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Journal articles on the topic 'North Indian classical music'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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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.

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In Sri Lanka, the various groups of Tamils are jointly the largest minority group who migrated from different places of South India and in different time periods. South Indian music is widely appreciated and learnt by both the Sinhala including by large parts of the Tamil minority spread over Sri Lanka. Although a number of Sinhala people prefer and practice North Indian music geographically, and probably culturally, they are much closer to South India than to North India. Some historical sources report that Sinhalese are descendants of North Indians who are believed to be Aryans who migrated from Persia to the Northern part of India in the 13th century and later. Therefore, some scholarly authorities believe that the Sinhalese ‘naturally’ prefer North Indian music as they also continue the suggested Aryan heritage. Nevertheless, some other sources reveal that the North Indian music was spread in Sri Lanka during the British rule with the coming of the Parsi Theatre (Bombay theatre), which largely promoted Hindustani raga-based compositions. This paper explores selected literature and opinions of some interviewees and discusses what could be the reasons for preferences of North Indian music by the Sinhalese. The interviewees were chosen according to their professional profile and willingness to participate in this research. As a result, this paper will offer insights through analysing various opinions and statements made by a number of interviewees. The research also considered some theories which may relate to the case whether Hindustani classical music is due to these reasons a dominating minority culture or a rather self-imposed musical ideology. The latter would establish an aesthetic hierarchy, which is not reflected in the cultural reality of Sri Lanka. This is a new research scrutinizing a long-term situation of performing arts education in this country taking mainly interviews as a departing point.

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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.

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The positive impact of Indian classical music on human health is the subject of a deeply rooted belief in the Indian subcontinent and is also held among those who invest their time and efforts to Indian classical music elsewhere in the world. This article attempts to provide an account for such a widely shared belief, and singles out four essential components that contribute to it: The melodic rāga domain, the rhythmic tāla domain, time theory, and the extramusical rasa system. The discussion is developed from a general introduction to India to the specific therapeutic aspects of North Indian classical music. The author brings together up-to-date research and her first-hand experiences as a scholar and performer of North Indian classical music.

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

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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.

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Thompson, Gordon Ross. "Companion to North Indian Classical Music (review)." Asian Music 37, no. 1 (2006): 134–36. http://dx.doi.org/10.1353/amu.2006.0012.

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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.

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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.

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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.

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In three previous issues of OS (10/1, 2005, 13/3, 2008 and 19/2, 2014) a range of scholars explored non-Western instrumentation in electroacoustic music. These issues addressed concerns about sensitive cultural issues within electroacoustic music. This article builds upon this discussion through an examination of a number of electroacoustic composer-performers using non-Western instrumentation. This discussion will include the voices of ‘Western’ electroacoustic composers using non-Western instruments or sounds sources. It will also document some of the work of non-Western electroacoustic composers who incorporate traditional material or indigenous instruments in their music. Special attention will be given to the complexity of being in-between musical cultures through a critical engagement with theories relating to hybridity, orientalism and self-identity. In particular, this article will focus on my own practice of composing and performing electroacoustic music with the North Indian lute known as the sarode. It will discuss both cultural and artistic concerns about using the sarode outside the framework of Indian classical music and question whether Indian classical music can ever be ‘appropriately appropriated’ in an electroacoustic context. Two of my recent compositions will be explored and I will outline the development of my practice leading to the creation of a new ‘hybrid’ instrument especially for playing electroacoustic music.

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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.

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This article explores ways in which the elements of north Indian classical music may be taught in a western context. It examines traditional methods of teaching in India and points out the difficulties of transferring such methods into Western music education. The basic materials of Indian music are examined, with a view to using them to heighten awareness of music in general, but not necessarily to produce solo performers. The article suggests ways in which Indian music can be explored without compromising its inherent complexity, sense of form and aesthetic beauty; while, at the same time, making it more accessible to a wide range of people.

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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.

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11

Blume, Gernot. "Blurred affinities: tracing the influence of North Indian classical music in Keith Jarrett's solo piano improvisations." Popular Music 22, no. 2 (May 2003): 117–42. http://dx.doi.org/10.1017/s0261143003003088.

