Relevant bibliographies by topics / North Indian classical music

Contents

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

Academic literature on the topic 'North Indian classical music'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'North Indian classical music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "North Indian classical music"

1

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

Full text
Abstract:
In Sri Lanka, the various groups of Tamils are jointly the largest minority group who migrated from different places of South India and in different time periods. South Indian music is widely appreciated and learnt by both the Sinhala including by large parts of the Tamil minority spread over Sri Lanka. Although a number of Sinhala people prefer and practice North Indian music geographically, and probably culturally, they are much closer to South India than to North India. Some historical sources report that Sinhalese are descendants of North Indians who are believed to be Aryans who migrated 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.
APA, Harvard, Vancouver, ISO, and other styles
2

Dona, Lasanthi Manaranjanie Kalinga. "On the Therapeutic Aspects of Indian Classical Music." Musik-, Tanz- und Kunsttherapie 23, no. 1 (January 2012): 8–14. http://dx.doi.org/10.1026/0933-6885/a000069.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
3

Katz. "Institutional Communalism in North Indian Classical Music." Ethnomusicology 56, no. 2 (2012): 279. http://dx.doi.org/10.5406/ethnomusicology.56.2.0279.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Arya, Divya D. "North Indian Classical Vocal Music for the Classroom." Music Educators Journal 102, no. 1 (August 28, 2015): 83–89. http://dx.doi.org/10.1177/0027432115588596.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Squinobal, Jason. "The Fusing of North Indian Classical Music and Jazz." International Jazz Archive Journal 03, no. 2 (October 1, 2007): 27–40. http://dx.doi.org/10.2307/44758117.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Noone, Matthew James. "The North Indian Sarode and Questions Concerning Technology." Organised Sound 25, no. 1 (March 4, 2020): 116–25. http://dx.doi.org/10.1017/s1355771819000517.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
9

Farrell, Gerry. "Teaching Indian Music in the West: Problems, Approaches and Possibilities." British Journal of Music Education 3, no. 3 (November 1986): 267–78. http://dx.doi.org/10.1017/s0265051700000784.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
10

Alaghband-Zadeh, Chloë. "Sonic Performativity: Analysing Gender in North Indian Classical Vocal Music." Ethnomusicology Forum 24, no. 3 (September 2, 2015): 349–79. http://dx.doi.org/10.1080/17411912.2015.1082925.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "North Indian classical music"

1

Oppenheim, Michael Hale. "Cross-cultural pedagogy in North Indian classical music." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43062.

Full text
Abstract:
This thesis is an investigation of pedagogy in North Indian classical music. Historical, cultural, and philosophical elements of pedagogy in the Hindustani musical tradition are addressed in an overview of music education in traditional Indian contexts, the twentieth century, and in cross-cultural contexts. Themes include orality in Indian culture, the traditional guru-shishya parampara, the role of nationalism in twentieth century educational reforms, and the impact of technology in the latter half of the twentieth century. Trends in music education in India are then compared and contrasted with the state of education in Indian music in cross-cultural contexts in the West. From this data a model of the essential elements of Indian pedagogy is synthesized. This model accounts for pedagogical devices utilized to impart musical information as well as methods of transmitting cultural and social values. This model is applied to the experiences of five North American students of Hindustani music interviewed during the research process for this thesis.
APA, Harvard, Vancouver, ISO, and other styles
2

Clayton, Martin. "The rhythmic organisation of North Indian classical music : tal, lay and laykari." Thesis, SOAS, University of London, 1993. http://eprints.soas.ac.uk/29282/.

Full text
Abstract:
North Indian (Hindustani) classical music is remarkable for both the sophistication and the diversity of its rhythmic organisation. Rhythm and metre are controlled by a number of concepts which, although developed over the course of many centuries, have acquired new meaning as a result of radical changes in performance practice over the last century. This work examines the rhythmic organisation of North Indian music on all levels- from large scale performance scheme, to metric structure, to the generation and variation of surface rhythm patterns. It does so by synthesising two research methodologies- combining the study of indigenous concepts and hence of the music's wider cultural context, with objective and empirical analytical techniques- in order to build up a comprehensive and culturally appropriate model of rhythmic organisation. Section I looks at various aspects of rhythmic organisation, proposing a flexible theoretical model of metric structure, and demonstrating its relevance with sudies of key rhythmic parameters. Chapter 1 puts forward the principal arguments for this theoretical model. The next four chapters cover the following topics in turn- tal (metric structure), lay (tempo, rhythmic density), performance practice and surface rhythm (including composition structure, and development techniques), and finally laykari (rhythmic variation). Section II illustrates the findings of Section I, by means of a case study. This study shows how two instrumental forms- the madhya lay gat and vilambit gat as performed in the repertoire of sitarist Deepak Choudhury- may be characterised in terms of rhythmic parameters. This characterisation is used to inform a discussion of the status of these gats as independent genres, and of their relationship with analogous vocal forms. The research generates a wide range of insights into North Indian classical music, demonstrating the application of Section I's theoretical model, and of the the analytical approach developed in the thesis as a whole.
APA, Harvard, Vancouver, ISO, and other styles
3

Sastry, Avinash. "N-gram modeling of tabla sequences using Variable-Length Hidden Markov Models for improvisation and composition." Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42792.

