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Prof., Ashok Shevantrao Jadhav. "Indian Classical Music." International Journal of Advance and Applied Research S6, no. 18 (2025): 249–52. https://doi.org/10.5281/zenodo.15259476.
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<em>Indian classical music is one of the oldest and most complex musical traditions in the world. With its rich history dating back thousands of years, it forms a cornerstone of India's cultural identity. This research paper delves into the history, theory, forms, and cultural significance of Indian classical music, exploring its evolution, the main systems it follows, and its impact on contemporary music. Through a detailed analysis, aim to offer a comprehensive understanding of its unique features, such as ragas, talas, and the spiritual and philosophical underpinnings that define its performance and study.</em>
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Vinod, Rachel. "Review of AI in Indian Classical Music." International Journal for Research in Applied Science and Engineering Technology 13, no. 2 (2025): 1599–608. https://doi.org/10.22214/ijraset.2025.67155.
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The Artificial Intelligence (AI) wave has revolutionised all industries including the music industry. AI is now being leveraged in the music world in ways that could not have been imagined earlier. Music generation, music retrieval, music production are just some of the areas in which AI has started making its mark. There have been significant efforts in literature to review and bring out the impact of AI in Western music. Indian classical music forms are extremely distinct from Western music in terms of ornamentation, emotional depth, and structure. This makes it difficult for the established AI methods in Western music from being leveraged in Indian classical music. Though there have been some efforts made to use AI tools in Indian classical music, there has not been a comprehensive survey of the same. In this paper, we attempt to provide a systematic review of use of AI specifically in the Indian classical music forms of Hindustani and Carnatic music. We cover the three fields of music generation, music retrieval, music production and look into key technologies, datasets and established applications. Additionally, we bring out current challenges, research gaps, and future directions to advance AI-driven innovations in this domain.
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Prof., Aniruddha Sanjay Dalvi. "Contribution of Khayal Gharanas to Indian Classical Music." Journal of Research & Development 15, no. 21 (2023): 1–3. https://doi.org/10.5281/zenodo.10299579.
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<strong>Abstract-</strong>Indian classical music is an integral part of Indian music. The tradition of Indian classical music goes back to Bharat Muni's Natyashastra and before that the singing of Samaveda. Bharat Natya Shastra, written by Bharat Muni, is considered to be the first written evidence of the history of Indian music. There are many differences of opinion regarding the time of its composition. Many aspects of today's Indian classical music are mentioned in this ancient text. After Bharat Muni's Natyashastra, Matanga Muni's Brihaddeshi and Sharangdev's Sangeet Ratnakar are considered to be the most important texts from the historical point of view. Later Sufi movement also had its influence on Indian music. Later, many new systems and gharanas were born in different parts of the country. During the British rule, many new instruments came into vogue and Indian music was also introduced to Western music. The harmonium, the instrument popular today among the general public, came into use at the same time. In this way, every era had its important contribution in the rise and change of Indian music.Instruments commonly used in Hindustani music include sitar, sarod, surbahar, israj, veena, tanpura, bansuri, shehnai, sarangi, violin, santoor, pakhwaj and tabla. Instruments commonly used in Carnatic music include Veena, Vinu, Gotavadam, Harmonium, Mridangam, Kanjir, Ghamat, Nadashwaram and violin.
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Ramesh, Dr S. "Eternal Elegance: The Resplendent Beauty and Global Impact of Indian Classical Music." Journal of Humanities,Music and Dance, no. 35 (August 31, 2023): 22–26. http://dx.doi.org/10.55529/jhmd.35.22.26.
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This essay delves into the captivating beauty of Indian classical music and its farreaching impact on the global stage. Indian classical music, renowned for its intricate melodies, rhythmic complexities, and spiritual profundity, has captivated audiences worldwide, transcending cultural confines. Through a historical and cultural lens, this essay explores the distinct elements of Indian classical music and its remarkable capacity to evoke emotions, bridge cultural gaps, and nurture cross-cultural appreciation. Additionally, the discussion underscores the significance of various types of Indian classical music and their modern applications, including their therapeutic potential and fusion with other musical genres. Ultimately, the essay emphasizes the enduring influence of Indian classical music and its potential to continue enriching the global cultural tapestry.
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Verma, Harish. "CLASSICAL EXPERIMENT IN CINE MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3404.
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Indian films cannot be imagined without music. The hallmark of Indian cinema is its vibrant music. Indian films, whether they are in any language (ie Hindi, Tamil, Bengali, Marathi, Telugu, Kannada or Malayalam), music predominates. Music is their basic element in films made in regional dialects like Bhojpuri, Rajasthani, Bandeli, Chhattisgarhi etc. Most of the films in India are made in Hindi language which are popular all over the world. Hence, we will discuss about Indian films by keeping Hindi films at the center.
 संगीत के बिना भारतीय फिल्मों की कल्पना भी नहीं की जा सकती। भारतीय सिनेमा की पहचान उसका सषक्त संगीत ही है। भारतीय फिल्में चाहे वे किसी भी भाषा (अर्थात् हिन्दी, तमिल, बंगाली, मराठी, तेलुगु, कन्नड़ या मलयालम) की हों, संगीत उनमें प्रमुख होता है। क्षेत्रीय बोलियों जैसे भोजपुरी, राजस्थानी, बंुदेली, छत्तीसगढ़ी आदि में बनने वाली फिल्मों में तो संगीत ही उनका मूल तत्व होता है। भारत में सर्वाधिक फिल्में हिन्दी भाषा में बनती हैं जो विश्व भर में लोकप्रिय होती हैं। अतः आगे हम भारतीय फिल्मों की चर्चा हिन्दी फिल्मों को केन्द्र में रखकर ही करेंगे।
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Dona, Lasanthi Manaranjanie Kalinga. "On the Therapeutic Aspects of Indian Classical Music." Musik-, Tanz- und Kunsttherapie 23, no. 1 (2012): 8–14. http://dx.doi.org/10.1026/0933-6885/a000069.
