Log in

Relevant bibliographies by topics / Hindustani music / Journal articles

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

Journal articles on the topic 'Hindustani music'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 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 'Hindustani 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

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 (2023): 23–25. http://dx.doi.org/10.53361/dmejc.v3i01.05.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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 (2020): 331–50. http://dx.doi.org/10.1017/s0040557420000265.

Full text

Abstract:

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 alte

APA, Harvard, Vancouver, ISO, and other styles

6

Morcom, Anna. "Following the People, Refracting Hindustani Music, and Critiquing Genre-Based Research." Ethnomusicology 66, no. 3 (2022): 470–96. http://dx.doi.org/10.5406/21567417.66.3.07.

Full text

Abstract:

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 “clas

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

8

Dhankar, Rita. "Major Classical Instrument of Hindustani Music." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 2 (2022): 08–11. http://dx.doi.org/10.31305/rrijm.2022.v07.i02.002.

Full text

Abstract:

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 importa

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Pal, Dr Tanmoy. "An Analysis of Indian Music Aesthetics with Particular Reference to Hindustani Classical Music." Praxis International Journal of Social Science and Literature 6, no. 5 (2023): 1–9. http://dx.doi.org/10.51879/pijssl/060501.

Full text

Abstract:

Learning a language is no easy process. Although English is a worldwide language, mastering all four micro skills is difficult. There are several problems and stumbling blocks to mastering English, particularly for non-native speakers such as Myanmar students. For example, insufficient teaching and learning materials, large numbers of students in classes, utilizing their native language in spite of English, not being in an English-speaking setting, less confident in speaking English and using the incorrect syllabus. These are only a few examples. I occasionally teach English in Myanmar. In bot

APA, Harvard, Vancouver, ISO, and other styles

12

Booth, Gregory D., and Michael E. Kinnear. "A Discography of Hindustani and Karnatic Music." Asian Music 18, no. 1 (1986): 201. http://dx.doi.org/10.2307/834165.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Rege, Amit, and Ravi Sindal. "Audio classification for music information retrieval of Hindustani vocal music." Indonesian Journal of Electrical Engineering and Computer Science 24, no. 3 (2021): 1481. http://dx.doi.org/10.11591/ijeecs.v24.i3.pp1481-1490.

Full text

Abstract:

An important task in music information retrieval of Indian art music is the recognition of the larger musicological frameworks, called ragas, on which the performances are based. Ragas are characterized by prominent musical notes, motifs, general sequences of notes used and embellishments improvised by the performers. In this work we propose a convolutional neural network-based model to work on the mel-spectrograms for classication of steady note regions and note transition regions in vocal melodies which can be used for finding prominent musical notes. It is demonstrated that, good classifica

APA, Harvard, Vancouver, ISO, and other styles

14

Chakraborty, Apoorva, and Soubhik Chakraborty. "The fourth music therapy session." MOJ Biology and Medicine 8, no. 3 (2023): 100–101. http://dx.doi.org/10.15406/mojbm.2023.08.00192.

Full text

Abstract:

We hereby present a brief report on the fourth music therapy session in connection with our ongoing research project titled Hindustani Raga Analysis Using Statistical Musicology with Therapeutic Applications for Stress Management sponsored by IDEA: Technology Innovation Hub @ Indian Statistical Institute, Kolkata. Details of the first three music therapy sessions have been published.

APA, Harvard, Vancouver, ISO, and other styles

15

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 (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, pros

APA, Harvard, Vancouver, ISO, and other styles

16

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 (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, pros

APA, Harvard, Vancouver, ISO, and other styles

17

Chakraborty, Apoorva, and Soubhik Chakraborty. "The fifth music therapy session: Hindustani classical music and its therapeutic value." MOJ Biology and Medicine 8, no. 4 (2023): 177–78. http://dx.doi.org/10.15406/mojbm.2023.08.00206.