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In the first forty years of his career, American pianist Keith Jarrett has established a reputation in multiple stylistic directions. Jarrett has typically incorporated influences as varied as bebop, country, rock, gospel, minimalism, baroque and classical styles into his often lengthy improvisations. Vital to his musical persona, but less obvious, is the influence North Indian classical music has had in shaping Jarrett's improvisatory strategies. Although he never formally studied Indian music, and although his instrument – the piano – is far removed from the conceptual backdrop of North Indian raga performance, Indian music was a central component in the artistic climate out of which his improvised solo recitals grew.A cultural climate of global influences was the backdrop to the development of Jarrett's solo concerts. Therein, perhaps, lies one key to understanding the spell that this music has cast on large and international audiences. With this format, Jarrett tapped into the ambiance of a particular historic moment, which combined a desire for change with the discovery of spiritual and musical traditions outside the Western world.In this paper I will demonstrate how explicit and implicit references to classical Indian principles of music making helped shape Jarrett's unique free solo concerts.

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12

Farrell, Gerry. "Reflecting surfaces: the use of elements from Indian music in popular music and jazz." Popular Music 7, no. 2 (May 1988): 189–205. http://dx.doi.org/10.1017/s0261143000002750.

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In this article I explore the manner in which elements from a non-Western music appear in pop music and jazz. The music under discussion is that of the Indian subcontinent and the classical music of North India in particular. The essay covers references to Indian music in pop, rock and jazz from the sixties to the present day but concentrates mainly on the sixties and seventies, and, in the world of pop, on the music of the Beatles. The influence of orientalism on Western music is not a recent phenomena, as Reck (1985) notes, but its appearance in pop during the sixties meant that it reached a larger audience than ever before.

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13

Manuel, Peter. "Brass BajaCompanion to North Indian Classical MusicMusic in North IndiaMusic in South India." Ethnomusicology 52, no. 1 (January 1, 2008): 117–20. http://dx.doi.org/10.2307/20174569.

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14

Clayton, Martin, and Laura Leante. "Role, Status and Hierarchy in the Performance of North Indian Classical Music." Ethnomusicology Forum 24, no. 3 (September 2, 2015): 414–42. http://dx.doi.org/10.1080/17411912.2015.1091272.

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15

Khare, Mrs Asha. "ROLE OF COMMUNICATION TOOLS IN THE PROMOTION OF MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3400.

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Hegel, a well-known scholar of Jammani, has placed music in the category of love arts. Indian music has been called the essence of all four languages. Music has been worshiped extensively in India and has been worshiped as Veena Vavadani. Sa vidya or liberation is music. In the divine period, the reins of music were in the hands of Brahmins. In this period, music flourished in religious atmosphere. Samudragupta was self-effacing. In this period, music began to develop in Rajashraya. Classical and folk music was also promoted. Kaval Das and Bhasa, the great poet and playwright of Sanskrit, wrote important texts in this period. The Rajputs were ruled after the Gupta period. Indian music, which was embedded in the thread of unity, began to be divided into two streams, the music of North India and the music of South India. Important texts of music were written. In the Muvassalam era, Sharangadee wrote a famous book of music called Sangeet Ratnakara. During this period, Amir Khusro brought a new verse in the field of music. The origins of the plants became popular for singing songs and singing ghazali. Bhagakat music was emphasized during the Mughal period. Dhrupad Dhamar singing was popular. The reign of Akbar in the Mughal period has been called the era of music. During this period, musicians and artists enjoyed royalty, and art greatly developed.

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16

Chordia, Parag, and Sertan Şentürk. "Joint Recognition of Raag and Tonic in North Indian Music." Computer Music Journal 37, no. 3 (September 2013): 82–98. http://dx.doi.org/10.1162/comj_a_00194.

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In many non-Western musical traditions, such as North Indian classical music (NICM), melodies do not conform to the major and minor modes, and they commonly use tunings that have no fixed reference (e.g., A = 440 Hz). We present a novel method for joint tonic and raag recognition in NICM from audio, based on pitch distributions. We systematically compare the accuracy of several methods using these tonal features when combined with instance-based (nearest-neighbor) and Bayesian classifiers. We find that, when compared with a standard twelve-dimensional pitch class distribution that estimates the relative frequency of each of the chromatic pitches, smoother and more continuous tonal representations offer significant performance advantages, particularly when combined with appropriate classification techniques. Best results are obtained using a kernel-density pitch distribution along with a nearest-neighbor classifier using Bhattacharyya distance, attaining a tonic error rate of 4.2 percent and raag error rate of 10.3 percent (with 21 different raag categories). These experiments suggest that tonal features based on pitch distributions are robust, reliable features that can be applied to complex melodic music.