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The positive impact of Indian classical music on human health is the subject of a deeply rooted belief in the Indian subcontinent and is also held among those who invest their time and efforts to Indian classical music elsewhere in the world. This article attempts to provide an account for such a widely shared belief, and singles out four essential components that contribute to it: The melodic rāga domain, the rhythmic tāla domain, time theory, and the extramusical rasa system. The discussion is developed from a general introduction to India to the specific therapeutic aspects of North Indian classical music. The author brings together up-to-date research and her first-hand experiences as a scholar and performer of North Indian classical music.
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Philips, Anna Amy. "Embracing indian and western classical music in the 21st century: Param Vir and Shankar Tucker." Musica paedagogia pilsnensis 1, no. 1 (2021): 73–80. http://dx.doi.org/10.24132/zcu.musica.2021.01.73-80.
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The first (published) mention of Indian classical music in Western discourse takes us to William Jones’ On the Musical Modes of the Hindus (1784), which ignited a scholarly interest for the Orient in the Western world. Since then, over the years, several researchers in music have been swept along and consumed by the currents of lost, found, translated, (mis-)inter - preted, transliterated and transformed literature on Indian classical music 2. This work delves neither into the labyrinth of the allusive character of Raga, nor the theory, transliteration, and treatises on Indian classical music. Instead, with supporting literature from many diligent scholars, it utilises all the extremely elaborate theories and explanations from the past to initiate a different sort of analysis in this field, one that explores musical material directly in compositions which incorporate both Indian and Western music, using socio-cultural, media studies theories and music analysis theories. The primary intent of this work is to comprehend the creation of a cultural third space brought about by the hybridisation of contemporary Western music and Indian classical music, taking two composers as case studies for this purpose: Param Vir and Shankar Tucker. The parameters of this study centre, in Vir’s case, on Indian classical- and 20 th century Western classical music theories; and, in Tucker’s case, the appropriation of Indian music, using contemporary media studies and popular music the- ories of a globalised world. Such an analysis is customised and therefore is to be considered as an observation of the current scenario within these two systems of music, within these parameters.
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Alshi, Pravin Radhakrishna. "The Disciple of Indian Classical Music." Journal of Research & Development 17, no. 3 (2025): 24–31. https://doi.org/10.5281/zenodo.15274532.
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<strong><em>Abstract </em></strong> <em>Individual expression is highly valued in an artist, and this is no different within the context of Indian classical music. But whilst being allowed to develop a personal style, the Indian music tradition is firmly rooted in the idea of guru-shishya - referring to the relationship between the master and student. Traditionally, extended (often lifelong) close contact with the master meant that their personal style was firmly imprinted on the student. The Northern Hindustani and Southern Carnatic traditions take slightly different approaches to this idea. Most Hindustani musicians train under the umbrella of a certain style, known as a gharana. The word means family, and is derived from the Urdu for ‘house’. In the context of music, it refers to a musical lineage with a consistent and special approach to presentation. Within a fashion house, different designers may create and innovate various styles of garment, but according to their training and the house style, their work normally has recognizable stylistic link with their fashion origins. Just as connoisseurs of fashion can distinguish Chanel from Prada, an experienced listener can quite quickly pick out the salient features that identify one gharana from another.</em>
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Alshi, Pravin Radhakrishna. "The Disciple of Indian Classical Music." Journal of Research & Development 17, no. 3 (2025): 24–31. https://doi.org/10.5281/zenodo.15286750.
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<strong><em>Abstract </em></strong> <em>Individual expression is highly valued in an artist, and this is no different within the context of Indian classical music. But whilst being allowed to develop a personal style, the Indian music tradition is firmly rooted in the idea of guru-shishya - referring to the relationship between the master and student. Traditionally, extended (often lifelong) close contact with the master meant that their personal style was firmly imprinted on the student. The Northern Hindustani and Southern Carnatic traditions take slightly different approaches to this idea. Most Hindustani musicians train under the umbrella of a certain style, known as a gharana. The word means family, and is derived from the Urdu for ‘house’. In the context of music, it refers to a musical lineage with a consistent and special approach to presentation. Within a fashion house, different designers may create and innovate various styles of garment, but according to their training and the house style, their work normally has recognizable stylistic link with their fashion origins. Just as connoisseurs of fashion can distinguish Chanel from Prada, an experienced listener can quite quickly pick out the salient features that identify one gharana from another.</em> <em><strong> </strong></em>
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Alshi, Pravin Radhakrishna. "The Disciple of Indian Classical Music." Journal of Research & Development 17, no. 3 (2025): 24–31. https://doi.org/10.5281/zenodo.15286847.
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<strong><em>Abstract </em></strong> <em>Individual expression is highly valued in an artist, and this is no different within the context of Indian classical music. But whilst being allowed to develop a personal style, the Indian music tradition is firmly rooted in the idea of guru-shishya - referring to the relationship between the master and student. Traditionally, extended (often lifelong) close contact with the master meant that their personal style was firmly imprinted on the student. The Northern Hindustani and Southern Carnatic traditions take slightly different approaches to this idea. Most Hindustani musicians train under the umbrella of a certain style, known as a gharana. The word means family, and is derived from the Urdu for ‘house’. In the context of music, it refers to a musical lineage with a consistent and special approach to presentation. Within a fashion house, different designers may create and innovate various styles of garment, but according to their training and the house style, their work normally has recognizable stylistic link with their fashion origins. Just as connoisseurs of fashion can distinguish Chanel from Prada, an experienced listener can quite quickly pick out the salient features that identify one gharana from another.</em>
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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.
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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 both teaching and learning English in Myanmar, I encountered several hurdles and barriers. It motivates me to conduct particular studies on the difficulties that students and instructors face in Myanmar.I used the quantitative research approach to determine the specific issues and impediments experienced in teaching and learning English. I implemented Google Form to identify the most relevant 15 questions for instructors, which took about two months, and I received 47 replies out of 50 surveys on obstacles in teaching English. Through the survey findings, we could clearly see what hurdles and obstacles Myanmar instructors had throughout their teaching and how they dealt with all of these concerns, as well as their dos and don'ts remarks and wise advise. Then I concluded by outlining how we should use the recommended strategies and implementations to overcome all of the obstacles that we have when teaching and learning English.
