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Relevant bibliographies by topics / Musical instruments – India

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Academic literature on the topic 'Musical instruments – India'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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Journal articles on the topic "Musical instruments – India"

1

Blackburn, Manuella. "Instruments INDIA: A sound archive for educational and compositional use." Organised Sound 19, no. 2 (June 30, 2014): 146–53. http://dx.doi.org/10.1017/s1355771814000089.

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This article documents the evolution of the ‘Instruments INDIA’ project, which led to the creation of an online sound archive of Indian musical instruments. Recording work with approximately 27 musicians provided material for this interactive resource (which functions as an educational tool and concertgoer's guide), and also for compositional work, where culturally tied sound material formed the basis for two new works; Javaari (acousmatic) and New shruti (mixed work) for sarod and electronics. Trialling a variety of methods for gathering and then subsequently integrating sounds from Indian musical instruments into electroacoustic compositions provided a framework for the exploration of hybridity and intercultural sound interactions, while observing the translation and transference of highly emblematic sounds from one musical tradition to the next also led to unique artistic and theoretical outcomes. Curatorial decisions made with my project partners, Milapfest (the UK's leading Indian Arts Development Trust) regarding the participating musicians and their sound contributions posed further considerations for the representative quality of each instrument showcased on the archive. Gathering appropriate material for users of the archive (young learners, audience members and interested laypeople) while capturing sounds suitable for compositional purposes presented new challenges within the recording environment. Further complexities surfaced when this challenge was coupled with a lesser degree of familiarity with instrument capabilities, playing styles and cultural traditions. This unique collaboration with cultural sounds and performance practices raised questions about my compositional intentions, cross-cultural borrowing, respectful practice, and the unavoidable undertones of cultural appropriation and colonial attitude.

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Dehideniya, I. "Evolution of the Kandyan Vina of Sri Lanka with Special Reference to the Contemporary Usage." Vidyodaya Journal of Humanities and Social Sciences 07, no. 01 (2022): 125–47. http://dx.doi.org/10.31357/fhss/vjhss.v07i01.08.

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The string instrument, the Kandyan vina (Uḍaraṭa Vīṇā), once portrayed in the book by John Davy as “Venah”, shares close resemblance with the Coconut shell fiddle instruments in India, in terms of their inherent form, structure, cultural peculiarities and playing posture. Such similarities serve to confirm that the prototypic musical instrument – the Kandyan vina, originated from the Coconut shell fiddle instruments of India. According to sources, the prototype instrument of the Kandyan vina arrived with the gypsy groups who migrated to Sri Lanka from Andhra Pradesh or Tamil Nadu during the Kandy period of 1600-1750 AD. Since then, until 1980-1990 AD, the prototype instrument was developed by the influence of the Western musical instruments and musical intelligence, available material, creative methods inherent in the aristocratic, villagers, beggars, Veddas, and gypsy communities. Therefore, the rise of the Kandyan vina is proven to have originated within Sri Lanka as a unique native string instrument. Research objectives of this study are: firstly, to re-introduce a native string instrument according to its true historic trails; secondly, a modern Kandyan vina is constructed using the modified knowledge discovered through exploring the ancient Kandyan vina instruments; and thirdly, to assimilate knowledge of a musical instrument based on its historical literature and archaeological data from an Archaeomusicological perspective. With this in mind, Frescoes/murals, artefacts, legal documents and primary books were used as the primary sources, while journal articles and secondary books were used as secondary sources.

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Naylor, Steven. "Borrowed for Permanent Use: The Instruments INDIA commissions." Organised Sound 24, no. 02 (August 2019): 121–29. http://dx.doi.org/10.1017/s1355771819000165.

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This article reflects on a number of issues surrounding the appropriation of culturally identifiable sound material for artistic purposes – both overall or broader concerns and those that may arise particularly in conjunction with electroacoustic musical composition. More specifically, we explore questions potentially raised by three electroacoustic compositions recently commissioned by the Instruments INDIA project, a unique cultural partnership between Liverpool Hope University (represented by Dr Manuella Blackburn) and Milapfest (represented by Alok Nayak). Those three compositions were created exclusively with materials from an extensive library of Indian music performances, curated and recorded by Blackburn specifically for Instruments INDIA, and premiered in concert in Liverpool, UK, 20 January 2017. Following the broader discussion of relevant concerns, we briefly review some perspectives offered by the three composers (one of whom is the author), as they relate to cultural appropriation in general, and working with the Instruments INDIA sound library in particular.