Full text

Abstract:

We hereby present a brief report on the fifth and final music therapy session in connection with our ongoing research project titled Hindustani Raga Analysis Using Statistical Musicology with Therapeutic Applications for Stress Management sponsored by IDEAS: Technology Innovation Hub @ Indian Statistical Institute, Kolkata. Details of the first four music therapy sessions have been published and the interested reader is referred to Chakraborty S et al.1–4

APA, Harvard, Vancouver, ISO, and other styles

18

Neuman. "Pedagogy, Practice, and Embodied Creativity in Hindustani Music." Ethnomusicology 56, no. 3 (2012): 426. http://dx.doi.org/10.5406/ethnomusicology.56.3.0426.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Widdess, Richard. "Musicking Bodies: Gesture and Voice in Hindustani Music." Ethnomusicology Forum 22, no. 3 (2013): 377–79. http://dx.doi.org/10.1080/17411912.2013.837778.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Dhara, Prasenjit, and K. Sreenivasa Rao. "Automatic note transcription system for Hindustani classical music." International Journal of Speech Technology 21, no. 4 (2018): 987–1003. http://dx.doi.org/10.1007/s10772-018-9554-1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Manuel, Peter, Shujaat Khan, Tejendra Narayan Majumdar, et al. "Fifteen CDs of Hindustani Music: A Review Essay." Ethnomusicology 45, no. 2 (2001): 370. http://dx.doi.org/10.2307/852686.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Katz, Max. "The Scholarly Ustad: Hindustani Music's Muslim Hereditary Professionals and Their Textual Traditions." Ethnomusicology 68, no. 2 (2024): 195–217. http://dx.doi.org/10.5406/21567417.68.2.04.

Full text

Abstract:

Abstract Hindustani music's Muslim hereditary professional performers—known as ustād-s—have long been depicted as essentially nonliterate. Colonial and nationalist texts condemned the ustads for their ignorance and illiteracy; latter-day ethnomusicological texts celebrate the same ustads for their orality and embodiment. Based on original translations of twentieth-century sources in Urdu, Hindi, and Bengali, this article highlights a contrasting dimension of the Muslim hereditary tradition in Hindustani music: a three-hundred-year commitment by the ustads themselves to the saṅgītaśāstra, a suc

APA, Harvard, Vancouver, ISO, and other styles

23

Bhardwaj, Smriti. "The Role of Media in Promoting Hindustani Classical Music." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 11 (June 22, 2023): 93–104. http://dx.doi.org/10.30819/aemr.11-7.

Full text

Abstract:

Media has been pivotal in preservation of art for ages. The traditions and cultures have been travelling across generations via media through centuries. And as the media experienced technological advancement, it became more potent and started playing even more crucial role. The ability of the media contents to reach to masses and the preservation of the content has allowed preservation and subsequent promotion of various art forms. This paper concerns with the Indian classical music and the role media played in promoting it. Cinema has been the prime carrier of the art form but other mediums t

APA, Harvard, Vancouver, ISO, and other styles

24

Capwell, Charles, Bob Haddad, and Ken Hunt. "Festival of India: A Hindustani Sampler." Ethnomusicology 37, no. 1 (1993): 142. http://dx.doi.org/10.2307/852261.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Curtis, Steven, and Joep Bor. "The Raga Guide: A Survey of 74 Hindustani Ragas." Asian Music 32, no. 2 (2001): 187. http://dx.doi.org/10.2307/834255.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Curtis, Steven, and Joep Bor. "The Raga Guide: A Survey of 74 Hindustani Ragas." Asian Music 32, no. 1 (2000): 209. http://dx.doi.org/10.2307/834340.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Chakraborty, Soubhik, and Nimisha Katyayan. "Statistical musicology with therapeutic applications." MOJ Biology and Medicine 8, no. 2 (2023): 50–53. http://dx.doi.org/10.15406/mojbm.2023.08.00183.