Full text
Abstract:
This work presents a novel approach for the design of a predictive model of music that can be used to analyze and generate musical material that is highly context dependent. The system is based on an approach known as n-gram modeling, often used in language processing and speech recognition algorithms, implemented initially upon a framework of Variable-Length Markov Models (VLMMs) and then extended to Variable-Length Hidden Markov Models (VLHMMs). The system brings together various principles like escape probabilities, smoothing schemes and uses multiple representations of the data stream to construct a multiple viewpoints system that enables it to draw complex relationships between the different input n-grams, and use this information to provide a stronger prediction scheme. It is implemented as a MAX/MSP external in C++ and is intended to be a predictive framework that can be used to create generative music systems and educational and compositional tools for music. A formal quantitative evaluation scheme based on entropy of the predictions is used to evaluate the model in sequence prediction tasks on a database of tabla compositions. The results show good model performance for both the VLMM and the VLHMM while highlighting the expensive computational cost of higher-order VLHMMs.
APA, Harvard, Vancouver, ISO, and other styles
4

Moore, Sarha. "The other leading note : a comparative study of the flat second pitch degree in North Indian classical, Ottoman or Arabian influenced, Western, heavy metal and film musics." Thesis, University of Sheffield, 2014. http://etheses.whiterose.ac.uk/5696/.

Full text
Abstract:
This cross-cultural and cross-genre study considers the flat second pitch degree (♭2), a semitone above the tonic, in its significant functional role in tonal musics. The ♭2 appears variously in Indian raga, Ottoman and Arabian influenced music, and in Western music, including heavy metal and film musics. This study aims to balance the exploration of difference in connotations of the ♭2 across cultures with an understanding of commonalities in its use and significance. With the ♭2 as a central focus, I deploy combined methodologies to ask what structural use and connotations it has in various musics, and how it speaks to ideological worldviews such as Orientalism. Through interview, music analysis and literature study I investigate the melodic and harmonic use of the ♭2, its metaphorical associations and meanings past and present. I find that the ♭2 has as strong a ‘yearning vector’ as the major seventh ‘leading note’. Across many world music genres there are nuanced and complex connotations, with metaphors of verticality underpinning many interpretations of the falling cadence ♭2–1. To the Western listener the ♭2 usually signifies anxiety, reinvented in metal as positive and transgressive. Together with the Western signification of the ♭2 as Oriental, a hybrid may be created. I argue that this hybrid may portray the ‘East’ as a negative Other, as exploited in film’s ‘unheard’ soundtracks. In traditions such as Oriental metal and Bollywood, in contrast, hybrid connotations may support articulations of powerful, modern identities. By showing that the ♭2 is used in different yet comparable ways in multiple genres, I bring different harmonic practices, metaphorical associations and ideologies into the foreground, highlighting expanded significations across cultures. By focusing sharply on a specific musical feature as it appears in various contexts, this study aims to provide a well-defined site for disciplinary debates on cultural boundaries.
APA, Harvard, Vancouver, ISO, and other styles
5

Thomas, Lisa Cheryl. "Native American Elements in Piano Repertoire by the Indianist and Present-Day Native American Composers." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28485/.

Full text
Abstract:
My paper defines and analyzes the use of Native American elements in classical piano repertoire that has been composed based on Native American tribal melodies, rhythms, and motifs. First, a historical background and survey of scholarly transcriptions of many tribal melodies, in chapter 1, explains the interest generated in American indigenous music by music scholars and composers. Chapter 2 defines and illustrates prominent Native American musical elements. Chapter 3 outlines the timing of seven factors that led to the beginning of a truly American concert idiom, music based on its own indigenous folk material. Chapter 4 analyzes examples of Native American inspired piano repertoire by the "Indianist" composers between 1890-1920 and other composers known primarily as "mainstream" composers. Chapter 5 proves that the interest in Native American elements as compositional material did not die out with the end of the "Indianist" movement around 1920, but has enjoyed a new creative activity in the area called "Classical Native" by current day Native American composers. The findings are that the creative interest and source of inspiration for the earlier "Indianist" compositions was thought to have waned in the face of so many other American musical interests after 1920, but the tradition has recently taken a new direction with the success of many new Native American composers who have an intrinsic commitment to see it succeed as a category of classical repertoire. Native American musical elements have been misunderstood for many years due to differences in systems of notation and cultural barriers. The ethnographers and Indianist composers, though criticized for creating a paradox, in reality are the ones who saved the original tribal melodies and created the perpetual interest in Native American music as a thematic resource for classical music repertoire, in particular piano repertoire.
APA, Harvard, Vancouver, ISO, and other styles
6

