of the ban and demonstrate that music played an integral role in Mughal society throughout Aurangzeb's reign; 2) to establish an epistemology of Indo-Persian musical treatises that enables these overlooked sources to be studied in their intellectual and cultural contexts; and 3) to explore two major developments in Hindustani music at this time.
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Magriel, Nicholas Fairchild. "Sarangi style in North Indian art music." Thesis, University of London, 2002. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271640.

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Alter, Andrew Burton. "Hindustani vocal music : a case study of oral transmission." Title page, contents and abstract only, 1989. http://web4.library.adelaide.edu.au/theses/09MUM/09muma466.pdf.

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Hutchison, Callie. "An Introduction to Hindustani Violin Technique." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/321309.

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In this document I fuse a study of performance technique and pedagogy, introducing Hindustani violin technique through the lens of a performer trained in western violin practice. While a large body of research on Hindustani music theory, history, and the performance of other instruments currently exists, very little has been written about the Hindustani violin. Aside from a few short interviews with prominent Hindustani violinists, nothing has been published on technique, performance practice or pedagogy. My research involves a comparative analysis of Hindustani and Western violin techniques, enhanced by data from my violin performance and pedagogy lessons with Hindustani performer/teacher Kala Ramnath. The research includes documentation of the history of the violin's regional predecessors such as the sarangi, it's introduction to India, and the first compilation of Hindustani violin techniques and exercises, for basic sliding, shifting and improvisation. Knowledge of the Hindustani violin performance tradition offers Western musicians new perspectives on creative violin approaches, and enhances their ability to perform with greater flexibility and virtuosity.
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Paschalidou, Panagiota-Styliani. "Effort in gestural interactions with imaginary objects in Hindustani Dhrupad vocal music." Thesis, Durham University, 2017. http://etheses.dur.ac.uk/12308/.

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Physical effort has often been regarded as a key factor of expressivity in music performance. Nevertheless, systematic experimental approaches to the subject have been rare. In North Indian classical (Hindustani) vocal music, singers often engage with melodic ideas during improvisation by manipulating intangible, imaginary objects with their hands, such as through stretching, pulling, pushing, throwing etc. The above observation suggests that some patterns of change in acoustic features allude to interactions that real objects through their physical properties can afford. The present study reports on the exploration of the relationships between movement and sound by accounting for the physical effort that such interactions require in the Dhrupad genre of Hindustani vocal improvisation. The work follows a mixed methodological approach, combining qualitative and quantitative methods to analyse interviews, audio-visual material and movement data. Findings indicate that despite the flexibility in the way a Dhrupad vocalist might use his/her hands while singing, there is a certain degree of consistency by which performers associate effort levels with melody and types of gestural interactions with imaginary objects. However, different schemes of cross-modal associations are revealed for the vocalists analysed, that depend on the pitch space organisation of each particular melodic mode (rāga), the mechanical requirements of voice production, the macro-structure of the ālāp improvisation and morphological cross-domain analogies. Results further suggest that a good part of the variance in both physical effort and gesture type can be explained through a small set of sound and movement features. Based on the findings, I argue that gesturing in Dhrupad singing is guided by: the know-how of humans in interacting with and exerting effort on real objects of the environment, the movement–sound relationships transmitted from teacher to student in the oral music training context and the mechanical demands of vocalisation.
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Maciszewski, Amelia Teresa. "Gendered stories, gendered styles : contemporary Hindusthani music as discourse, attitudes, and practice /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Wertheim, Ira O. "Prior Experience and Synchronization to North Indian Alap." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354753664.

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Woolf, Rachel 1988. "Uncovering Aspects of Western and Indian Music in Vanraj Bhatia's Night Music for Solo Flute, and Selected Other Works." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248444/.

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Born in 1927 in Bombay, Vanraj Bhatia is an Indian composer of music for concerts, film, television, opera, meditation, and commercial jingles. His musical style is unique, stemming from his training in both Western and North Indian classical, or Hindustani, music. Little is known about Vanraj Bhatia in the Western classical world, and in India he is recognized primarily as a composer of film music. This dissertation aims to bring awareness of Vanraj Bhatia's significance as a Western classical composer, focusing on uncovering the cross-cultural influences of his only solo flute piece, Night Music, composed in 1964. This research offers Western flutists a better understanding of Indian music, specifically Hindustani and Indian folk music traditions, often not fully understood since Indian music is an aural tradition, rarely transcribed and notated, and relies on a guru/shishya (teacher/student) relationship. Such an understanding will elucidate the compositional choices made in Night Music, allowing flutists to be more informed in their performance of it. Although the focus of this study is on Night Music, other repertoire from Bhatia's concert music and film music will also be examined to illuminate Bhatia's compositional style, which includes elements of Hindustani music, Indian folk music, and Western musical traditions. An exploration of some of Bhatia's other compositions written for Western musicians will give readers beyond the realm of flutists a better understanding of his distinctive, cross-cultural style and influences, and will introduce larger audiences to this exceptional and little-known composer.
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Rogers, Glenn Andrew. "The application of Konokol to guitar improvisation and composition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1956.