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Kartashova, Tatiana Viktorovna, and Viktoriia Yurevna Antipova. "Cyclicity as a Leading Structural Parameter of Musical Compositions in Cultures of South and South-East Asia." Ethnic Culture, no. 1 (1) (December 26, 2019): 45–47. http://dx.doi.org/10.31483/r-64075.

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The article is devoted to the identification of conceptually identical perceptions of musical time in the cultures of India and Indonesia. The paper considers tala, the Indian category of time, in the context of structuring the parameters of musical compositions in Indian art. Gamelans (Indonesian ensembles of musical instruments) are described in detail as well as the basic principles of organizing musical material in the compositions they perform. The aim of the work is to compare the patterns of perception of the category of time in the cultures of India and Indonesia. The research methodology is based on the principles of an integrated approach that considers the musical traditions of these countries from theoretical and historical-cultural positions. In the process of working on this article, the key role was played by the experience of studying Indian and Indonesian cultures obtained by the authors during scientific internships in India and Indonesia (T.V. Kartashova – institute Shriram Bharatiya Kala Kendra in 2004–2006 and in 2009 (New-Delhi, India); V.U. Antipova studied at the Indonesian Institute of Arts in Yogyakarta under the Darmasiswa Indonesian Scholarship program in the 2017–2018 academic year). The result of the study is the identification of the cyclical nature of musical time in the art of India and Indonesia. It is concluded that in the coordinate systems of different civilizations there are certain intersection points, and often they appear at a conceptual level. The identification of common interpretations of various categories makes it possible to comprehend deep intercivilizational ties, which makes it possible to identify the relatedness of the basics of world understanding in the cultures of South and Southeast Asia.

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Uddhav, Pravin. "Origin, Development, Classification and Historicity of Ancient Percussion Instruments." Journal of Fine Arts Campus 3, no. 1 (December 31, 2021): 23–30. http://dx.doi.org/10.3126/jfac.v3i1.42492.

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Music has a prominent place in fine arts. This art has been considered as a means of spiritual satisfaction. Apart from material excellence and fame, music has an important place in all the different ways of devotion or worship in India. There have been two main types of worship since ancient times as Vedic and Tantric. The Avanaddha instrument maintains the rhythm in singing, dancing and instrument-playing. Different opinions, legends, stories, statements of the origin of instruments are prevalent but differences are found in them. The article describes the method and material of ancient Avanaddha instruments on the basis of various texts. Thereafter, under the classification of instruments opinion of various scholars on Tat, Ghan, Sushir, and Avanaddha instruments and the various classifications have been mentioned and discussed in detail. The origin and association of ancient Avanaddha instruments is described with reference to various deities. The article lists ancient and medieval Avanaddha instruments. The use of instruments by gods, demons, human beings in various ceremonies, events, worship lessons, war sites, on auspicious occasions is evidently shown with their importance, use and antiquity. A musical instrument with serious sound was used at warrior sites and Yagna. From different sources like; ancient texts & other facts, it can be concluded that since ancient times eastern musical instruments have been used in music right from the beginning of the era. Avanaddha vadya were invented to support the singer, accompany his song, engage his mind more, cover up his faults, and measure his singing activity in Taal.

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Nicolas, Arsenio. "Gongs, Bells, and Cymbals: The Archaeological Record in Maritime Asia from the Ninth to the Seventeenth Centuries." Yearbook for Traditional Music 41 (2009): 62–93. http://dx.doi.org/10.1017/s0740155800004148.

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The growth and expansion of maritime trade in the first millennium CE altered the musical landscape of Asia, from earlier Austronesian and Austroasiatic migrations, to the early contacts with India, China, Arabia, and the continuing navigation towards the Pacific and Oceania. Much later in the tenth century, Chinese chronicles describe that peoples from the south called Luzoes (Luzon, Philippines) had invaded its southern shores, while Indian histories record the voyages of sailors from western Indonesia. By the eighth century, Austronesian languages from Borneo had spread towards Madagascar. A trade centred on beads, tin, copper, pottery, ceramics, natural products, and food also carried musical instruments and musicians bearing new ideas in music making and ritual life.

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He, Jingyin, Ajay Kapur, and Dale A. Carnegie. "Contemporary Practices of Extending Traditional Asian Instruments Using Technology." Organised Sound 19, no. 2 (June 30, 2014): 136–45. http://dx.doi.org/10.1017/s1355771814000077.

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Ongoing development of audio and informational technology has had an impact on almost every aspect of the musical arts. Cultures and subcultures have cross-pollinated through the rapid exchange of information and have metamorphosed into new fields of technology-based art forms, one of which is the integration of technology in Asian ethnic musics. This article specifically focuses on the integration of technology with the traditional music of India, Indonesia, China, Japan and Korea. By reviewing the history of this metier, we explore the various applications of technology in traditional Asian music and its future.

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KABIR, ANANYA JAHANARA. "Rapsodia Ibero-Indiana: Transoceanic creolization and the mando of Goa." Modern Asian Studies 55, no. 5 (January 11, 2021): 1581–636. http://dx.doi.org/10.1017/s0026749x20000311.

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AbstractThe mando is a secular song-and-dance genre of Goa whose archival attestations began in the 1860s. It is still danced today, in staged rather than social settings. Its lyrics are in Konkani, their musical accompaniment combine European and local instruments, and its dancing follows the principles of the nineteenth-century European group dances known as quadrilles, which proliferated in extra-European settings to yield various creolized forms. Using theories of creolization, archival and field research in Goa, and an understanding of quadrille dancing as a social and memorial act, this article presents the mando as a peninsular, Indic, creolized quadrille. It thus offers the first systematic examination of the mando as a nineteenth-century social dance created through processes of creolization that linked the cultural worlds of the Indian and Atlantic Oceans—a manifestation of what early twentieth-century Goan composer Carlos Eugénio Ferreira called a ‘rapsodia Ibero-Indiana’ (‘Ibero-Indian rhapsody’). I investigate the mando's kinetic, performative, musical, and linguistic aspects, its emergence from a creolization of mentalités that commenced with the advent of Christianity in Goa, its relationship to other dances in Goa and across the Indian and Atlantic Ocean worlds, as well as the memory of inter-imperial cultural encounters it performs. I thereby argue for a new understanding of Goa through the processes of transoceanic creolization and their reverberation in the postcolonial present. While demonstrating the heuristic benefit of theories of creolization to the study of peninsular Indic culture, I bring those theories to peninsular India to develop further their standard applications.

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Carterette, Edward C., Kathryn Vaughn, and Nazir A. Jairazbhoy. "Perceptual, Acoustical, and Musical Aspects of the Tambūrā Drone." Music Perception 7, no. 2 (1989): 75–108. http://dx.doi.org/10.2307/40285453.

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The basso continuo principle, as embodied in Rameau's theory of functional harmony, was paralleled by the introduction of drone instruments in the classical music of India. In order to understand how these two systems are tied together in human music perception, we studied the role of tambūrā interactions with North Indian rags played on the sitār. Raman (1914-1922) had applied his theory of discontinuous wave motion to mechanical and musical properties of the strings of the violin. He noted the remarkable, powerful harmonic series that arose from the nonlinear interaction of the tambürã string and grazing contact with its curved bridge. We analyzed the waveforms of the most common drone tunings. Each of the four strings was played with and without juari ("life-giving" threads). The upward transfer and spread of energy into higher partials imparts richness to tambūrā tones and underlies the use of different drone tunings for different rags. Specific notes of rāg scales are selectively and dynamically enhanced by different drone tunings. Based on coincident features of spectral and musical scale degrees, we computed an index of spectral complexity of the interactions of tambūrā tunings with rãg scales. We speculate that the use of juari contributes to stable pitch centers, implied scale modulation, and an improvisational flexibility.

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Gupta, Vivek. "Images for Instruction: A Multilingual Illustrated Dictionary in Fifteenth-Century Sultanate India." Muqarnas Online 38, no. 1 (December 6, 2021): 77–112. http://dx.doi.org/10.1163/22118993-00381p04.

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Abstract This article focuses on the Miftāḥ al-Fużalāʾ (Key of the Learned) of Muhammad ibn Muhammad Daʾud Shadiyabadi (ca. 1490). The Miftāḥ is an illustrated dictionary made in the central Indian sultanate of Malwa, based in Mandu. Although the Miftāḥ’s only illustrated copy (British Library Or 3299) contains quadruple the number of illustrations as Mandu’s famed Niʿmatnāmah (Book of Delights) and is a unicum within the arts of the Islamicate and South Asian book, it has received minimal scholarly attention. The definitions in this manuscript encompass nearly every facet of Indo-Islamicate art history. The Miftāḥ provides a vocabulary for subjects including textiles, metalwork, jewelry, arms and armor, architecture, and musical instruments. The information transmitted by the Miftāḥ is not limited to the Persian, Hindavi, Turki, and Arabic language of the text, but also includes the visual knowledge depicted in paintings. Through an analysis of this manuscript as a whole, this study proposes that the Miftāḥ’s manuscript was an object of instruction for younger members of society and utilizes wonder as a didactic tool.

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Dissertations / Theses on the topic "Musical instruments – India"

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Hsieh, Yu-Shan, and 謝雨珊. "A study on Indian National Musical Instruments: Tabla As An example." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/c65k77.

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Thoshkahna, Balaji. "A Hierarchical Approach To Music Analysis And Source Separation." Thesis, 2012. http://etd.iisc.ernet.in/handle/2005/2460.

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Music analysis and source separation have become important and allied areas of research over the last decade. Towards this, analyzing a music signal for important events such as onsets, offsets and transients are important problems. These tasks help in music source separation and transcription. Approaches in source separation too have been making great strides, but most of these techniques are aimed at Western music and fail to perform well for Indian music. The fluid style of instrumentation in Indian music requires a slightly modified approach to analysis and source separation. We propose an onset detection algorithm that is motivated by the human auditory system. This algorithm has the advantage of having a unified framework for the detection of both onsets and offsets in music signals. This onset detection algorithm is further extended to detect percussive transients. Percussive transients have sharp onsets followed closely by sharp offsets. This characteristic is exploited in the percussive transients detection algorithm. This detection does not lend itself well to the extraction of transients and hence we propose an iterative algorithm to extract all types of transients from a polyphonic music signal. The proposed iterative algorithm is both fast and accurate to extract transients of various strengths. This problem of transient extraction can be extended to the problem of harmonic/percussion sound separation(HPSS), where a music signal is separated into two streams consisting of components mainly from percussion and harmonic instruments. Many algorithms that have been proposed till date deal with HPSS for Western music. But with Indian classical/film music, a different style of instrumentation or singing is seen, including high degree of vibratos or glissando content. This requires new approaches to HPSS. We propose extensions to two existing HPSS techniques, adapting them for Indian music. In both the extensions, we retain the original framework of the algorithm, showing that it is easy to incorporate the changes needed to handle Indian music. We also propose a new HPSS algorithm that is inspired by our transient extraction technique. This algorithm can be considered a generalized extension to our transient extraction algorithm and showcases our view that HPSS can be considered as an extension to transient analysis. Even the best HPSS techniques have leakages of harmonic components into percussion and this can lead to poor performances in tasks like rhythm analysis. In order to reduce this leakage, we propose a post processing technique on the percussion stream of the HPSS algorithm. The proposed method utilizes signal stitching by exploiting a commonly used model for percussive envelopes. We also developed a vocals extraction algorithm from the harmonic stream of the HPSS algorithm. The vocals extraction follows the popular paradigm of extracting the predominant pitch followed by generation of the vocals signal corresponding to the pitch. We show that HPSS as a pre-processing technique gives an advantage in reducing the interference from percussive sources in the extraction stage. It is also shown that the performance of vocal extraction algorithms improve with the knowledge about locations of the vocal segments. This is shown with the help of an oracle to locate the vocal segments. The use of the oracle greatly reduces the interferences from other dominating sources in the extracted vocals signal.

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Books on the topic "Musical instruments – India"

1

Bhattacharya, Dilip. Musical instruments of tribal India. New Delhi, India: Manas Publications, 1999.

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2

Let's know music & musical instruments of India. London: IBS Books, 2008.

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L, Hardgrave Robert, and Slawek Stephen, eds. Musical instruments of north India: Eighteenth century portraits. New Delhi: Manohar Publishers & Distributors, 1997.

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4

Musical instruments of India: Their history and development. 2nd ed. New Delhi: Munshiram Manoharlal, 1987.

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Deva, Bigamudre Chaitanya. Musical instruments of India: Their history and development. New Delhi: Munshiram Manoharlal Publishers, 2000.

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Popley, H. A. The music of India. New Delhi: Award, 1986.