Bandopadhyay, Sanjoy. "Music and Music Star: Promotion and Musical Values. Presentation Focus: Indian Classical Music." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71808.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Magriel, Nicholas Fairchild. "Sarangi style in North Indian art music." Thesis, University of London, 2002. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271640.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Cook, Pat Moffitt. "Ghost healer : music healing in a north Indian village /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11230.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Peri, Deepthi. "Applying Natural Language Processing and Deep Learning Techniques for Raga Recognition in Indian Classical Music." Thesis, Virginia Tech, 2020. http://hdl.handle.net/10919/99967.

Full text
Abstract:
In Indian Classical Music (ICM), the Raga is a musical piece's melodic framework. It encompasses the characteristics of a scale, a mode, and a tune, with none of them fully describing it, rendering the Raga a unique concept in ICM. The Raga provides musicians with a melodic fabric, within which all compositions and improvisations must take place. Identifying and categorizing the Raga is challenging due to its dynamism and complex structure as well as the polyphonic nature of ICM. Hence, Raga recognition—identify the constituent Raga in an audio file—has become an important problem in music informatics with several known prior approaches. Advancing the state of the art in Raga recognition paves the way to improving other Music Information Retrieval tasks in ICM, including transcribing notes automatically, recommending music, and organizing large databases. This thesis presents a novel melodic pattern-based approach to recognizing Ragas by representing this task as a document classification problem, solved by applying a deep learning technique. A digital audio excerpt is hierarchically processed and split into subsequences and gamaka sequences to mimic a textual document structure, so our model can learn the resulting tonal and temporal sequence patterns using a Recurrent Neural Network. Although training and testing on these smaller sequences, we predict the Raga for the entire audio excerpt, with the accuracy of 90.3% for the Carnatic Music Dataset and 95.6% for the Hindustani Music Dataset, thus outperforming prior approaches in Raga recognition.
Master of Science
In Indian Classical Music (ICM), the Raga is a musical piece's melodic framework. The Raga is a unique concept in ICM, not fully described by any of the fundamental concepts of Western classical music. The Raga provides musicians with a melodic fabric, within which all compositions and improvisations must take place. Raga recognition refers to identifying the constituent Raga in an audio file, a challenging and important problem with several known prior approaches and applications in Music Information Retrieval. This thesis presents a novel approach to recognizing Ragas by representing this task as a document classification problem, solved by applying a deep learning technique. A digital audio excerpt is processed into a textual document structure, from which the constituent Raga is learned. Based on the evaluation with third-party datasets, our recognition approach achieves high accuracy, thus outperforming prior approaches.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "North Indian classical music"

1

Companion to North Indian classical music. New Delhi: Munshiram Manoharlal Publishers, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Caudhurī, Vimalakānta Rôya. Aesthetics of North Indian classical music. Calcutta: Imdakhani School of Sitar, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Enlightening the listener: Contemporary north Indian classical vocal music performance. New Delhi: Munshiram Manoharlal Publishers, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Ruckert, George. Introduction to the classical music of North India. Edited by Khan Ali Akbar 1922- and Khan Ustad Allaudin 1881-1972. [Staunton, Va.]: East Bay Books, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

A practical guide to North Indian classical vocal music: The ten basic of rā.gs with compositions and improvisations. New Delhi: Munshiram Manoharlal Publishers, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Musical traditions of Vaiṣṇava temples in Vraja: A comparative study of samāja and the dhrupada tradition of North Indian classical music. New Delhi: Sagar Printers & Publishers, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

1881-1972, Khan Ustad Allaudin, and Khan Ali Akbar 1922-, eds. The classical music of North India: The music of the Baba Allauddin gharana as taught by Ali Akbar Khan at the Ali Akbar College of Music. New Delhi: Munshiram Manoharlal Publishers, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Bose, Sunil. Indian classical music. New Delhi: Vikas Pub. House, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Subramaniam, L. Euphony: Indian classical music. New Delhi: Affiliated East-West Press, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Menon, Raghava R. Indian classical music: An initiation. New Delhi: Vision Books, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "North Indian classical music"