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17

Manuel. "The Intermediate Sphere in North Indian Music Culture: Between and Beyond “Folk” and “Classical”." Ethnomusicology 59, no. 1 (2015): 82. http://dx.doi.org/10.5406/ethnomusicology.59.1.0082.

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18

H.Deshmukh, Saurabh, and S. G. Bhirud. "North Indian Classical Music's Singer Identification by Timbre Recognition using MIR Toolbox." International Journal of Computer Applications 91, no. 4 (April 18, 2014): 1–5. http://dx.doi.org/10.5120/15866-4804.

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19

Kramer, Jonathan C. "The Subjective Experience of Time in Dhrupad, a Genre of North Indian Classical Music." Journal of Indian Philosophy and Religion 6 (2001): 115–27. http://dx.doi.org/10.5840/jipr200166.

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20

Napier, John. "Re-organization and Rhetoric: Changes in the social organization of North Indian classical music." Musicology Australia 27, no. 1 (January 2004): 35–53. http://dx.doi.org/10.1080/08145857.2005.10416522.

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21

., Saurabh H. Deshmukh. "AUDIO DESCRIPTIVE ANALYSIS OF SINGER AND MUSICAL INSTRUMENT IDENTIFICATION IN NORTH INDIAN CLASSICAL MUSIC." International Journal of Research in Engineering and Technology 04, no. 06 (June 25, 2015): 505–8. http://dx.doi.org/10.15623/ijret.2015.0406087.

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22

Dasthakur, Saurav. "“World-History,” “Itihāsa,” and Memory: Rabindranath Tagore's Musical Program in the Age of Nationalism." Journal of Asian Studies 75, no. 2 (April 14, 2016): 411–32. http://dx.doi.org/10.1017/s0021911815002089.

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This essay attempts an exploration of the historical and historiographical implications of the interplay of individual, local, “national,” and global forms of memory in the music of Rabindranath Tagore. Produced at a time of crises in the Indian postcolonial subjectivity, this music offers a critique of the Eurocentric discourses of “World-history” and nationalism, by invoking alternative Indian discourses of “Itihāsa” and “samāj”. At the same time, Tagore departs from the contemporary Hindu cultural nationalist revivalist approach of the tradition of North Indian (Hindustani) classical music and subjects it to a creative regenerative endeavor by reconnecting the tradition with its original subaltern roots. Skeptical of several kinds of homogeneous impulses, this music offers an alternative idea of universalism that is as much human as a specific civilizational concept. Tagore's musical program thus offers an aesthetic blueprint of a more inclusive indigenous modernity in the subcontinent.

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23

Schippers, Huib. "The Guru Recontextualized? Perspectives on Learning North Indian Classical Music in Shifting Environments for Professional Training." Asian Music 38, no. 1 (2007): 123–38. http://dx.doi.org/10.1353/amu.2007.0020.

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24

Bloxam, M. Jennifer. "‘La contenance italienne’: the motets on Beata es Maria by Compère, Obrecht and Brumel." Early Music History 11 (October 1992): 39–89. http://dx.doi.org/10.1017/s0261127900001194.

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Musicians have recognised distinct national styles of musical composition and performance for centuries, and even today our understanding of the development of musical style in virtually every period rests in large part on observations of the contact and melding of national idioms. From the suppression and absorption of Gallic chant by Roman plainsong during the time of Charlemagne, through the wedding of French, Italian and German styles accomplished by Bach, to the joining of north Indian classical musical elements with modern avant-garde music by Philip Glass and other minimalist composers, our telling of music history is in large part analysis of a continuing process of musical colonialisation.

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25

Vaughn, Kathryn. "The influence of the tambura drone on the perception of proximity among scale types in North Indian classical music." Contemporary Music Review 9, no. 1-2 (January 1993): 21–33. http://dx.doi.org/10.1080/07494469300640321.