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Lanunungsang, Ao A., ed. Naga cultural attires and musical instruments. New Delhi: Concept Pub. Co., 1999.

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8

Folk dances of Northern India. Chandigarh: Unistar Books, 2010.

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9

Incredible north India: Folk cultural traditions. New Delhi: Serials Publications, 2012.

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10

Davies, Sandra. The music of India: Musical forms, instruments, dance, & folk traditions. Vancouver: Pacific Educational Press, 1993.

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Book chapters on the topic "Musical instruments – India"

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Patil, Swarupa R., and Sheetal J. Machale. "Indian Musical Instrument Recognition Using Gaussian Mixture Model." In Techno-Societal 2018, 51–57. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-16962-6_6.

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Wu, Jun, and Shigeki Sagayama. "Musical Instrument Identification Based on New Boosting Algorithm with Probabilistic Decisions." In Speech, Sound and Music Processing: Embracing Research in India, 66–78. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31980-8_6.

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Kohshelan and Noorhaniza Wahid. "Improvement of Audio Feature Extraction Techniques in Traditional Indian Musical Instrument." In Advances in Intelligent Systems and Computing, 507–16. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07692-8_48.

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Sharma, Raghavendra, and V. Prem Pyara. "A Novel Block De-Noising Algorithm for Sounds of Indian Musical Instruments with Modified Threshold in Wavelet Domain." In Lecture Notes in Electrical Engineering, 505–15. India: Springer India, 2013. http://dx.doi.org/10.1007/978-81-322-0997-3_45.

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Bhat, Ashwini, Karrthik Gopi Krishnan, Vishal Mahesh, and Vijaya Krishna Ananthapadmanabha. "Deep Learning Approach to Joint Identification of Instrument Pitch and Raga for Indian Classical Music." In Advances in Speech and Music Technology, 159–74. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-18444-4_8.

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Ballengee, Christopher. "When the Music Soundin ‘Sweet’: Musical Instrument Construction, Performance Practice, and the Changing Aesthetics of Indian Trinidadian Tassa Drumming." In Collective Memory, Identity and the Legacies of Slavery and Indenture, 103–23. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003294184-7.

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Ketwaru, Dr J. "Surinamese East Indian (Hindustani) Music." In Surinamese Music in the Netherlands and Suriname, 25–29. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496816948.003.0003.

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Surinamese of East Indian descent, arrived in the late 19^th century from Bihar and Uttar Pradesh in northern India, which is also the origin of Surinamese East Indian music, alternately referred to as Sarnami-Hindustani music. It arose in a country of several different ethnic groups. This means emotions and musical patterns of other population groups can be heard in it. The sitar and tabla are often used across the entire spectrum of the world of Surinamese music. An example is the interplay of tabla, the Creole apinti drum, and congas. This chapter discusses the instruments and Indian musical styles in Suriname such as Baithak gana, developed especially by a second generation of Surinamese Hindustanis. Musicians sit on the ground and make use of simple texts and a sober musical accompaniment, which usually consists of harmonium, dholak, and dandtaal. The texts are in the Surinamese-Hindustani language.

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Jahanbegloo, Ramin. "The Art of Being an Indian Musician." In Talking Poetry, 79–81. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192869180.003.0020.

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Abstract There are few Indians who are closer to western than Indian music. There are many Indians who like Western classical music including some musicians as well. Yes, there are some Indians, two of my nephews, who know as much about western music. They are twins—Asteek and Hutashan and they both know a lot about western classical music. Western classical music is basically instrumental. Not that there is no vocal, just as not that there is no instrumental here in Indian classical music. The notion of the orchestra, which is so dominant in the Western came to India but did not succeed here, in spite of some interesting experimentation in that direction.

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Curie, Gabriela. "Sonic Entanglements, Visual Records and the Gandhāran Nexus." In The Music Road, 41–70. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0003.