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Paigude, Kasturi. "Analysis of an Indian Classical Music Composition." International Journal of Membrane Science and Technology 10, no. 1 (2023): 605–15. http://dx.doi.org/10.15379/ijmst.v10i1.2623.
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This research aims to enable analysis of Indian classical music compositions by studying different elements of a composition of vocal music using a statistical method. Indian classical music is an art which is passed on to the next generation through an oral tradition and is mastered by practicing it orally and by listening to it. Writing music has been very minimal in Indian classical music tradition and is essential mainly for the reference purpose. Traditionally, analysis of an Indian classical composition too is done by listening to a composition and by studying its notation. Only medium paced compositions are analyzed in this research. The new method that I have suggested in this research can be used to check whether the results of analyzing a composition traditionally can match the results of analyzing a composition by using the statistical method. This research is a novel way of analyzing a few elements of a composition visually using its graphical representation. Using this method, an individual who understands mathematics and statistics but has a limited understanding of music can attempt to analyze certain elements of a composition. The prominent elements that are analyzed are: Mukhada-beginning of a composition, Sam swara- the swara on which the first beat of a taal is kept, Sthayi and Antara- the two parts of a composition, Taal-a cycle of beats, Laya- distance between two beats of a taal, Raagaroop- a melodic framework for improvisation in Indian classical music and Sahitya- Text of a composition. I have analyzed three elements out of seven using the standard deviation, mean and the graphical representation. The elements are Mukhada, Sthayi-Antara and the Laya. The rest of the elements are analyzed by listening to the composition and by studying its notation.
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Waghmare, Kalyani C., and Balwant A. Sonkamble. "Raga Identification Techniques for Classifying Indian Classical Music: A Survey." International Journal of Signal Processing Systems 5, no. 4 (2017): 130–35. http://dx.doi.org/10.18178/ijsps.5.4.130-135.
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Raman, Rachna, and W. Jay Dowling. "Real-Time Probing of Modulations in South Indian Classical (Carnātic) Music by Indian and Western Musicians." Music Perception 33, no. 3 (2016): 367–93. http://dx.doi.org/10.1525/mp.2016.33.3.367.
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We used Toiviainen and Krumhansl’s (2003) concurrent probe-tone technique to track Indian and Western musicians’ tonal-hierarchy profiles through modulations in Carnātic (South Indian classical) music. Changes of mode (rāgam) are particularly interesting in Carnātic music because of the large number of modes (more than 300) in its tonal system. We first had musicians generate profiles to establish a baseline for each of four rāgams in isolation. Then we obtained dynamic profiles of two modulating excerpts, each of which incorporated two of the four baseline rāgams. The two excerpts used the two techniques of modulation in Carnātic music: grahabēdham (analogous to a Western shift from C major to A minor), and rāgamālikā (analogous to a shift from C major to C minor). We assessed listeners’ tracking of the modulations by plotting the correlations of their response profiles with the baseline profiles. In general, the correlation to the original rāgam declined and the correlation to the new rāgam increased with the modulation, and then followed the reverse pattern when the original rāgam returned. Westerners’ responses matched those of the Indians on rāgams with structures similar to Western scales, but differed when rāgams were less familiar, and surprisingly, they registered the shifts more strongly than Indian musicians. These findings converged with previous research in identifying three types of cues: 1) culture-specific cues—schematic and veridical knowledge—employed by Indians, 2) tone-distribution cues—duration and frequency of note occurrence—employed by both Indians and Westerners, and 3) transference of schematic knowledge of Western music by Western participants.
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Rohit, Dr, and Dr Rubaid Ashfaq. "Digital Innovations in Indian Classical Music Education." Journal of Humanities,Music and Dance, no. 33 (April 19, 2023): 23–31. http://dx.doi.org/10.55529/jhmd.33.23.31.
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This research paper explores the transformative impact of digital innovations on Indian classical music education. The rapid advancement of technology has revolutionized the way students learn and engage with this traditional art form. The paper examines various digital tools and platforms that have reshaped pedagogy, curriculum development, accessibility, and the overall learning experience. By analyzing existing research, case studies, and expert opinions, this paper provides insights into the benefits, challenges, and future directions of digital innovations in Indian classical music education.
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Jani, Pooja A., and Shweta Jejurkar. "Contribution of Kramik Pustak Malika of Chatur Pandit in the field of Indian Music and its Relevance." HARIDRA 2, no. 07 (2021): 62–70. http://dx.doi.org/10.54903/haridra.v2i07.7773.
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Indian Classical Music is the best gift of Indian culture to the world. Indian Classical Music is of two types – उत्तर हिन्दुस्तानी संगीत पद्धति एवं दक्षिण हिन्दुस्तानी संगीत पद्धति. The roots of Indian Music are found in Vedas. Sanskrit is the ancient language and we found it in the Vedas. Many treatises related to music systems are also found in Sanskrit Language. To learn music properly, every learner has to go through two paths – 1. Theoretical music (Ancient treatises) 2. Practical Music (which follows Guru Shishya tradition). Pandit Bhatkhande has given wonderful and helpful notation system to Indian Classical Music. With the help of it he has collected many Bandish from different people and made a large collection. This collection is known as Kramik Pustak Malika. (Parts 1 -6). All these six parts are having theory of 150 ragas divided Thata-wise, with introductory chapter on the general theory of music, besides a short description of every Raga, followed by Svar-vistar. They contain about 1000 traditional compositions including Pandit Bhatkhande’s own compositions which are about 300 in notation. To know the Raga deeply, one can refer the same book and can get many Bandish, Svar-vistar, information about Ragas, their descriptions given in Sanskrit treatises, Thata (थाट), Tala, etc. Therefore, Kramik Pustak Malika of Chatur Pandit is the treasure of Indian Music.
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Katz. "Institutional Communalism in North Indian Classical Music." Ethnomusicology 56, no. 2 (2012): 279. http://dx.doi.org/10.5406/ethnomusicology.56.2.0279.