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26

Chloë Alaghband-Zadeh. "Listening to North Indian Classical Music: How Embodied Ways of Listening Perform Imagined Histories and Social Class." Ethnomusicology 61, no. 2 (2017): 207. http://dx.doi.org/10.5406/ethnomusicology.61.2.0207.

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27

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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28

Clayton, Martin, Kelly Jakubowski, and Tuomas Eerola. "Interpersonal entrainment in Indian instrumental music performance: Synchronization and movement coordination relate to tempo, dynamics, metrical and cadential structure." Musicae Scientiae 23, no. 3 (July 20, 2019): 304–31. http://dx.doi.org/10.1177/1029864919844809.

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Two complementary aspects of interpersonal entrainment – synchronization and movement coordination – are explored in North Indian classical instrumental music, in the auditory and visual domains respectively. Sensorimotor synchronization (SMS) is explored by analysing pairwise asynchronies between the event onsets of instrumental soloists and their tabla accompanists, and the variability of asynchrony by factors including tempo, dynamic level and metrical position is explored. Movement coordination is quantified using cross wavelet transform (CWT) analysis of upper body movement data, and differences in CWT Energy are investigated in relation to the metrical and cadential structures of the music. The analysis demonstrates that SMS within this corpus varies significantly with tempo, event density, peak levels and leadership. Effects of metrical position on pairwise asynchrony are small and offer little support for the hypothesis of lower variability in synchronization on strong metrical positions; a larger difference was found at cadential downbeats, which show increased melody lead. Movement coordination is greater at metrical boundaries than elsewhere, and most strikingly is greater at cadential than at other metrical downbeats. The implications of these findings for understanding performer coordination are discussed in relation to ethnographic research on the genre.

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29

Kapuria, Radha. "National, modern, Hindu? The post-independence trajectory of Jalandhar’s Harballabh music festival." Indian Economic & Social History Review 55, no. 3 (June 21, 2018): 389–418. http://dx.doi.org/10.1177/0019464618778412.

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This article discusses the post-Independence trajectory of North India’s oldest extant classical music festival. Processes of modernisation and nationalisation transformed the Harballabh festival into a professionally organised concert, with little resemblance to the fair or ‘Rāg Melā’ it used to be. I demonstrate the tension between the ‘modernisation’ begun by Ashwini Kumar post-1948 and a subtle though unmistakable ‘Hinduisation’ championed by other middle-class organisers. Kumar’s attempts during the 1950s and 1960s to shape a new, disciplined audience, schooled in practices of rapt listening, were also in direct contrast to conceptions about ‘restive’ and rustic Punjabi audiences. The article raises larger questions about the cultural politics of music performance in postcolonial India by focusing on the shifting character of middle-class cultural patronage, the tussle between traditional and modern formats of music festival organisation and the complicated division of public space along secular/sacred axes.

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30

Ram, S. Sai. "A STUDY OF STRUGGLE IN VERSATILITY IN TABLA PERFORMANCE." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (May 7, 2022): 218–23. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.77.

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Tabla is the most versatile among percussion instruments today. The challenge that it meets till date is the recognition that Tabla has in terms of a Solo instrument. Although acclaimed worldwide for its versatility, yet the role of Tabla as a Solo instrument remains undefined at large. The tabla player today occupies a decent place on stage during accompaniment and exhibits the art, at times with his repertoire, especially when he accompanies to instrumental music. The rich repertoire of Tabla, which is learnt through life finds its expression only through solo performances, but this is confined only to the elite artists. There is no denial to the fact that Tabla is basically an accompanying instrument. Accompaniment is a beautiful art and every tabla artist should be an able accompanist. In fact, the art of accompaniment does need a better craftsmanship and a greater aesthetic sense than the art of tabla solo presentation. Given to these facts, the repertoire of tabla finds complete expression only during a solo performance. The collection of compositions of tabla from the masters of yesteryears is huge, and how many tabla players are able to put it across the listeners, even a meagre part of what they have learnt in the lineage? And the truth is that the Tabla is the primary accompanying instrument in North Indian classical, fusion and light music today. This is the struggle in its versatility. The music fraternity and the organizers need to ponder over this and improve their endeavors to promote Tabla more, as a solo instrument also.

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Sen Gupta, Ananya, Bernice Kubicek, Kevin Sobieski, and Tejendra Majumdar. "Linking domain knowledge and machine interpretation using braid theory and cognitive sampling: Applications to underwater acoustics, and machine interpretation of melodic structures in North Indian classical music." Journal of the Acoustical Society of America 148, no. 4 (October 2020): 2767. http://dx.doi.org/10.1121/1.5147703.

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32

Furani, Khaled. "Said and the Religious Other." Comparative Studies in Society and History 52, no. 3 (June 18, 2010): 604–25. http://dx.doi.org/10.1017/s0010417510000320.

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Whether observed in French laïcité, Kemalist Turkey, Kantian political theory, Western Christian theology, or North Indian classical music, the presence of modern secularity has been demonstrably complex (Asad 2003; Bakhle 2008; Blumenberg 1985; Connolly 1999; Navaro-Yashin 2002). My purpose in this essay is to further examine the intricacies of the modern secular, specifically its relation with what it deems “religious.” My focus will be Edward Said, whose paradigmatic engagement in secular, critical, and comparative inquiry makes his work an ideal place to investigate the modern apparition of the secular. It is widely acknowledged that Orientalism (1979) led to a profound transformation of entire fields of inquiry in the humanities and social sciences, and even the creation of new ones. Said's work as a practice of criticism has been instrumental in addressing the affinities between forms of knowledge and domination, especially in their colonial variety. However, studies of his writings have only recently begun to address the topic of modern secularism in his work, which will be at the center of this paper (e.g., Mufti 2004; Hart 2000; Anidjar 2006; Apter 2004; Robbins 1994; Gourgouris 2004).

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33

Chakraborty, Soubhik, Rayalla Ranganayakulu, Shivee Chauhan, Sandeep Singh Solanki, and Kartik Mahto. "Given a raga recording, can we scientifically verify which school of Vadi-Samvadi selection is supported by the artist?" INTERNATIONAL JOURNAL OF COMPUTERS & TECHNOLOGY 4, no. 2 (April 22, 2013): 288–300. http://dx.doi.org/10.24297/ijct.v4i2a2.3174.

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The notes which play the most important and second most important roles in expressing a raga are called Vadi and Samvadi swars respectively in (North) Indian Classical music. Like Bageshree, Bhairavi, Shankara, Hamir and Kalingra, Rageshree is another controversial raga so far as the choice of Vadi-Samvadi selection is concerned where there are two different opinions. Rather than ruling out any school of thought, the paper aims at identifying scientifically the particular school supported by a given recording. Thus the problem investigated here is one of classification in nature. In the present work, a two minute vocal recording of raga Rageshree is subjected to a careful statistical analysis. Our analysis is broken into three phases: first one minute, middle one minute and last one minute. Under a multinomial model set up holding appreciably in the first two phases, only one opinion is found acceptable. An interesting musical cocktail is proposed embedding several ideas like melodic property of notes, note combinations and pitch movements between notes, using some weighted combination of psychological and statistical stability of notes along with watching carefully the sudden shoot of one or more notes whenever there is enough evidence that multinomial model has broken down..Â

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34

Verma, Harish. "CLASSICAL EXPERIMENT IN CINE MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3404.

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Indian films cannot be imagined without music. The hallmark of Indian cinema is its vibrant music. Indian films, whether they are in any language (ie Hindi, Tamil, Bengali, Marathi, Telugu, Kannada or Malayalam), music predominates. Music is their basic element in films made in regional dialects like Bhojpuri, Rajasthani, Bandeli, Chhattisgarhi etc. Most of the films in India are made in Hindi language which are popular all over the world. Hence, we will discuss about Indian films by keeping Hindi films at the center. संगीत के बिना भारतीय फिल्मों की कल्पना भी नहीं की जा सकती। भारतीय सिनेमा की पहचान उसका सषक्त संगीत ही है। भारतीय फिल्में चाहे वे किसी भी भाषा (अर्थात् हिन्दी, तमिल, बंगाली, मराठी, तेलुगु, कन्नड़ या मलयालम) की हों, संगीत उनमें प्रमुख होता है। क्षेत्रीय बोलियों जैसे भोजपुरी, राजस्थानी, बंुदेली, छत्तीसगढ़ी आदि में बनने वाली फिल्मों में तो संगीत ही उनका मूल तत्व होता है। भारत में सर्वाधिक फिल्में हिन्दी भाषा में बनती हैं जो विश्व भर में लोकप्रिय होती हैं। अतः आगे हम भारतीय फिल्मों की चर्चा हिन्दी फिल्मों को केन्द्र में रखकर ही करेंगे।

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35

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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36

Maujeker, Kanviksha. "Indian Classical Music Swara/Note Transcription System." International Journal for Research in Applied Science and Engineering Technology 7, no. 4 (April 30, 2019): 3677–85. http://dx.doi.org/10.22214/ijraset.2019.4617.