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Visual representations of music-making from ancient Gandhāra—a region in today’s north-western Pakistan and eastern Afghanistan—bear witness to the early dissemination of music instruments and iconographic practices, as part of the intellectual and artistic exchanges along Eurasian trade routes during the early centuries of the Common Era. At the intersection of cultural spheres—Buddhist, Hellenistic and Zoroastrian; Indian and Persian; Kuṣāṇa, Parthian and Indo-Scythian—Gandhāran musical culture offers one perfect, albeit challenging, example of a nexus of transcultural expression. The entangled organological and iconographical histories embedded in Gandhāran artefacts lend themselves to transcultural analysis, and to the understanding of pre-modern processes of musical globalisation, encounter, exchange and hybridisation or entanglement. Since the Gandhāran world partakes in the networks of the Silk Roads as both a ‘receiver’ and ‘transmitter’ of culture, it seems to display cultural cosmopolitanism par excellence: a nexus of both centripetal and centrifugal transcultural music-iconographical and organological negotiations.

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Clayton, Martin. "A case study in rhythmic analysis: instrumental vilambit and madhya lay gats in the repertoire of Deepak Choudhury (Maihar Gharānā)." In Time in Indian Music, 179–97. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195339680.003.0011.

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Conference papers on the topic "Musical instruments – India"

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Ghisingh, Seema, and V. K. Mittal. "Classifying musical instruments using speech signal processing methods." In 2016 IEEE Annual India Conference (INDICON). IEEE, 2016. http://dx.doi.org/10.1109/indicon.2016.7839034.

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Luna Palomino, Leonardo Patrick. "Aplicación móvil para gamificar el aprendizaje de zampoña en niños y adolescentes mediante la detección de notas musicales." In Congreso Internacional de Ingeniería de Sistemas. Universidad de Lima, 2021. http://dx.doi.org/10.26439/ciis2021.5638.

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El presente trabajo pretende mejorar el proceso de aprendizaje musical de zampoña en niños y adolescentes mediante la implementación de una aplicación móvil para iOS que incorpore técnicas de gamificación para motivar y enriquecer la experiencia de los alumnos y que reconozca, con alta precisión, las notas emitidas por el instrumento musical. Los resultados de la experimentación demostraron que el sistema cuenta con alta precisión para el reconocimiento de notas musicales (95 %), también un puntaje alto de usabilidad (80/100 según SUS) y una predisposición que indica que el sistema soluciona las deficiencias encontradas en la metodología de aprendizaje tradicional musical.

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Roy, Uttam Kumar. "Instrumental Bengali music synthesis from transcription with Indian percussion instruments." In 2016 International Conference on Computer, Electrical & Communication Engineering (ICCECE). IEEE, 2016. http://dx.doi.org/10.1109/iccece.2016.8009551.

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Gunasekera, S. N., J. V. Wijayakulasooriya, and P. C. Perera. "Natural synthesis of North Indian musical instruments." In 2009 International Conference on Industrial and Information Systems (ICIIS). IEEE, 2009. http://dx.doi.org/10.1109/iciinfs.2009.5429834.

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Masood, Sarfaraz, Shubham Gupta, and Shadab Khan. "Novel approach for musical instrument identification using neural network." In 2015 Annual IEEE India Conference (INDICON). IEEE, 2015. http://dx.doi.org/10.1109/indicon.2015.7443497.

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Gunasekaran, S., and K. Revathy. "Recognition of Indian Musical Instruments with Multi-Classifier Fusion." In 2008 International Conference on Computer and Electrical Engineering (ICCEE). IEEE, 2008. http://dx.doi.org/10.1109/iccee.2008.159.

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Joshi, Swarupa, and Abhijit Chitre. "Identification of Indian Musical Instruments by Feature Analysis with Different Classifiers." In ICCCT '15: Sixth International Conference on Computer and Communication Technology 2015. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2818567.2818588.

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Basu, Medha, Shankha Sanyal, Archi Banerjee, Sayan Nag, Kumardeb Banerjee, and Dipak Ghosh. "Does musical training affect neuro-cognition of emotions? An EEG study with Indian Classical Instrumental Music." In International Conference on Underwater Acoustics 2022. ASA, 2022. http://dx.doi.org/10.1121/2.0001624.

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Gunasekaran, S., and K. Revathy. "Fractal dimension analysis of audio signals for Indian musical instrument recognition." In 2008 International Conference on Audio, Language and Image Processing (ICALIP). IEEE, 2008. http://dx.doi.org/10.1109/icalip.2008.4590238.

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Dandawate, Yogesh H., Prabha Kumari, and Anagha Bidkar. "Indian instrumental music: Raga analysis and classification." In 2015 1st International Conference on Next Generation Computing Technologies (NGCT). IEEE, 2015. http://dx.doi.org/10.1109/ngct.2015.7375216.

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