Full text

Abstract:

Scientists through their studies have revealed the healing powers of music in controlling blood pressure, negative emotions and stress. Statistics and probability have been used to analyze music successfully both in western and non-western (including Indian) music. This short communication gives what we are planning to do in our ongoing project titled Hindustani Raga Analysis Using Statistical Musicology with therapeutic applications for stress management sponsored by IDEA: Technology Innovation Hub@Indian Statistical Institute, Kolkata. The work done so far in the past few months is briefed.

APA, Harvard, Vancouver, ISO, and other styles

28

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 (2018): 955–58. http://dx.doi.org/10.26438/ijcse/v6i6.955958.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Napier, John. "Structure and Proportion in Hindustani Ālāp." Empirical Musicology Review 14, no. 1-2 (2019): 53. http://dx.doi.org/10.18061/emr.v14i1-2.5502.

Full text

Abstract:

In this paper, I investigate structural proportions in improvised Hindustani (North Indian) vocal music. 235 examples of two types of ālāp were examined: 175 in the genre of khayāl, 60 in the genre of dhrupad. Both studio recordings and recordings of concerts were used. Three sets of proportions were investigated: the climactic arrival at the upper tonic as a proportion of the time till a point of structural change that is made explicit through rhythmic intensification (C:R), the first point as a proportion of the whole (C:W), and point of rhythmic intensification as a proportion of the whole

APA, Harvard, Vancouver, ISO, and other styles

30

Hill, Juniper. "“Global Folk Music” Fusions: The Reification of Transnational Relationships and the Ethics of Cross-Cultural Appropriations in Finnish Contemporary Folk Music." Yearbook for Traditional Music 39 (2007): 50–83. http://dx.doi.org/10.1017/s0740155800006664.

Full text

Abstract:

A Finnish fiddler trading fours with a Hindustani vocalist, Swedish herding calls soaring over a djembe and didjeridu groove, Russian refrains inserted between Finnish texts and Swedish harmonies—these are only a few examples of the transnational musical fusions and collaborations that characterize nykykansanmusiikki, or “contemporary folk music,” in Finland. It is common practice for Finnish contemporary folk musicians to collaborate with foreign artists, dig for source materials in neighbouring countries, play traditional instruments from multiple cultures, market their creations as “world m

APA, Harvard, Vancouver, ISO, and other styles

31

Scott, Stan, Mark Humphrey, and Abhjit Dasgupta. "Hindustani Slide: Indian Classical Guitar, Debashish Bhattacharya." Ethnomusicology 40, no. 2 (1996): 364. http://dx.doi.org/10.2307/852080.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Urita, Michiko. "The Xenophilia of a Japanese Ethnomusicologist." Common Knowledge 27, no. 1 (2021): 86–103. http://dx.doi.org/10.1215/0961754x-8723047.

Full text

Abstract:

This autobiographical, sociological, and musicological essay, written for a symposium on xenophilia, concerns how the love of a foreign culture can lead to a better understanding and renewed love of one’s own. The author, a Japanese musicologist, studied Hindustani music with North Indian masters, both Hindu and Muslim, and concluded that it is the shared concept of a “sound-god” that brings them together on stage in peaceful celebration with audiences from religious communities often at odds. The author’s training in ethnomusicology began in India in 1992, immediately after the violent demoli

APA, Harvard, Vancouver, ISO, and other styles

33

Carter, Curtis, and S. K. Saxena. "Aesthetical Essays: Studies in Aesthetics, Hindustani Music and Kathak Dance." Dance Research Journal 17, no. 1 (1985): 58. http://dx.doi.org/10.2307/1478226.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Alter, Andrew. "Key processes in the oral transmission of Hindustani vocal music." Musicology Australia 20, no. 1 (1997): 61–83. http://dx.doi.org/10.1080/08145857.1997.10415972.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Du Perron, Lalita. "‘Thumrī’: A Discussion of the Female Voice of Hindustani Music." Modern Asian Studies 36, no. 1 (2002): 173–93. http://dx.doi.org/10.1017/s0026749x02001051.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Sarkar, Rajib, Soumya Kanti Naskar, and Sanjoy Kumar Saha. "Raga identification from Hindustani classical music signal using compositional properties." Computing and Visualization in Science 22, no. 1-4 (2017): 15–26. http://dx.doi.org/10.1007/s00791-017-0282-x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Hofmann, William Rees. "Listening to Amīr Ḳhusraw in the Mughal Court: Indian Sultanate Epistemologies of Persian Music and the Construction of Hindustani Music History in the Mughal Imaginary". Asian Music 55, № 2 (2024): 5–39. http://dx.doi.org/10.1353/amu.2024.a933040.

Full text

Abstract:

Abstract: The history and development of North Indian (Hindustani) classical music is still viewed today as the result of a process of synthesis, syncretism, and hybridity between Indian and Persian systems of music. Central to this narrative is the Indo-Persian poet and courtier Amīr Ḳhusraw (1253–1325), often seen as the father of Sufi qawwālī and the classical ḳhayāl genre. This article both offers a reconsideration of the traditional historiography surrounding Ḳhusraw and his role in the development of Hindu-stani music tradition through his own writings on music and locates our modern-day

APA, Harvard, Vancouver, ISO, and other styles

38

Meddegoda, Chinthaka Prageeth. "Hindustani Classical Music in Sri Lanka: A Dominating Minority Music or an Imposed Musical Ideology?" ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 41–50. http://dx.doi.org/10.30819/aemr.6-3.

Full text

Abstract:

In Sri Lanka, the various groups of Tamils are jointly the largest minority group who migrated from different places of South India and in different time periods. South Indian music is widely appreciated and learnt by both the Sinhala including by large parts of the Tamil minority spread over Sri Lanka. Although a number of Sinhala people prefer and practice North Indian music geographically, and probably culturally, they are much closer to South India than to North India. Some historical sources report that Sinhalese are descendants of North Indians who are believed to be Aryans who migrated

APA, Harvard, Vancouver, ISO, and other styles

39

Khan, Shazia, and Ajaya K. Sahoo. "The Sound of Diaspora: The Evolution and Transformation of Indo-Caribbean Music." Journal of Migration History 9, no. 2 (2023): 220–43. http://dx.doi.org/10.1163/23519924-09020004.

Full text

Abstract:

Abstract Traditional North-Indian music has played a crucial role in creating a distinct identity for Indians in the Caribbean since the arrival of the first indentured migrants in 1838. The use of socio-cultural and political elements to connect with the homeland is one of the important features of Indo-Caribbean music. ‘Creolisation’ is indisputable in Caribbean music, which was a result of merging Indian music with local Caribbean music, giving rise to different styles of music, i.e., Baithak Gana, Chutney, and Chutney Soca. This article examines diasporic metamorphoses as a means to unders

APA, Harvard, Vancouver, ISO, and other styles

40

Paschalidou, Stella. "Technology-Mediated Hindustani Dhrupad Music Education: An Ethnographic Contribution to the 4E Cognition Perspective." Education Sciences 14, no. 2 (2024): 203. http://dx.doi.org/10.3390/educsci14020203.

Full text

Abstract:

Embodiment lies at the core of music cognition, prompting recent pedagogical shifts towards a multi-sensory, whole-body approach. However, the education of oral music genres that rely exclusively on direct teacher–disciple transmission through live demonstration and imitation is now undergoing a transformation by rapidly adapting to technology-mediated platforms. This paper examines challenges in embodied facets of video-mediated synchronous distance Hindustani music pedagogy. For this, it takes an ethnomusicological stance and showcases a thematic analysis of interviews featuring Dhrupad musi

APA, Harvard, Vancouver, ISO, and other styles

41

Chandwadkar, D. M., and M. S. Sutaone. "Identification of Ragas in Hindustani Classical Music Using Aaroha and Avaroha." International Journal of Advanced Research in Computer Science and Software Engineering 7, no. 6 (2017): 805–11. http://dx.doi.org/10.23956/ijarcsse/v7i6/0335.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Katherine Butler Schofield. "Reviving the Golden Age Again:“Classicization,” Hindustani Music, and the Mughals." Ethnomusicology 54, no. 3 (2010): 484. http://dx.doi.org/10.5406/ethnomusicology.54.3.0484.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Rao, Suvarnalata, and Preeti Rao. "An Overview of Hindustani Music in the Context of Computational Musicology." Journal of New Music Research 43, no. 1 (2014): 24–33. http://dx.doi.org/10.1080/09298215.2013.831109.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

van Straaten, Eva-Maria Alexandra. "Listening Out for Musical Homing: Critical Approximations of Hindustani Instrumental Music." Contemporary Music Review 34, no. 1 (2015): 84–100. http://dx.doi.org/10.1080/07494467.2015.1077568.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Srivastava, Kinshuk, and Uma Kumari Vaishnav. "MUSIC PRODUCED BY A COMBINATION OF HINDUSTANI AND WESTERN MUSIC - WITH SPECIAL REFERENCE TO THE ELEMENTS (FUSION-MUSIC)." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3429.

Full text

Abstract:

Classical music is a precious element of Indian culture. Any religion, civilization, culture, tradition is attained with music as well as perpetuity. Every living element on earth is associated with music and the living beings are connected by music only. Because human is emotional and people of different cultures are also connected through the expressions expressed through music. शास्त्रीय संगीत भारतीय संस्कृति का एक अनमोल तत्व है। कोई भी धर्म, सभ्यता, संस्कृति, परम्परा संगीत के साथ ही चिरन्तनता को प्राप्त होता है। पृथ्वी पर प्रत्येक जीवन्त तत्व संगीत से जुड़ा है और प्राणीमात्र आपस में स

APA, Harvard, Vancouver, ISO, and other styles

46

Widdess, D. R., and Najma Parveen Ahmad. "Hindustani Music: A Study of Its Development in Seventeenth and Eighteenth Centuries." Asian Music 16, no. 2 (1985): 183. http://dx.doi.org/10.2307/833775.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Makkar, Tejinder Gulati Amandeep. "Hindustani Music and Science in Thirteenth Century BC: A Study of Pt. Sharangdev's 'Sangeet Ratnakar'." Journal of Advances and Scholarly Researches in Allied Education 15, no. 6 (2018): 80–83. http://dx.doi.org/10.29070/15/57721.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Manuel, Peter, Joep Bor, Suvarnalata Rao, Wim van der Meer, and Jane Harvey. "The Raga Guide: A Survey of 74 Hindustani Ragas." Ethnomusicology 45, no. 3 (2001): 527. http://dx.doi.org/10.2307/852871.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Guenther, Alan M. "Ghazals, Bhajans and Hymns: Hindustani Christian Music in Nineteenth-Century North India." Studies in World Christianity 25, no. 2 (2019): 145–65. http://dx.doi.org/10.3366/swc.2019.0254.

Full text

Abstract:

When American missionaries from the Methodist Episcopal Church arrived in India in the middle of the nineteenth century, they very soon published hymn-books to aid the Christian church in worship. But these publications were not solely the product of American Methodists nor simply the collection of foreign songs and music translated into Urdu. Rather, successive editions demonstrate the increasing participation of both foreigners and Indians, of missionaries from various denominations, of both men and women, and of even those not yet baptised as Christians. The tunes and poetry included were i

APA, Harvard, Vancouver, ISO, and other styles

50

Chowdhuri, Sauhaarda. "PhonoNet: Multi-stage deep learning for raga preservation in hindustani classical music." Journal of the Acoustical Society of America 146, no. 4 (2019): 2947. http://dx.doi.org/10.1121/1.5137236.

Full text

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!