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37

Thompson, Gordon, Martin Clayton, Veena Sahasrabuddhe, and Robert Philip. "Khyal: Classical Singing of North India." Asian Music 33, no. 1 (2001): 146. http://dx.doi.org/10.2307/834245.

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Philips, Anna Amy. "Embracing indian and western classical music in the 21st century: Param Vir and Shankar Tucker." Musica paedagogia pilsnensis 1, no. 1 (2021): 73–80. http://dx.doi.org/10.24132/zcu.musica.2021.01.73-80.

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The first (published) mention of Indian classical music in Western discourse takes us to William Jones’ On the Musical Modes of the Hindus (1784), which ignited a scholarly interest for the Orient in the Western world. Since then, over the years, several researchers in music have been swept along and consumed by the currents of lost, found, translated, (mis-)inter - preted, transliterated and transformed literature on Indian classical music 2. This work delves neither into the labyrinth of the allusive character of Raga, nor the theory, transliteration, and treatises on Indian classical music. Instead, with supporting literature from many diligent scholars, it utilises all the extremely elaborate theories and explanations from the past to initiate a different sort of analysis in this field, one that explores musical material directly in compositions which incorporate both Indian and Western music, using socio-cultural, media studies theories and music analysis theories. The primary intent of this work is to comprehend the creation of a cultural third space brought about by the hybridisation of contemporary Western music and Indian classical music, taking two composers as case studies for this purpose: Param Vir and Shankar Tucker. The parameters of this study centre, in Vir’s case, on Indian classical- and 20 th century Western classical music theories; and, in Tucker’s case, the appropriation of Indian music, using contemporary media studies and popular music the- ories of a globalised world. Such an analysis is customised and therefore is to be considered as an observation of the current scenario within these two systems of music, within these parameters.

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Garani, Shayan Srinivasa, and Harish Seshadri. "An algorithmic approach to South Indian classical music." Journal of Mathematics and Music 13, no. 2 (May 4, 2019): 107–34. http://dx.doi.org/10.1080/17459737.2019.1604845.

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Lalli, Gina. "A North Indian Classical Dance Form: Lucknow Kathak." Visual Anthropology 17, no. 1 (January 2004): 19–43. http://dx.doi.org/10.1080/08949460490273997.

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Slawek, Stephen M., and Bonnie Wade. "Khyal: Creativity within North India's Classical Music Tradition." Yearbook for Traditional Music 21 (1989): 143. http://dx.doi.org/10.2307/767788.

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Neuman, Daniel M., and Bonnie Wade. "Khyal: Creativity within North India's Classical Music Tradition." Ethnomusicology 32, no. 1 (1988): 131. http://dx.doi.org/10.2307/852229.

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Widdess, Richard, and Bonnie C. Wade. "Khyal: Creativity within North India's Classical Music Tradition." Asian Music 17, no. 1 (1985): 154. http://dx.doi.org/10.2307/833747.

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Levine, Victoria Lindsay, and Richard Keeling. "Women in North American Indian Music: Six Essays." Ethnomusicology 38, no. 1 (1994): 175. http://dx.doi.org/10.2307/852276.

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Levine, Victoria Lindsay, Richard Keeling, and Orin T. Hatton. "Women in North American Indian Music: Six Essays." American Indian Quarterly 16, no. 1 (1992): 98. http://dx.doi.org/10.2307/1185618.

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Banawat, Chetna, and Anjali Gilotra. "IMPACT OF VARIOUS SCIENTIFIC DIMENSIONS IN INDIAN CLASSICAL MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3481.

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The tradition of Indian classical music has been ancient and continuous developing in the world. It is like a tree in which, as a result of the seasonal effect, sometimes the autumn and sometimes the Navakopal kept coming, but the root has remained the same. This long-standing tradition of classical music takes place in the Vedic period itself, but various contemporary changes have changed its condition and direction, resulting in considerable qualitative progress in the field of music. Today's era is receiving the gift of new innovators of science, with which we are all practically familiar. Our musical arts side could not remain untouched by these new scientific designs. Today, with the development of technology and technology, the music world has got a strong foundation. This technology has proved to be helpful in the preservation, promotion and continuous propagation of classical music etc. Various electronic musical instruments, scientific instruments and information technology have also influenced classical music by providing new possibilities like teaching, listening and collecting of classical music, and playing an important role in promoting its conservation and making special contribution in making it sustainable. Huh. भारतीय शास्त्रीय संगीत की परम्परा विष्व में प्राचीनतम् तथा अनवरत् विकासशील रही है। यह उस वृक्ष की भांति है, जिसमें ऋतुकालीन प्रभाव के फलस्वरूप कभी पतझड़ तो कभी नवकोपल आते रहे, किन्तु मूल यथावत् ही रहा है। शास्त्रीय संगीत की इस सुदीर्घ परम्परा के दर्शन वैदिक काल में ही हो जाते हैं, किन्तु विभिन्न समकालीन परिवर्तनों ने इसकी दशा व दिशा में परिवर्तन ला दिया है, फलतः संगीत के क्षेत्र में काफी गुणात्मक प्रगति हुई है। आज के युग को विज्ञान के नित नवीन आविष्कारों की देन प्राप्त हो रही है, जिससे हम सभी व्यवहारिक रूप से परिचित ही हैं। इन नवीन वैज्ञानिक सर्जनाओं से हमारा सांगीतिक कला पक्ष भी अछूता नहीं रह सका। आज तकनीकी व प्रौद्योगिकी के विकास से संगीत जगत् को सुदृढ़ आधार मिला है। संगीत की आदि शाखा शास्त्रीय संगीत के संरक्षण, संवर्धन एवं निरन्तर प्रचार-प्रसार में यह तकनीकी जगत् सहायक सिद्ध हुआ है। विभिन्न इलेक्ट्राॅनिक सांगीतिक वाद्यों, वैज्ञानिक उपकरणों एवं सूचना प्रौद्योगिकी ने शास्त्रीय संगीत के शिक्षण, श्रवण एवं संग्रहण जैसी नवीन सम्भावनाएं भी प्रदान कर शास्त्रीय संगीत को प्रभावित किया एवं इसके संरक्षण-संवर्धन में अहम् भूमिका निभाते हुए इसे चिरस्थायी बनाने में अपना विशेष योगदान भी दे रहे हैं।

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Karácsony, Noémi, and Mădălina Dana Rucsanda. "Influences of Classical Indian Music in Albert Roussel’s Evocations." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 125–41. http://dx.doi.org/10.24193/subbmusica.2021.1.09.

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"An important figure of early 20th century music, the French composer Albert Roussel was deeply influenced by his encounter with India, which led to the composition of several orientalist works. The present paper aims to disclose the influences of classical Indian music in the orchestral work Evocations. Despite the Impressionist sound of the musical discourse, a careful analysis reveals the incorporation of several scalar structures in which Hindu rāgas can be recognized. Roussel goes beyond the musical representation of India: his goal is not the creation of a musical work with powerful oriental sound, but the evocation of the impact this encounter had on his creation. Situated at the crossroad of several stylistic orientations, Roussel incorporates Impressionist, Neo-classical and Post-romantic influences in rigorously devised structures, aiming to create an unusual and novel sound. Keywords: Albert Roussel, orientalism, Impressionism, India, rāga "

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Thompson, Gordon Ross. "The Illustrated Companion to South Indian Classical Music (review)." Notes 57, no. 1 (2000): 107–8. http://dx.doi.org/10.1353/not.2000.0056.

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Bedford, Ian. "Listening to the Voice in South Indian Classical Music." Australian Journal of Anthropology 19, no. 2 (August 2008): 237–44. http://dx.doi.org/10.1111/j.1835-9310.2008.tb00126.x.

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Slawek, Stephen, and Martin Clayton. "Time in Indian Music: Rhythm, Metre, and Form in North Indian Rag Performance." Yearbook for Traditional Music 34 (2002): 194. http://dx.doi.org/10.2307/3649197.

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