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This dissertation is an exploration of the rhythmic concepts used in two South Indian musical theory concepts, solkattu and konokol. Konokol application largely depends on instrument limitations and musical contexts. The principle focus here is on my personal application of konokol to the guitar both through composed and improvised music. A detailed study of konokol was undertaken through private lessons in India and personal experimentation to determine how these concepts could be adapted to Western improvisation, harmony and composition, as well as right--‐hand classical guitar and plectrum techniques. This was done intuitively by exploring guitar techniques and konokol simultaneously. The outcome of this study was a process applied to guitar composition and improvisation. Graphic numerical tables and geometrical representations are outlined in this dissertation as a guide to understanding this process. The second outcome of this research includes a series of Western compositions improvised and through--‐composed. This outcome explores a fundamental concept, the practical applications of konokol and mrdangam patterns to guitar composition and guitar improvisation. The appendices include a practical reference guide to many of these concepts, providing a valuable and a beneficial resource for any musician who would like to use and understand rhythmic concepts outside the Western musical tradition. A compact disc of my original compositions demonstrating my application of konokol concepts and theories to guitar composition is also included as part of this research. This dissertation presents an alternative framework and methodology to the Western canon of rhythmic knowledge and involves rethinking numbers, rhythm and phrasing in a manner that is essentially different to the Western pedagogy of rhythmic knowledge. Possible future research on the collective memory and fractal design of konokol and how this is related to memory is also proposed.
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Utter, Hans Fredrick. "Networks of Music and History: Vilayat Khan and the Emerging Sitar." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308392450.

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Books on the topic "Hindustani music"

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Ranade, Ashok D. Hindustani music. New Delhi: National Book Trust, 1997.

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Deodhar, B. R. Pillars of Hindustani music. Bombay: Popular Prakashan, 1993.

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Deodhar, B. R. Pillars of Hindustani music. London: Sangam Bks., 1993.

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Martinez, José Luiz. Semiosis in Hindustani music. Imatra: International Semiotics Institute, 1997.

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Kanavaḷḷi, Sadānanda. Karnataka's Hindustani musicians. Delhi, India: B.R. Rhythms, 2004.

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Chakraborty, Soubhik, Guerino Mazzola, Swarima Tewari, and Moujhuri Patra. Computational Musicology in Hindustani Music. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11472-9.

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Chakravarty, Arati. An introduction to Hindustani music. New Delhi: Har-Anand Publications, 1999.

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Br̥haspati, Saubhāgya Varddhana. Great masters of Hindustani music. Chandigarh: Abhishek Publications, 2010.

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Joep, Bor, and Codarts, Hogeschool voor de Kunsten., eds. Hindustani music, thirteenth to twentieth centuries. New Delhi: Manohar Publishers & Distributors, 2010.

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Joep, Bor, and Codarts, Hogeschool voor de Kunsten., eds. Hindustani music, thirteenth to twentieth centuries. New Delhi: Manohar Publishers & Distributors, 2010.

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Book chapters on the topic "Hindustani music"

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Banerjee, Kaushik, Anirban Patranabis, Ranjan Sengupta, and Dipak Ghosh. "Ornamentation in Hindustani Vocal Music." In Proceedings of 27th International Symposium on Frontiers of Research in Speech and Music, 125–35. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-1549-7_10.

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Chakraborty, Soubhik, Guerino Mazzola, Swarima Tewari, and Moujhuri Patra. "An Introduction to Indian Classical Music." In Computational Musicology in Hindustani Music, 1–14. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11472-9_1.

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Chakraborty, Soubhik, Guerino Mazzola, Swarima Tewari, and Moujhuri Patra. "Concluding Remarks." In Computational Musicology in Hindustani Music, 103–7. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11472-9_10.

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Chakraborty, Soubhik, Guerino Mazzola, Swarima Tewari, and Moujhuri Patra. "The Role of Statistics in Computational Musicology." In Computational Musicology in Hindustani Music, 15–24. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11472-9_2.

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Chakraborty, Soubhik, Guerino Mazzola, Swarima Tewari, and Moujhuri Patra. "Introduction to RUBATO: The Music Software for Statistical Analysis." In Computational Musicology in Hindustani Music, 25–51. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11472-9_3.

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Chakraborty, Soubhik, Guerino Mazzola, Swarima Tewari, and Moujhuri Patra. "Modeling the Structure of Raga Bhimpalashree: A Statistical Approach." In Computational Musicology in Hindustani Music, 53–60. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11472-9_4.

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Chakraborty, Soubhik, Guerino Mazzola, Swarima Tewari, and Moujhuri Patra. "Analysis of Lengths and Similarity of Melodies in Raga Bhimpalashree." In Computational Musicology in Hindustani Music, 61–64. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11472-9_5.

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Chakraborty, Soubhik, Guerino Mazzola, Swarima Tewari, and Moujhuri Patra. "Raga Analysis Using Entropy." In Computational Musicology in Hindustani Music, 65–68. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11472-9_6.

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Chakraborty, Soubhik, Guerino Mazzola, Swarima Tewari, and Moujhuri Patra. "Modeling Musical Performance Data with Statistics." In Computational Musicology in Hindustani Music, 69–80. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11472-9_7.

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Chakraborty, Soubhik, Guerino Mazzola, Swarima Tewari, and Moujhuri Patra. "A Statistical Comparison of Bhairav (a Morning Raga) and Bihag (a Night Raga)." In Computational Musicology in Hindustani Music, 81–95. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11472-9_8.

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Conference papers on the topic "Hindustani music"

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Lele, Jyoti A., and Aditya S. Abhyankar. "Towards Raga Identification of Hindustani Classical Music." In 2019 IEEE Pune Section International Conference (PuneCon). IEEE, 2019. http://dx.doi.org/10.1109/punecon46936.2019.9105894.

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Mishra, Priya, and Manish Kalra. "Time-Specific Classification in Hindustani Classical Music." In 2024 5th International Conference for Emerging Technology (INCET). IEEE, 2024. http://dx.doi.org/10.1109/incet61516.2024.10593235.

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Dhara, Prasenjit, Pradeep Rengaswamy, and K. Sreenivasa Rao. "Designing automatic note transcription system for Hindustani classical music." In 2016 International Conference on Advances in Computing, Communications and Informatics (ICACCI). IEEE, 2016. http://dx.doi.org/10.1109/icacci.2016.7732159.

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Tiple, Bhavana S., Pooja P. Joshi, and Manasi Patwardhan. "An efficient framework for recommendation of Hindustani Art Music." In 2016 International Conference on Computing Communication Control and automation (ICCUBEA). IEEE, 2016. http://dx.doi.org/10.1109/iccubea.2016.7860008.

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Rao, Preeti. "Audio metadata extraction: The case for Hindustani classical music." In 2012 International Conference on Signal Processing and Communications (SPCOM). IEEE, 2012. http://dx.doi.org/10.1109/spcom.2012.6290243.

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Sharma, Hiteshwari, and Rasmeet S. Bali. "Raga identification of Hindustani music using soft computing techniques." In 2014 Recent Advances in Engineering and Computational Sciences (RAECS). IEEE, 2014. http://dx.doi.org/10.1109/raecs.2014.6799544.

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Mishra, Priya, and Manish Kalra. "Transformer-based Technique to Classify Raags in Hindustani Classical Music." In 2022 IEEE Conference on Interdisciplinary Approaches in Technology and Management for Social Innovation (IATMSI). IEEE, 2022. http://dx.doi.org/10.1109/iatmsi56455.2022.10119346.

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Banerjee, Shobhan, Manas Kumar Rath, Utpal Chandra De, and Ribhu Sanyal. "Classification of Thaats in Hindustani Classical Music using Supervised Learning." In 2022 IEEE 3rd Global Conference for Advancement in Technology (GCAT). IEEE, 2022. http://dx.doi.org/10.1109/gcat55367.2022.9971937.

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Mishra, Priya, and Nisha Chaurasia. "Let's Identify the Similar and Confusing Raags of Hindustani Classical Music." In 2023 3rd Asian Conference on Innovation in Technology (ASIANCON). IEEE, 2023. http://dx.doi.org/10.1109/asiancon58793.2023.10269859.

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Farooq, Umair, K. Kumar Snehith Reddy, K. S. Shishira, M. G. Jayanthi, and Prashanth Kannadaguli. "Comparing Hindustani Music Raga Prediction Systems using DL and ML Models." In 2024 International Conference on Emerging Technologies in Computer Science for Interdisciplinary Applications (ICETCS). IEEE, 2024. http://dx.doi.org/10.1109/icetcs61022.2024.10543647.

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