Relevant bibliographies by topics / Tamil Music

Contents

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

Academic literature on the topic 'Tamil Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Tamil Music"

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Narayanan, Jayakrishnan. "The Linguistic Reluctance of Karnatik Music: From Tamil to Madras Tamil." Journal of Exclusion Studies 9, no. 2 (2019): 194. http://dx.doi.org/10.5958/2231-4555.2019.00016.0.

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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Hornabrook, Jasmine. "Tamil folk music as Dalit liberation theology." Ethnomusicology Forum 25, no. 2 (April 19, 2016): 241–43. http://dx.doi.org/10.1080/17411912.2016.1170621.

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P, Divyaroobasharma. "The Raise of Tamilisai by Thevara Moover." International Research Journal of Tamil 3, S-2 (April 30, 2021): 98–101. http://dx.doi.org/10.34256/irjt21s219.

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As far as Tamil literatures are concerned, most of the books belonging to the Saiva Vaishnavism. It is customary to say that Saiva Vaishnava religion such as Thevaram, Thiruvasagam and Four Thousand DivyaPrabandham. The thevara songs that arose during the Saivism renaissance are seen as a repository of music. During the period when Saivism was caught up in the closeness of other religions, Thirugnanasambandar and Upper Sundarar appeared and passionately dipped the classic Tamil songs into sweet hymns to make the world aware of the true glories of Saivism. They realized that music was popular and composed the songs accordingly. Religious ideas have made music flow into hymns and touch the minds of the people. If you sing them with joy, the mind will be conscious of God. This is the purpose of the Saivism Kuravas. Music helped them to fulfill this purpose. The Tamillsai of the time is best known through the songs of Thevara. The Period of Thevara can be considered as the period of musical upheaval of Tamils. In the natural senses of pleasure, the sense of music is intimately linked to the highest.
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Bhalke, Daulappa Guranna, Betsy Rajesh, and Dattatraya Shankar Bormane. "Automatic Genre Classification Using Fractional Fourier Transform Based Mel Frequency Cepstral Coefficient and Timbral Features." Archives of Acoustics 42, no. 2 (June 27, 2017): 213–22. http://dx.doi.org/10.1515/aoa-2017-0024.

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Abstract This paper presents the Automatic Genre Classification of Indian Tamil Music and Western Music using Timbral and Fractional Fourier Transform (FrFT) based Mel Frequency Cepstral Coefficient (MFCC) features. The classifier model for the proposed system has been built using K-NN (K-Nearest Neighbours) and Support Vector Machine (SVM). In this work, the performance of various features extracted from music excerpts has been analysed, to identify the appropriate feature descriptors for the two major genres of Indian Tamil music, namely Classical music (Carnatic based devotional hymn compositions) & Folk music and for western genres of Rock and Classical music from the GTZAN dataset. The results for Tamil music have shown that the feature combination of Spectral Roll off, Spectral Flux, Spectral Skewness and Spectral Kurtosis, combined with Fractional MFCC features, outperforms all other feature combinations, to yield a higher classification accuracy of 96.05%, as compared to the accuracy of 84.21% with conventional MFCC. It has also been observed that the FrFT based MFCC effieciently classifies the two western genres of Rock and Classical music from the GTZAN dataset with a higher classification accuracy of 96.25% as compared to the classification accuracy of 80% with MFCC.
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Im, Bo kyung Blenda. "Book Review: Tamil Folk Music as Dalit Liberation Theology." International Bulletin of Mission Research 39, no. 2 (April 2015): 105–6. http://dx.doi.org/10.1177/239693931503900223.

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Aravinthon, Suganya. "A Historical Perspective of Mangalavattiyam." International Research Journal of Tamil 3, no. 2 (March 3, 2021): 1–10. http://dx.doi.org/10.34256/irjt2121.