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Beck, Guy L. "Nāda-Brahman and North Indian Classical Music." Journal of Indian Philosophy and Religion 3 (1998): 69–90. http://dx.doi.org/10.5840/jipr199834.
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Maujeker, Kanviksha. "Indian Classical Music Swara/Note Transcription System." International Journal for Research in Applied Science and Engineering Technology 7, no. 4 (2019): 3677–85. http://dx.doi.org/10.22214/ijraset.2019.4617.
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Thompson, Gordon Ross. "Companion to North Indian Classical Music (review)." Asian Music 37, no. 1 (2006): 134–36. http://dx.doi.org/10.1353/amu.2006.0012.
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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.
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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 from Persia to the Northern part of India in the 13th century and later. Therefore, some scholarly authorities believe that the Sinhalese ‘naturally’ prefer North Indian music as they also continue the suggested Aryan heritage. Nevertheless, some other sources reveal that the North Indian music was spread in Sri Lanka during the British rule with the coming of the Parsi Theatre (Bombay theatre), which largely promoted Hindustani raga-based compositions. This paper explores selected literature and opinions of some interviewees and discusses what could be the reasons for preferences of North Indian music by the Sinhalese. The interviewees were chosen according to their professional profile and willingness to participate in this research. As a result, this paper will offer insights through analysing various opinions and statements made by a number of interviewees. The research also considered some theories which may relate to the case whether Hindustani classical music is due to these reasons a dominating minority culture or a rather self-imposed musical ideology. The latter would establish an aesthetic hierarchy, which is not reflected in the cultural reality of Sri Lanka. This is a new research scrutinizing a long-term situation of performing arts education in this country taking mainly interviews as a departing point.
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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 (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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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.
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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.
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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.
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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.
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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.
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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 too have played a significant role. The related literature suggests the same and provides evidence for the same. The literature however mostly relates to art in general with very little reference to Indian Classical Music. The objective of this paper is to study the perceived role of media in promoting Indian Classical Music. The study was conducted using survey method on 246 (N) respondents. The data was analysed using statistical analysis including ANOVA and T-Test to find the difference in opinions of the respondents categorised on various basis. The findings suggest that people strongly believe that media has been instrumental in promoting Indian Classical Music. The feeling however is not the same for all mediums but for some mediums like Radio and Cinema. People also believe that reality shows have brought Indian classical music to the fore though it still has not translated into the creation of greater opportunities leading to more financial freedom amongst the classical musicians.
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Churi, Praharsh. "Emotion-Based Music Generation Based on Nava Rasas in Indian Classical Music." International Journal for Research in Applied Science and Engineering Technology 11, no. 11 (2023): 2003–7. http://dx.doi.org/10.22214/ijraset.2023.56981.
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Abstract: A crucial component of human expression, music has the astonishing power to provoke a wide range of emotions. In this study, we describe a revolutionary method for creating music that integrates Indian classical music, computer vision, and emotion analysis. In our project, named "Emotion-Based Music Generation," we use Media Pipe for facial expression recognition, Keras for music creation, OpenCV for real-time webcam access, and stream lit-WebRTC for web application development. Based on the Nava Rasas in Indian classical music, the technique isolates nine fundamental emotions and develops musical compositions in accordance. These technologies are used to create an enjoyable and interactive system that allows users to explore the emotional spectrum of music.
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Kalyani C. Waghmare, Et al. "PMFCC Features for Music Classification Using the Modified KNN Algorithm." International Journal on Recent and Innovation Trends in Computing and Communication 11, no. 9 (2023): 4191–95. http://dx.doi.org/10.17762/ijritcc.v11i9.9793.
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From ancient period Music is a integral part of human life. People prefered to listen Music while relaxing. All over the world nowadays music is used as supporting medication for healing mental illness and many other diseases. The origin of Indian Music is Indian Classical Raga, having a melodious combination of Rhythm and notes. There are various users like music-composers, e-learners, music therapists are frequently retrieving Indian classical Raga based music. The vast retrieval of Raga based music made it necessary to classify Indian music on Raga. This paper proposes an a new algorithm to classify an Indian Music using Raga information which further will be useful for song recommendation, personalizing collection, and musicologists for various purpose.
 In this paper, the combined Pitch and MFCC based PMFCC features are extracted and processed by Modified K Nearest Neighbor algorithm. The performance of PMFCC and Pitch Class Distribution features is compared using traditional machine learning classification algorithms and Modified Variant K Nearest Neighbor (MVKNN). The PMFCC features outperformed with the Modified KNN algorithm. The accuracy of PMFCC features with Modified KNN algorithm is found 96.11% for our Our dataset and 93.65% for Compmusic standard dataset.
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Blume, Gernot. "Blurred affinities: tracing the influence of North Indian classical music in Keith Jarrett's solo piano improvisations." Popular Music 22, no. 2 (2003): 117–42. http://dx.doi.org/10.1017/s0261143003003088.
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In the first forty years of his career, American pianist Keith Jarrett has established a reputation in multiple stylistic directions. Jarrett has typically incorporated influences as varied as bebop, country, rock, gospel, minimalism, baroque and classical styles into his often lengthy improvisations. Vital to his musical persona, but less obvious, is the influence North Indian classical music has had in shaping Jarrett's improvisatory strategies. Although he never formally studied Indian music, and although his instrument – the piano – is far removed from the conceptual backdrop of North Indian raga performance, Indian music was a central component in the artistic climate out of which his improvised solo recitals grew.A cultural climate of global influences was the backdrop to the development of Jarrett's solo concerts. Therein, perhaps, lies one key to understanding the spell that this music has cast on large and international audiences. With this format, Jarrett tapped into the ambiance of a particular historic moment, which combined a desire for change with the discovery of spiritual and musical traditions outside the Western world.In this paper I will demonstrate how explicit and implicit references to classical Indian principles of music making helped shape Jarrett's unique free solo concerts.
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Tanaka, Takako. "Overview of the research work undertaken by Prof. Tanaka and five collaborators." Impact 2020, no. 8 (2020): 62–64. http://dx.doi.org/10.21820/23987073.2020.8.62.
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Takako Tanaka, Masakazu Tamori, Yoshitaka Terada, Emi Okada, Jun Obi and Hidetoshi Kobinata have formed a collaborative research team who are creating a reliable and inclusive database of Indian classical music for academic use. Each of the six researchers has unique and valuable knowledge, as well as different areas of expertise within music that they are bringing to this project. The aim of their work is to establish a large cultural resource about Indian classical music that musicologists and music lovers can use to carry out their own research.
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Solanke, Dr. Ajaykumar G. "Changing Scenario of Guru Shishya Tradition in Indian Classical Music." International Journal of Advance and Applied Research 4, no. 36 (2023): 16–19. https://doi.org/10.5281/zenodo.10333964.
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<strong>Abstract-</strong> Hindustani music is essentially an oral heritage and its primary system of education is the guru-shishya parampara, (tradition) which evolved to meet its requirements. The guru-shishya parampara has been an integral part of Indian classical music for centuries. It is a deeply rooted tradition where knowledge, technique, and artistic expression are imparted from the guru (teacher) to the shishya (disciple) through years of rigorous training and personal guidance. Guru-Shishya or teacher-disciple relationship is one of the most divine and sovereign relationship, as it reflects the wider realm of knowledge, obedience, and belongingness. There is a deep relationship of knowledge, values of respect and motivation, and sense of Guru's aura and intimacy around. In Hindustani Classical Music, The Guru Shishya Parampara has been the biggest and only way to carry forward this glorious tradition through generations. The Gharana system's mandate to only pass on music through heredity created a highly conducive pedagogical environment for Hindustani music, though not necessarily sustainable in the long-term. Paluskar founded and established the Gandharva Mahavidyalaya, the first music university in India, and trained many teachers to set up more such schools across the country.<strong> </strong>Paluskar was instrumental in raising the prestige and respectability of music in the eyes of the public by drastic alteration of the texts of compositions of Classical music from obscene eroticism to ethereal devotion.<strong> </strong> Paluskar and Bhatkhande taught music to anyone who was interested in a format that maintained the spirit of the guru-shishya parampara. India has had witnessed many idealistic teacher-student pairs in its long glorious history. Some of the prominent names that reflects this Parampara are, Dronacharya - Arjuna in Mahabharata time, Dhaumya - Aruni, Chanakya - Chandragupta Maurya, Swami Haridas and Muhammad Ghaus - Tansen, Samarth Ramdas - Shivaji Maharaj, Ramakrishna Paramhansa - Swami Vivekananda etc. this sacred tradition is also reflected in Modern Indian Hindustani classical music too.
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Arya, Divya D. "North Indian Classical Vocal Music for the Classroom." Music Educators Journal 102, no. 1 (2015): 83–89. http://dx.doi.org/10.1177/0027432115588596.
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Garani, Shayan Srinivasa, and Harish Seshadri. "An algorithmic approach to South Indian classical music." Journal of Mathematics and Music 13, no. 2 (2019): 107–34. http://dx.doi.org/10.1080/17459737.2019.1604845.
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Nafde, Dr Mrs Tanuja. "Relevance of Music in Vedic Traditions and Contemporary Context." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (2021): 4954–58. http://dx.doi.org/10.22214/ijraset.2021.36036.
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Indian classical music has a very long-accumulated heritage of centuries. The origin of Indian music can be traced back to nearly two thousand years ago. It is undisputedly believed that the sage Narada introduced the art of music to the Earth, also it is said that the sound that pervades the whole universe, i.e. Nadabrahma, itself represents divinity. Scientifically structured Indian music owes its origin to the Samaveda. The Veda scriptures describe all the seven notes of the raga karaharpriya in descending order, which is a favorite research topic theory and treatise writers to explore, how the core sound ‘Om’ gave rise to the various notes. The first evidential reference to music dates back to 500 BC by Panini and the first reference to musical theory dates back to 400 BC found in Rikpratisakhya. Bharata’s Natya Shastra dating 4th Century AD contains several chapters on music. This is the first known work that clearly elaborated the octave of its structured characteristics for various applications. There is an eternal statement about the history of Indian Music, that "classical Indian music is derived from the Vedas". Although no one can say that this statement is false, it is deceptively simplistic, when discussing the Relevance of Music in Vedic Traditions and contemporary context.
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Raman, Rachna, and W. Jay Dowling. "Perception of Modulations in South Indian Classical (Carnātic) Music by Student and Teacher Musicians." Music Perception 34, no. 4 (2017): 424–37. http://dx.doi.org/10.1525/mp.2017.34.4.424.
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Modulation, a shift in mode (rĀgam), is important in South Indian classical (Carnātic) music. Here we investigate the sensitivity of Carnātic and Western listeners to such shifts. Carnātic music has two kinds of shifts: rāgamālikā (retaining tonal center, resembling a shift from C major to C minor in Western music) and grahabēdham (shifting tonal center, resembling a shift from C major to A minor). Listeners heard modulating pieces of music and indicated the point of modulation, and were measured for accuracy and latency. Indians were more accurate than Westerners with both types of modulation but Westerners were faster with grahabēdhams. Cues could explain performance differences between nationalities: Indians were more familiar with rāgamālikā-type modulations whereas Westerners’ culture made them more familiar with grahabēdham-type modulations. Increased caution toward the less familiar grahabēdhams for Indians could explain their slower response time compared to rāgamālikās. With grahabēdhams, hit rates for both groups were comparably high, but Westerners’ lower level of accuracy was due to higher false-alarm rates to lures that were superficially similar to actual modulations. This indicated their dependence on surface-level cues in the absence of familiarity and culture-specific information. Music training helped teachers in both groups make fewer errors when compared to students. Older listeners’ performance was comparable to that of younger listeners.
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Banawat, Chetna, and Anjali Gilotra. "IMPACT OF VARIOUS SCIENTIFIC DIMENSIONS IN INDIAN CLASSICAL MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3481.
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The tradition of Indian classical music has been ancient and continuous developing in the world. It is like a tree in which, as a result of the seasonal effect, sometimes the autumn and sometimes the Navakopal kept coming, but the root has remained the same. This long-standing tradition of classical music takes place in the Vedic period itself, but various contemporary changes have changed its condition and direction, resulting in considerable qualitative progress in the field of music. Today's era is receiving the gift of new innovators of science, with which we are all practically familiar. Our musical arts side could not remain untouched by these new scientific designs. Today, with the development of technology and technology, the music world has got a strong foundation. This technology has proved to be helpful in the preservation, promotion and continuous propagation of classical music etc. Various electronic musical instruments, scientific instruments and information technology have also influenced classical music by providing new possibilities like teaching, listening and collecting of classical music, and playing an important role in promoting its conservation and making special contribution in making it sustainable. Huh.
 भारतीय शास्त्रीय संगीत की परम्परा विष्व में प्राचीनतम् तथा अनवरत् विकासशील रही है। यह उस वृक्ष की भांति है, जिसमें ऋतुकालीन प्रभाव के फलस्वरूप कभी पतझड़ तो कभी नवकोपल आते रहे, किन्तु मूल यथावत् ही रहा है। शास्त्रीय संगीत की इस सुदीर्घ परम्परा के दर्शन वैदिक काल में ही हो जाते हैं, किन्तु विभिन्न समकालीन परिवर्तनों ने इसकी दशा व दिशा में परिवर्तन ला दिया है, फलतः संगीत के क्षेत्र में काफी गुणात्मक प्रगति हुई है। आज के युग को विज्ञान के नित नवीन आविष्कारों की देन प्राप्त हो रही है, जिससे हम सभी व्यवहारिक रूप से परिचित ही हैं। इन नवीन वैज्ञानिक सर्जनाओं से हमारा सांगीतिक कला पक्ष भी अछूता नहीं रह सका। आज तकनीकी व प्रौद्योगिकी के विकास से संगीत जगत् को सुदृढ़ आधार मिला है। संगीत की आदि शाखा शास्त्रीय संगीत के संरक्षण, संवर्धन एवं निरन्तर प्रचार-प्रसार में यह तकनीकी जगत् सहायक सिद्ध हुआ है। विभिन्न इलेक्ट्राॅनिक सांगीतिक वाद्यों, वैज्ञानिक उपकरणों एवं सूचना प्रौद्योगिकी ने शास्त्रीय संगीत के शिक्षण, श्रवण एवं संग्रहण जैसी नवीन सम्भावनाएं भी प्रदान कर शास्त्रीय संगीत को प्रभावित किया एवं इसके संरक्षण-संवर्धन में अहम् भूमिका निभाते हुए इसे चिरस्थायी बनाने में अपना विशेष योगदान भी दे रहे हैं।
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Kotwal, M. Raj, C. Z. Rinchhen, and Vishwajeet V. Ringe. "Stress Reduction Through Listening to Indian Classical Music During Gastroscopy." Diagnostic and Therapeutic Endoscopy 4, no. 4 (1998): 191–97. http://dx.doi.org/10.1155/dte.4.191.
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The purpose of this study was to examine the effects of music on elevated state of anxiety as many patients become stressed and anxious during diagnostic procedures. The study was conducted on 104 consecutive patients undergoing GI endoscopy for various reasons. Patients were randomly assigned to two groups regardless of sex, age and underlying disease. One group of 54 patients were made to listen to a recorded Indian classical instrumental music before and during the procedure, while the other group of 50 patients did not. Blood pressure, heart rate and respiratory rate were recorded at the beginning of consultation and end of procedure. Perception of procedure using a three point attitude scale was assessed. Our results indicate that the background Indian classical music is efficacious in reducing psychological distress during a gastroscopic examination. We suggest that music could be applied to other medical situations as well, which tend to generate undue psychological stress and anxiety. Music, as a familiar personal and culture medium, can be used to ease anxiety, to act as distractor, to increase discomfort and pain threshold.
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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.
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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 understanding of his musical innovations in the Mughal reception of his legacy.
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Anagha A. Bidkar, Yogesh H. Dandawate, Rajkumar S. Deshpande. "North Indian Classical Instrumental Raga Music: Multifractal Parameters Analysis and Raga Recognition System." Journal of Information Systems Engineering and Management 10, no. 29s (2025): 962–74. https://doi.org/10.52783/jisem.v10i29s.4611.
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Introduction: The foundation of Indian classical music is the raga. Ancient music literature describes raga as a collection of particular arrangement of musical notes, that turns into soothing music. According to basic music theory, the raga segments have fractal properties. In fractal theory, the scale of the music note (signal) can be altered while maintaining its shapeObjectives: This enhances musical quality with improved raga note. In the proposed work, Codebook of Feature (CoF) model is used to recognize 12 Indian classical ragas. The application considered is north Indian classical instrumental raga music. The multifractal parameter analysis of musical segments is done, based on fractal theory.Methods: The proposed work recognizes raga without note detection, hence reducing the complexity of the raga recognition system. The training and testing datasets considered are 60 % – 40 % and 90 % – 10 % respectively.Results: The accuracy obtained is 98.94 % and 99.01 % respectively. The accuracy calculated based on F1 – score for the mentioned datasets is 98.93 % and 99.06 % respectively.Conclusions: The proposed system is also compared with the recognition of raga using previous work on the same dataset that was implemented with variants of Mel Frequency Cepstral Coefficients (MFCC) features and the ensemble bagged tree as a classifier, which gives 96.32% accuracy. The proposed system's accuracy has increased by 3% compared to MFCC features.
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Rain, B. "RELEVANCE OF CLASSICAL MUSIC IN CINEMA MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3465.
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Indian scholars have considered music to be a divine voice. This entire universe is subject to nad, and nad is called Brahm, because nad is everywhere. This entire universe is foolish. Naad is composed of Brahman, Brahman with word, word by sentence and sentence by song, so it can be said that Naad is the soul of music.Harsh, gaiety, zeal, it is the makeup of a person's life, when the person becomes weak by getting entangled in social bonds or problems, then the arts in which the work of replenishing power and passion is there, they are called fine arts and fine arts. Music is considered to be the highest in the world. It would not be an exaggeration to say that man and music have an integral relationship.
 भारतीय विद्वानों ने संगीत को ईष्वरीय वाणी माना है। यह समस्त सृष्टि, नाद के अधीन है तथा नाद को ब्रह्म कहा गया है, क्योंकि नाद सर्वत्र व्याप्त है। यह सम्पूर्ण ब्रह्माण्ड ही नादमय है। नाद से ब्रह्म, ब्रह्म से शब्द, शब्द से वाक्य तथा वाक्य से गीत बनता है, अतः यह कहा जा सकता है कि नाद संगीत का प्राण है।हर्ष, उल्लास, उमंग, यह व्यक्ति के जीवन का श्रृंगार है, जब व्यक्ति सामाजिक बंधनों अथवा समस्याओं में उलझकर कमजोर होने लगता है, तब उसमें पुनः शक्ति तथा जोष भरने का कार्य जिन कलाओं में है, उन्हें ललित कलायें कहा जाता है और ललित कलाओं में संगीत का स्थान सर्वोच्च माना जाता है। यह कहना अतिष्योक्ति नहीं होगा कि मनुष्य तथा संगीत का अभिन्न सम्बन्ध है।8
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Ramesh, Dr S. "Harmonic Confluences: Indian Music Maestros' Enduring Impact on Global Sounds." Journal of Humanities,Music and Dance, no. 33 (April 21, 2023): 50–52. http://dx.doi.org/10.55529/jhmd.33.50.52.
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This article explores the transformative contributions of Indian music maestros to the world music panorama. From classical virtuosos to contemporary trailblazers, Indian musicians have woven their cultural threads into the global musical fabric. This discussion delves into the profound influence of celebrated Indian maestros across diverse genres, emphasizing their role as ambassadors of culture and catalysts for cross-cultural artistic resonance.
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Beck, Guy L. "Theology of Music and Hindu Religion: From Divine Origins to Classical Songs." Religions 12, no. 8 (2021): 663. http://dx.doi.org/10.3390/rel12080663.
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As a subfield in the study of religion and music, the theology of music is generally understood in Western terms. Yet to fully encompass the rich heritage of music in world religions, the theology of music must welcome non-Western traditions. After introducing ancient Greek and Biblical narratives regarding the origins of music, including metaphysical concepts, narratives of music as Divine Gift, musical angels, and the sacred origin of the notes and scales, this article explores music in Hindu religion through the lens of theology. We find that Indian music is also ‘given by the gods’ (i.e., Brahmā, Vishnu, and Śiva), associated with ‘musical angels,’ and originally formed from metaphysical principles (i.e., OM and the concept of Nāda-Brahman). What is demonstrated here, representing a long continuity, is how these same ideas are viable in the performance of Indian classical music today. Citing examples of compositions of Dhrupad and Khayal from the standard repertoire, this article reveals how modern-day classical songs contain references to sacred sound principles and the divine origins of music, both in their lyrics and in the unfoldment of musical notes (Svaras) and melodic patterns (Rāgas).
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S. T. Patil, Et al. "Classification of Classical Indian Music Tabla Taals using Deep Learning." International Journal on Recent and Innovation Trends in Computing and Communication 11, no. 9 (2024): 3227–32. http://dx.doi.org/10.17762/ijritcc.v11i9.9513.
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In the research that we are bringing to light, we profoundly explore the categorization of Classical Indian Music Tabla Taals. This emphasizes widely recognized taals such as Addhatrital, Ektal, Rupak, Dadra, Deepchandi, Jhaptal, Trital, and Bhajani. To push the boundaries of our understanding, we implement a mixed-methods approach tethering both Feedforward Neural Networks (FNN) and Convolutional Neural Networks (CNN). These state-of-the-art technologies enable us to dissect and categorize tabla taals efficiently. In essence, the hallmark of Classical Indian music is its complex and multifaceted rhythms brought to life by the primal percussive instrument - the tabla. The conception and reproduction of these nuanced taals require technical finesse. Thus, accompanying the digital revolution and the eclectic musical preferences, it becomes essential for advanced methodologies to pinpoint and classify tabla taals. The hardcover of our research opens up to the magnificent crafting of an unmatched model employing both FNN and CNN. This blend enables us to recognize diverse features unique to tabla taals like Addhatrital, Ektal, Rupak, Dadra, Deepchandi, Jhaptal, Trital, and Bhajani. The model obtained its bosom knowledge during training from an assortment of Classical Indian music recordings showcasing these invigorating taals. This fosters a broader understanding regarding the array of minute differences brimming within each rhythmic inheritance. To bring user interaction to life, we have embedded a Graphical User Interface (GUI). This empowers users to introduce an audio file filled with table music from the taals listed and receive on-the-spot recognition. refining their connection and knowledge of the taal in question. Our research findings procure paramount importance in the scape of music analysis, especially framed within the heart of Classical Indian Music. We propose a system that would serve as a tool for amateur table players to learn the skill well and master their art. Instructors could also utilize it for training purposes. It opens a new window of possibilities providing an advanced model for intuitive, swift, and accurate automated identification of tabla taals.
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Shamkuwar, Sujata. "Effect of Yoga and Classicalmusic on Uterine Artery Indices." Clinical Medical Reviews and Reports 5, no. 04 (2023): 01–06. https://doi.org/10.31579/2690-8794/174.
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During antenatal period, the fetus and mother are connected through placenta, a structure that perform the functions of supplying nutrients to foetus, exchange of gases and elimination of waste through well maintained blood circulation. Thus, foetal health is dependent on this circulation. Any impairment in it can cause adverse effects on foetus. The present case study aimed at understanding the effect of yoga and Indian classical music on maternal and foetal health. Along with routine antenatal care, the patient was advised yoga exercises and listening to some Indian classical music ragas. Today, the effect of yoga and music has been examined on various physical and psychological dimensions of pregnant women. However, there are still sparse studies on the effect of yoga and music on the uterine artery indices as well as maternal and foetal complications. It was found that yoga and classical music resulted in improved uterine artery indices, foeto-maternal health and good foetal outcome.
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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 (2017): 213–22. http://dx.doi.org/10.1515/aoa-2017-0024.
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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.
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Karácsony, Noémi, and Mădălina Dana Rucsanda. "Indian Culture and Music as a Source of Inspiration for French Opera Composers." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (2021): 99–121. http://dx.doi.org/10.24193/subbmusica.2021.2.08.
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"The current paper strives to discover and reveal the influences of Indian culture and classical Indian music in French operas. At first, the evocation of India was obtained through the subjects of the operas and stunning scenic designs, fulfilling the requirements of exoticism. Gradually, the composers attempted to include in their musical discourses exotic rhythmic and melodic elements, in some instances inspired by Indian classical music, thus aiming to evoke a genuine image of India. At the same time, the use of elements pertaining to Indian music (rāgas, rhythmic patterns, timbres) offered the musicians the possibility to create novel sound discourses. The analysis focuses on several operas, composed between the eighteenth century and the beginning of the twentieth century, following the evolution of Indian representations in several dimensions: dramatic (libretto), visual (scenic representations, dance), and musical (melody, rhythm, timbre). The present paper investigates the way Indian themes influenced the conception of the libretto, and at the same time the visual dimension of the works (setting, costumes), observing how these visual elements were gradually absorbed into the musical discourse (analysis of the melodic structures), through the incorporation of Indian rāgas in works conceived according to the rules of Western music composition. Keywords: exoticism, orientalism, India, French opera, rāga "
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Farrell, Gerry. "Teaching Indian Music in the West: Problems, Approaches and Possibilities." British Journal of Music Education 3, no. 3 (1986): 267–78. http://dx.doi.org/10.1017/s0265051700000784.
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This article explores ways in which the elements of north Indian classical music may be taught in a western context. It examines traditional methods of teaching in India and points out the difficulties of transferring such methods into Western music education. The basic materials of Indian music are examined, with a view to using them to heighten awareness of music in general, but not necessarily to produce solo performers. The article suggests ways in which Indian music can be explored without compromising its inherent complexity, sense of form and aesthetic beauty; while, at the same time, making it more accessible to a wide range of people.
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Karácsony, Noémi, and Mădălina Dana Rucsanda. "Influences of Classical Indian Music in Albert Roussel’s Evocations." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (2021): 125–41. http://dx.doi.org/10.24193/subbmusica.2021.1.09.
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"An important figure of early 20th century music, the French composer Albert Roussel was deeply influenced by his encounter with India, which led to the composition of several orientalist works. The present paper aims to disclose the influences of classical Indian music in the orchestral work Evocations. Despite the Impressionist sound of the musical discourse, a careful analysis reveals the incorporation of several scalar structures in which Hindu rāgas can be recognized. Roussel goes beyond the musical representation of India: his goal is not the creation of a musical work with powerful oriental sound, but the evocation of the impact this encounter had on his creation. Situated at the crossroad of several stylistic orientations, Roussel incorporates Impressionist, Neo-classical and Post-romantic influences in rigorously devised structures, aiming to create an unusual and novel sound. Keywords: Albert Roussel, orientalism, Impressionism, India, rāga "
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Noone, Matthew James. "The North Indian Sarode and Questions Concerning Technology." Organised Sound 25, no. 1 (2020): 116–25. http://dx.doi.org/10.1017/s1355771819000517.
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In three previous issues of OS (10/1, 2005, 13/3, 2008 and 19/2, 2014) a range of scholars explored non-Western instrumentation in electroacoustic music. These issues addressed concerns about sensitive cultural issues within electroacoustic music. This article builds upon this discussion through an examination of a number of electroacoustic composer-performers using non-Western instrumentation. This discussion will include the voices of ‘Western’ electroacoustic composers using non-Western instruments or sounds sources. It will also document some of the work of non-Western electroacoustic composers who incorporate traditional material or indigenous instruments in their music. Special attention will be given to the complexity of being in-between musical cultures through a critical engagement with theories relating to hybridity, orientalism and self-identity. In particular, this article will focus on my own practice of composing and performing electroacoustic music with the North Indian lute known as the sarode. It will discuss both cultural and artistic concerns about using the sarode outside the framework of Indian classical music and question whether Indian classical music can ever be ‘appropriately appropriated’ in an electroacoustic context. Two of my recent compositions will be explored and I will outline the development of my practice leading to the creation of a new ‘hybrid’ instrument especially for playing electroacoustic music.
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G. K., Subhash, and Kumarasiri M. A. K. P. "Design and Development of a PC Application to Address the Challenges Faced by Sri Lankan Academics in Typing North Indian Classical Music Notations." Vidyodaya Journal of Humanities and Social Sciences 10, no. 01 (2025): 1–19. https://doi.org/10.31357/fhss/vjhss.v10i01.01.
Full textAbstract:
The objectives of this study were to identify the challenges encountered by Sri Lankan academics in typing North Indian music notations and introduce a Portable Computer (PC) application as a solution for the identified challenges. So far, there has been no adequate study of the problems encountered by the Sri Lankan academic community in typing north Indian music notations. Accordingly, the absence of a systematic as well as a more effective computerized method for transcription of north Indian music notations is the research problem for this study. The mixed method was used to carry out the research work. As revealed by this research, it can be identified that Sri Lankan academics face various challenges while typing north Indian classical music notations. Difficulty in creating notations in a short time, lack of a unique method to typing notations, inability to obtain a high-quality output, and lack of a software application designed for only this purpose can be identified as those challenges. Accordingly, a software that can reduce all challenges, and can type north Indian music notations in both Sinhala and English languages was created by the researchers. Therefore, academics can type north Indian music notations without any errors and with a good finish, and thus it can be concluded that the challenges faced by the scholars in typing north Indian music notations can be overcome.
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Thompson, Gordon Ross. "The Illustrated Companion to South Indian Classical Music (review)." Notes 57, no. 1 (2000): 107–8. http://dx.doi.org/10.1353/not.2000.0056.
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