1

Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "North Indian Classical Music." In Anthology to Accompany Gateways to Understanding Music, 47. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-18.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Shete, Shambhavi Shivraj, and Saurabh Harish Deshmukh. "Inharmonic Frequency Analysis of Tabla Strokes in North Indian Classical Music." In Advances in Speech and Music Technology, 415–39. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-18444-4_21.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Shete, Shambhavi, and Saurabh Deshmukh. "North Indian Classical Music Tabla Tala (Rhythm) Prediction System Using Machine Learning." In Advances in Speech and Music Technology, 187–97. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6881-1_16.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Sarma, Nandini, and Pranita Sarmah. "A Graph-Theoretical Approach for Comparison Between the Pair of Allied Ragas Bhupali and Deshkar of North Indian Classical Music." In Asset Analytics, 141–62. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0872-7_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Shete, Shambhavi, and Saurabh Deshmukh. "Analysis and Comparison of Timbral Audio Descriptors with Traditional Audio Descriptors Used in Automatic Tabla Bol Identification of North Indian Classical Music." In Proceeding of International Conference on Computational Science and Applications, 295–307. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0790-8_29.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Mukherji, Somangshu. "The language of South Indian classical music." In Rītigaula, 1–30. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003171225-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Akant, Kalyani, Rajesh Pande, and Shyamkant Limaye. "Automatic Music Transcription of Indian Classical Music into MIDI Data." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 347–50. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-35615-5_55.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Singh, Yeshwant, Ranjeet Kumar, and Anupam Biswas. "Swaragram: Shruti-Based Chromagram for Indian Classical Music." In Advances in Speech and Music Technology, 109–18. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6881-1_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Sharma, Shivam, Seema Ghisingh, and Vinay Kumar Mittal. "Component Characterization of Western and Indian Classical Music." In Advances in Intelligent Systems and Computing, 57–69. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-67934-1_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "North Indian classical music"

1

Kapur, Ajay, Eric Singer, Manjinder S. Benning, George Tzanetakis, and Trimpin. "Integrating hyperinstruments, musical robots & machine musicianship for North Indian classical music." In the 7th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1279740.1279788.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Deshmukh, Saurabh, and Sunil G. Bhirud. "A Hybrid Selection Method of Audio Descriptors for Singer Identification in North Indian Classical Music." In 2012 5th International Conference on Emerging Trends in Engineering and Technology (ICETET). IEEE, 2012. http://dx.doi.org/10.1109/icetet.2012.62.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Bidkar, Anagha A., Rajkumar S. DeshPande, and Yogesh H. Dandawate. "A Novel Approach for Selection of Features for North Indian Classical Raga Recognition of Instrumental Music." In 2018 International Conference on Advances in Communication and Computing Technology (ICACCT). IEEE, 2018. http://dx.doi.org/10.1109/icacct.2018.8529392.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Viramgami, Gaurav, Hitarth Gandhi, Hrushti Naik, Nipun Mahajan, Praveen Venkatesh, Shivam Sahni, and Mayank Singh. "Indian Classical Music Synthesis." In CODS-COMAD 2022: 5th Joint International Conference on Data Science & Management of Data (9th ACM IKDD CODS and 27th COMAD). New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3493700.3493762.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Sridharan, Anusha, Melody Moh, and Teng-Sheng Moh. "Similarity Estimation for Classical Indian Music." In 2018 17th IEEE International Conference on Machine Learning and Applications (ICMLA). IEEE, 2018. http://dx.doi.org/10.1109/icmla.2018.00130.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Sridhar, Rajeswari, and T. V. Geetha. "Swara Indentification for South Indian Classical Music." In 2006 9th International Conference on Information Technology. IEEE, 2006. http://dx.doi.org/10.1109/icit.2006.83.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Prakash, Aayush Millenn, Abhishek Hegde, Pratap A. K, and Ashwini Bhat. "Melodic Filtering for Indian Classical Instrumental Music." In 2021 International Conference on Circuits, Controls and Communications (CCUBE). IEEE, 2021. http://dx.doi.org/10.1109/ccube53681.2021.9702736.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Ganguli, Kaustuv Kanti, and Preeti Rao. "Discrimination of melodic patterns in indian classical music." In 2015 Twenty First National Conference on Communications (NCC). IEEE, 2015. http://dx.doi.org/10.1109/ncc.2015.7084866.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Akant, Kalyani. "Measuring Frequencies of Shrutis in Indian Classical Music." In 2019 9th International Conference on Emerging Trends in Engineering and Technology - Signal and Information Processing (ICETET-SIP-19). IEEE, 2019. http://dx.doi.org/10.1109/icetet-sip-1946815.2019.9092007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Mahendra, Siddarth Rai, Hemant A. Patil, and Narendra Kumar Shukla. "Pitch Estimation of Notes in Indian Classical Music." In 2009 Annual IEEE India Conference. IEEE, 2009. http://dx.doi.org/10.1109/indcon.2009.5409364.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'North Indian classical music' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography