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Journal articles on the topic 'Indian music'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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.

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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

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Verma, Shalini. "Indian Folk Music." RESEARCH REVIEW International Journal of Multidisciplinary 8, no. 4 (2023): 108–13. http://dx.doi.org/10.31305/rrijm.2023.v08.n04.013.

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Folk songs have been a medium for the common people to express their feelings and emotions. There is a simple introduction of folk life in folk songs. Along with the external life of a person, they are also the reflection of his mental feelings. Folk music is short, simple, clear, natural, beautiful, emotional and musical. The real introduction to the natural relationship between life and music is through folk songs. In Indian folk music, its different types have been classified as follows – folk songs, folk instruments, folk dances. Folk songs are classified as follows: - Nature related, fami

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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 perfor

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Chandi, Jasdeep Kaur, and Kulveen Trehan. "The cultural shareability of Korean popular media in India: A reflexive thematic analysis of BTS music videos." East Asian Journal of Popular Culture 8, no. 1 (2022): 27–52. http://dx.doi.org/10.1386/eapc_00061_1.

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In this article, the BTS phenomenon in India was examined by looking closely at the music of this South Korean band. A reflexive thematic analysis was performed on five BTS music videos followed by interviews with self-identified Indian BTS fans. Three salient themes were identified in the music videos and fans’ interview responses: the fusion of multiple music video genres, cultural hybridity and love as an evolutionary process. It is suggested that these identified themes are culturally shareable with Indian fans. The cultural shareability of the music of BTS has gradually created a mere-exp

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Sykes, Jim. "Towards a Malayan Indian sonic geography: Sound and social relations in colonial Singapore." Journal of Southeast Asian Studies 46, no. 3 (2015): 485–513. http://dx.doi.org/10.1017/s0022463415000351.

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From the mid-1920s, Indian music scenes developed in Singapore that were not just about the construction of regional and religious forms of Indian diasporic belonging. Drawing upon European, Chinese and Malay influences (musical and otherwise), and performing in contexts that were uncommon in India, Singaporean Indian musicians contributed to non-Indian musics, while incorporating non-Indian influences into Indian genres. Such musical–communal interactions functioned in colonial Singapore to locate the island as a hub for the constitution of a ‘Malayan Indian sonic geography’. By encouraging l

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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 tw

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Kumari, Neha. "Music Genre Classification for Indian Music Genres." International Journal for Research in Applied Science and Engineering Technology 9, no. 8 (2021): 1756–62. http://dx.doi.org/10.22214/ijraset.2021.37669.

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Abstract: Due to the enormous expansion in the accessibility of music data, music genre classification has taken on new significance in recent years. In order to have better access to them, we need to correctly index them. Automatic music genre classification is essential when working with a large collection of music. For the majority of contemporary music genre classification methodologies, researchers have favoured machine learning techniques. In this study, we employed two datasets with different genres. A Deep Learning approach is utilised to train and classify the system. A convolution ne

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Aksanova, A. E. "MUSIC IN INDIAN CULTURE." Concept: philosophy, religion, culture 1, no. 9 (2019): 185–92. http://dx.doi.org/10.24833/2541-8831-2019-1-9-185-192.

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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 considere

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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

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Chakravarty, Devpriya. "Popular Musics of India: An Ethnomusicological Review." Journal of Ethnic and Cultural Studies 6, no. 3 (2019): 111. http://dx.doi.org/10.29333/ejecs/267.

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This article brings into discussion the presence of a contemporary popular music culture amongst globalised, urban, Indian youth which is perpetuated by Electronic Dance Music (EDM) festivals. This paper begins with the argument as to how there is no one monolithic popular music scene in India by presenting a historical analysis of a timeline for popular musics of India, a scene that has received scanty scholarly attention.

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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

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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.

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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

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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

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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 sys

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Guha, Smita. "Mathematics in Indian Music: Examining Children's Learning Process." Journal of Global Awareness 3, no. 2 (2022): 1–24. http://dx.doi.org/10.24073/jga/3/02/04.

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There are many mathematical concepts found in music. Music is integrated into Indian culture. It is a common practice among children in India to engage in music lessons from a young age. The purpose of this study was to investigate the impact of Indian music on the cognitive development of children to understand or reinforce mathematics. Data was collected from three schools in Kolkata, India, through interviews, observations, and survey questionnaires. Six different music classes from three music schools were observed at different times. Observations were documented through pictures, video re

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Kale, Malini. "INDIAN CULTURAL HERITAGE - RAJASTHANI FOLK MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3467.

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Indian music is the foundation of music. Indian lifestyle is inspired by music itself. With the creation of the universe, there is no page of human scripture that is void of music. As soon as he was born, the music that he heard was composed in his heart for life, and eventually he remained very close to the end of this music. This music is a form of protection of human body. भारतीय संगीत का मूलाधार संगीत है। संगीत से ही भारतीय जीवन शैली अनुप्रेरित है। सृष्टि के निर्माण से मानव के ग्रंथ का कोई भी पृष्ठ ऐसा नहीं है जो संगीत से शून्य हो। जन्म लेते ही जो गीत सुने उसका संगीत जीवन पर्यन्त रग

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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.

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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

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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

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Slawek, Stephen, and Gerry Farrell. "Indian Music and the West." Yearbook for Traditional Music 31 (1999): 138. http://dx.doi.org/10.2307/767985.

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Ruckert, George, and Gerry Farrell. "Indian Music and the West." Notes 55, no. 2 (1998): 376. http://dx.doi.org/10.2307/900182.

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Bhattacharjya, Nilanjana, and Gerry Farrell. "Indian Music and the West." Asian Music 32, no. 1 (2000): 196. http://dx.doi.org/10.2307/834337.

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Bor, Joep, and Gerry Farrell. "Indian Music and the West." Asian Music 29, no. 2 (1998): 129. http://dx.doi.org/10.2307/834367.

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Capwell, Charles, and Gerry Farrell. "Indian Music and the West." Ethnomusicology 44, no. 2 (2000): 334. http://dx.doi.org/10.2307/852539.

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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

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Nawrot, Piotr. "Indian Music to Celebrate Christmas in Moxo Jesuit Reductions, Bolivia." Poznańskie Studia Teologiczne, no. 30 (August 24, 2018): 121–40. http://dx.doi.org/10.14746/pst.2016.30.05.

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The subject of Indian music and Indian influence on baroque music from the former Jesuit Reductions in South America needs new studies, and what has been said on this matter up to now by musicologists and ethnomusicologists needs revision. The finding of almost 13,000 pages of baroque music from the Chiquito and Moxo Reductions in Bolivia gives us new opportunity to clarify Native American’s attitude toward music introduced in the missions by the missionaries and to illustrate their influence on music created or written anew in the missions by the missionaries and local musicians. In the conte

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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, m

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Arnold, Alison. "Popular film song in India: a case of mass-market musical eclecticism." Popular Music 7, no. 2 (1988): 177–88. http://dx.doi.org/10.1017/s0261143000002749.

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The ubiquitous songs in India's commercial feature films play a dual role in Indian society: they serve as both film songs and pop songs for India's 800 million people. India is the largest film-producing country in the world and one fifth of its current annual production of approximately 750 films is made in Hindi, each film having an average of five to six songs (Dharap 1985). As the major form of mass entertainment available on a national scale, rivalled only by the government-run television network, Hindi cinema plays a prominent and influential role in Indian society. Yet its songs, which

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Laxman, Majhi, та Binod Bihari Rout Śri. "The Musical Aspect in Vālmīki Rāmāyaṇa". Partners Universal International Innovation Journal (PUIIJ) 01, № 02 (2023): 141–49. https://doi.org/10.5281/zenodo.7857277.

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The poem Rāmāyaṇa is not only a literary masterpiece but also a treasure trove of information on ancient Indian culture, including music. Music has always held a significant place in Indian society, and the Vālmīki Rāmāyaṇa is a testament to this fact. The poem contains numerous references to music, including descriptions of various musical instruments, melodic modes, and compositions. The technical aspects of music in the Vālmīki Rāmāyaṇa are not only of historical importance but also provide insights into the musical practices of the time and their cultural significance. This research paper

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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 bot

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K., Ashwini, Satish Gowtham S., and Chethan Kumar N. "A Study on the Impact of Digitalisation on Indian Music." Shanlax International Journal of Arts, Science and Humanities 7, no. 2 (2019): 214–20. https://doi.org/10.5281/zenodo.3575341.

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The main objective of this paper is to analyse the Indian music and it’s history and how it evolved over a period of time. In today’s world the Indian music has got a new dimension through digitalisation and it has bene ted many musicians in various  elds. This paper concentrates on the applications (apps) which have been introduced for the bene ts of the people in/of Indian music. The paper studies the impact of or the increase of various applications in the era of digitalisation instead of physical performance which has reduced the natural music.

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P B, Manjunatha, Fathima Nuzhat, Gnanashri K V, Haidery Zehra, and Lakshmi Kruthi H K. "RAGA DETECTION." International Research Journal of Computer Science 9, no. 8 (2022): 245–49. http://dx.doi.org/10.26562/irjcs.2022.v0908.18.

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The Indian music genre bestows an artist to offer their own particular flavor to a raga makes it delicate for a neophyte to spot two contrasting performances of the identical raga. The importance of Raga identification in Indian music cannot be inflated. The analysis must begin with relating the underpinning raga. There are various attempts made in relating the raga in an exceedingly music. The identification of ragas is intelligible and comes only after respectable quantum of revelation. For automated identification, several the attributes of ragas must be converted into applicable features.

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Dr. Priyanka Sharma. "The concept of Christian music in Indian culture." Knowledgeable Research A Multidisciplinary Journal 2, no. 05 (2023): 60–65. https://doi.org/10.57067/5pmmf788.

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Music has immense importance in human life. Religious music always tries to clarify the relationship between man and God. Through it man is involved in God's love, in energy, in prayer and in the infiniteness of God in the soul. The religious mysteries revealed in religious music become very easy for the common man and the person starts feeling and living the love of God without worrying about his religious knowledge. Christian music and Indian music come from two different religious and cultural traditions, but both have many interesting similarities and interactions.

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Nafde, Dr Mrs Tanuja. "Nationalism and Music." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (2021): 4982–84. http://dx.doi.org/10.22214/ijraset.2021.36040.

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It is a well-known fact, that music alone of all the arts and sciences has that dominating note of supreme mastership which compels unquestioned universal recognition. In painting, in sculpture, in architecture, in poetry, and in general literature in all its varying and varied moods and modes of expression, Indian music has won fame and occupied the highest place of appreciation in the world. It is admitted that Music is the last art to develop in any civilization, it must also be admitted that Indian civilization and culture have reached a point that would predicate a degree of development i

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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 Indi

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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 de

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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 सिने

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Khanwalkar, Smita. "COLORFUL COMBINATION IN INDIAN FILM MUSIC." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3604.

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Along with human civilization, arts developed. In the sixty-four arts, music, painting and poetry have special importance. Music-art is also more influential among them. There is no knowledge as much as music is capable of awakening dormant feelings in the heart of man. The expressions which cannot be expressed through pictures, can be expressed through poetry or language, and the expressions which the language is also unable to express, the music can express it easily. It is to say - "Only music is such an art, which is directly related to the audience. It does not require any medium. "Touche

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Duddu, Dr. Pavani. "'Veena' in the Development of 'Art and Science' of Music." Shodh Drishti 11, no. 4.1 (2020): 228–30. https://doi.org/10.5281/zenodo.10792685.

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‘Veena’, the most ancient stringed instrument of India, has a recorded history dating back to the Rig Vedic age. With Veena as the guiding star, there has been a continuous progress in various concepts of music, conforming to the practices and traditions in vogue from time to time, which can be traced through lakshana granthas from ancient  to the modern periods. From Bharatha Muni (2nd Century BC–2nd Century AD) down to Subbarama Dikshitar (19th Century), we find that the musical phenomena havebeen explained with the aid of Veena, revealing the importance of the in

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Dubey, Sasikala. "INNOVATIVE RECIPROCITY IN INDIAN AND WESTERN MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3453.

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At present, increasing steps of innovation are being reflected in almost every field globally. Innovative experiments are being done in the field of music, due to which various concepts related to music are giving a living momentum.There was also a time when the distinction between Indian and Western music was said to be that the listeners of Indian music shook the heads of the listeners while the westerners heard the feet of the listeners. The same belief is still prevalent among the well-known siblings of music. But from the point of view of joint creativity, it gets its own opinion. The inn

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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

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Garrett-Davis, Josh. "American Indian Soundchiefs." Resonance 1, no. 4 (2020): 394–411. http://dx.doi.org/10.1525/res.2020.1.4.394.

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American Indian Soundchiefs, an independent record label founded by the Rev. Linn Pauahty (Kiowa) in the 1940s, developed a remarkable model of Indigenous sound media that combined home recording, dubbing, and small-scale mass production. Alongside other Native American media producers of the same era, Soundchiefs built on earlier engagements with ethnographic and commercial recording to produce Native citizens’ media a generation prior to the Red Power era of the 1960s and 1970s. This soundwork provided Native music to Native listeners first, while also seeking to preserve a “rich store of fo

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Kvetko, Peter. "Can the Indian Tune Go Global?" TDR/The Drama Review 48, no. 4 (2004): 183–91. http://dx.doi.org/10.1162/1054204042441964.

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The opening of India's economy did not lead to homogenized mass consumption of Western pop music, but rather fueled creativity within the local music scene. Indipop connects local performers to global audiences even as it builds a bridge between tradition and modernity

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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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Trivedi, N. K., and D. Mehrotra. "Optimum r/t of music studios suited to Indian music." Applied Acoustics 32, no. 3 (1991): 169–77. http://dx.doi.org/10.1016/0003-682x(91)90001-u.

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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) offere

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Abburu, Sunitha, and G. Suresh Babu. "Indian Music Instruments Semantic Knowledge Representation." International Journal of Computer Applications 71, no. 15 (2013): 1–5. http://dx.doi.org/10.5120/12431-8540.

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Cavanagh, Beverley. "North America: Indian and Inuit Music." Ethnomusicology 29, no. 2 (1985): 337. http://dx.doi.org/10.2307/852148.

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Gupta, Uma, and B. S. Gupta. "Psychophysiological responsivity to Indian instrumental music." Psychology of Music 33, no. 4 (2005): 363–72. http://dx.doi.org/10.1177/0305735605056144.

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