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From the earliest days of the Tamil music tradition, music was considered to be a combination of vocal music, instrumental music and dance. Each of these musical genres is closely intertwined. Knowledge of one helps to know about the other. Instrumental music has been interpreted as accompaniment to solo music and dance and as a solo specialty. In Bharata's book 'Natyashasthram', musical instruments are generally divided into four categories as nerve (tata) hole (kasira) ¸ skin (avanatta) ¸ kana (kanja). In this context, it is a research paper on the history and use of the Nagaswaram and thavil instruments, which are referred to today as the Mangala Vaathyam, which the Tamils ​​have merged with their culture. This article also examines in detail the ideological changes that have taken place over time in the use of these two musical instruments. At the same time, the use of these instruments in the sociological context is taken into account. Finally, this article is a historical study of the lineage of musicians who have mastered these instruments.
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P, Divyarupasarma. "Sitrilakiyangalil Kavadi Sindhu." International Research Journal of Tamil 3, S-1 (June 22, 2021): 234–37. http://dx.doi.org/10.34256/irjt21s137.

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Among the short stories, Pillai Tamil, Kalambakam, Sathakam, Malai, Andhadhi, etc. are divided into literary structure and song structure. Pallu, Kuravanchi, Nondi, Kuluvam, Makudi etc. are the artistic features that are found in them. Addresses, orchestras, etc., were also art literature of the time. Yet there are some as musicians in giving hints about music. Kavadi sindhu, Vazhinadai sindhu, etc. are so situated. The purpose of this study is to convey the message of music in Kavadi sindhu based on the idea that everything gives an idea about music.
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Rajesh, Betsy, and D. G. Bhalke. "Automatic genre classification of Indian Tamil and western music using fractional MFCC." International Journal of Speech Technology 19, no. 3 (June 18, 2016): 551–63. http://dx.doi.org/10.1007/s10772-016-9347-3.

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

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

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Hornabrook, Jasmine. "'Becoming one again' : music and transnationalism in London's Sri Lankan Tamil diaspora." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18533/.

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The Carnatic and Tamil music scene in London is the result of the migration and diasporic formation of a displaced Sri Lankan Tamil demographic. From the 'scattering' of displaced people and culture to various localities around the world, diasporic 'regatherings' – understood as 'becoming one again' - are facilitated by musical learning, performance and transnational interactions. Through the process of 'becoming one again' and the on-going connections between South Asia and the diaspora, a musical scene has emerged, which relies on various transnational networks and constructions of collective identity. The thesis examines the transnational networks and identities in the Sri Lankan Tamil diaspora, focusing on musicians, music students and audiences based in London, and their connections with South Asia and other parts of the world. Drawing on detailed ethnographic research in the UK, South India and Sri Lanka, it considers how music enables deep connections to be formed within a diasporic group, both in terms of physical networks and within the imaginations of musicians. The relevance of the terms 'diaspora' and 'transnationalism' are examined in relation to the musical networks and processes in the Carnatic music scene in chapter one, before considering the historical trajectory of cultural identity, migration and the emergence of the music scene in London in chapter two. Chapter three identifies the scope of transnational networks at three different levels – the macro-level transnational networks, mid-level local manifestations of these networks and finally the micro-level interactions between individuals and within a performance. These levels ground broader globalising processes in localised ethnography. Across the multiple levels explored in the third chapter it is clear that the connections with Chennai in South India create a cultural centre and alternative homeland for displaced Sri Lankan Tamil musicians. Chapter four positions Chennai as the centre of this musical network from where aesthetics are negotiated and projected outwards into diasporic localities. Chapter five considers the London locality and the performance contexts, conventions and audiences within the city. In London, there are two clear spheres of local engagement – the diasporic and multicultural mainstream, contrasting in contexts, publics and functions. Chapters six and seven reflect on connectivity through historically situated narratives and transnational synchrony. These issues are ethnographically explored through the arangetram music graduation ceremony and through embodied experiences of transnational musical learning and performance. It is argued that transnational connectivity - with the cultural centre, other diasporic sites and the transnational carnatic music world - is maintained through ritualised practices of musical learning and performance. The thesis highlights the ways in which connectivity is maintained through the construction of an essentialised, yet empowered, transnational cultural identity in which South Indian classical music is a key component. It aims to contribute to the study of diasporas and musical transnationalism through shifting the focus from the 'homeland' to other cultural centres, and by emphasising the importance of ritualised musical practice in attaining diasporic connectivity.
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Lai, JinXing. "The Hindu Fire Walking Festival in Singapore: Ritual and Music of the Tamil Diaspora." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1397250646.

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Celma, Herrada Òscar. "Music recommendation and discovery in the long tail." Doctoral thesis, Universitat Pompeu Fabra, 2009. http://hdl.handle.net/10803/7557.

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Avui en dia, la música està esbiaixada cap al consum d'alguns artistes molt populars. Per exemple, el 2007 només l'1% de totes les cançons en format digital va representar el 80% de les vendes. De la mateixa manera, només 1.000 àlbums varen representar el 50% de totes les vendes, i el 80% de tots els àlbums venuts es varen comprar menys de 100 vegades. Es clar que hi ha una necessitat per tal d'ajudar a les persones a filtrar, descobrir, personalitzar i recomanar música, a partir de l'enorme quantitat de contingut musical disponible.
Els algorismes de recomanació de música actuals intenten predir amb precisió el que els usuaris demanen escoltar. Tanmateix, molt sovint aquests algoritmes tendeixen a recomanar artistes famosos, o coneguts d'avantmà per l'usuari. Això fa que disminueixi l'eficàcia i utilitat de les recomanacions, ja que aquests algorismes es centren bàsicament en millorar la precisió de les recomanacions. És a dir, tracten de fer prediccions exactes sobre el que un usuari pugui escoltar o comprar, independentment de quant útils siguin les recomanacions generades. En aquesta tesi destaquem la importància que l'usuari valori les recomanacions rebudes. Per aquesta raó modelem la corba de popularitat dels artistes, per tal de poder recomanar música interessant i desconeguda per l'usuari.
Les principals contribucions d'aquesta tesi són: (i) un nou enfocament basat en l'anàlisi de xarxes complexes i la popularitat dels productes, aplicada als sistemes de recomanació, (ii) una avaluació centrada en l'usuari, que mesura la importància i la desconeixença de les recomanacions, i (iii) dos prototips que implementen la idees derivades de la tasca teòrica. Els resultats obtinguts tenen una clara implicació per aquells sistemes de recomanació que ajuden a l'usuari a explorar i descobrir continguts que els pugui agradar.
Actualmente, el consumo de música está sesgada hacia algunos artistas muy populares. Por ejemplo, en el año 2007 sólo el 1% de todas las canciones en formato digital representaron el 80% de las ventas. De igual modo, únicamente 1.000 álbumes representaron el 50% de todas las ventas, y el 80% de todos los álbumes vendidos se compraron menos de 100 veces. Existe, pues, una necesidad de ayudar a los usuarios a filtrar, descubrir, personalizar y recomendar música a partir de la enorme cantidad de contenido musical existente. Los algoritmos de recomendación musical existentes intentan predecir con precisión lo que la gente quiere escuchar. Sin embargo, muy a menudo estos algoritmos tienden a recomendar o bien artistas famosos, o bien artistas ya conocidos de antemano por el usuario.Esto disminuye la eficacia y la utilidad de las recomendaciones, ya que estos algoritmos se centran en mejorar la precisión de las recomendaciones. Con lo cuál, tratan de predecir lo que un usuario pudiera escuchar o comprar, independientemente de lo útiles que sean las recomendaciones generadas.
En este sentido, la tesis destaca la importancia de que el usuario valore las recomendaciones propuestas. Para ello, modelamos la curva de popularidad de los artistas con el fin de recomendar música interesante y, a la vez, desconocida para el usuario.Las principales contribuciones de esta tesis son: (i) un nuevo enfoque basado en el análisis de redes complejas y la popularidad de los productos, aplicada a los sistemas de recomendación,(ii) una evaluación centrada en el usuario que mide la calidad y la novedad de las recomendaciones, y (iii) dos prototipos que implementan las ideas derivadas de la labor teórica. Los resultados obtenidos tienen importantes implicaciones para los sistemas de recomendación que ayudan al usuario a explorar y descubrir contenidos que le puedan gustar.
Music consumption is biased towards a few popular artists. For instance, in 2007 only 1% of all digital tracks accounted for 80% of all sales. Similarly, 1,000 albums accounted for 50% of all album sales, and 80% of all albums sold were purchased less than 100 times. There is a need to assist people to filter, discover, personalise and recommend from the huge amount of music content available along the Long Tail.Current music recommendation algorithms try to accurately predict what people demand to listen to. However, quite often these algorithms tend to recommend popular -or well-known to the user- music, decreasing the effectiveness of the recommendations. These approaches focus on improving the accuracy of the recommendations. That is, try to make accurate predictions about what a user could listen to, or buy next, independently of how useful to the user could be the provided recommendations.
In this Thesis we stress the importance of the user's perceived quality of the recommendations. We model the Long Tail curve of artist popularity to predict -potentially- interesting and unknown music, hidden in the tail of the popularity curve. Effective recommendation systems should promote novel and relevant material (non-obvious recommendations), taken primarily from the tail of a popularity distribution.
The main contributions of this Thesis are: (i) a novel network-based approach for recommender systems, based on the analysis of the item (or user) similarity graph, and the popularity of the items, (ii) a user-centric evaluation that measures the user's relevance and novelty of the recommendations, and (iii) two prototype systems that implement the ideas derived from the theoretical work. Our findings have significant implications for recommender systems that assist users to explore the Long Tail, digging for content they might like.
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Sjöberg, Mikael. ""Hur känd kan jag bli på fem veckor?" : En studie om distribution av musik via Internet." Thesis, Södertörn University College, School of Communication, Media and it, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3219.

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Internet and the digital channels for distribution have meant big changes for the musicindustry. The physical record that has been symbolising this market for a long time is slowlybeing replaced by digital based music. The technical progress during the last ten years has ledto a democratization of music production. The amateur musicians of today can produce highquality music on their laptops and later distribute it via free music sites. MySpace andYouTube are two of the biggest sites for this free distribution and is therefore my main choiseof study.

The purpose of this essay was to find out how and if these changes have made a difference formusicians without a record deal to reach an audience by themselves. In order to find this out Iconducted three qualitative personal interviews with both established and amateur musiciansworking in the music business.

To find out how many listeners a amateur musician can generate on their own within a shortamount of time I made a quantitative study during five weeks where I posed as an musicianstarting from scrach with an aim to become famous. During these five weeks I got my songplayed 164 times and got to collaborate with a podcast show from England.

My hypothesis has been that the future role of the record company will be reduced andpossibly disappear. The theories in this essay argues that this might indeed be the case whenmusicians have accsess to a world o free marketing.


Internet och de digitala distributionskanalerna har inneburit stora förändringar för musikindustrin. Den fysiska skivan som länge har symboliserat denna marknad försvinner bytssakta men säkert ut mot digitalt baserad musik. De tekniska framgångarna under de senastetio åren har lett till en demokratisering av musik produktion. Amatörmusiker kan idagproducera musik med hög kvalitet på en laptop och sprida den gratis med hjälp av sajter förgratis musik. MySpace och YouTube representerar två av de största kanalerna för dennaspridning av gratis musik och jag har därför valt att fokusera min undersökning till dessa tvåsajter.

Syftet med denna uppsats var att at reda på hur och om denna förändring inomdistributionsmöjligheterna har förändrat förutsättningarna för musiker utan skivkontrakt attsprida sin musik och hitta en publik på egen hand. För att studera detta utförde jag trekvalitativa intervjuer med etablerade musiker och amatörmusiker inom musikbranschen.

För att ta reda på hur många lyssnare en amatörmusiker kan generera på egen hand under enkortare tid utförde jag en kvantitativ studie under loppet av fem veckor. I denna undersökningsatte jag mig själv in i rollen som amatörmusiker med en målsättning att bli känd. Underdessa fem veckor fick jag min låt spelad 164 gånger och fick även medverka på en podcastfrån England.

Min hypotes var att skivbolagen kommer att spela en mindre roll i framtidens musikscen ochkanske rent utav att försvinna. Teorierna som behandlas i denna uppsats talar för detta. I envärld där musiker har tillång till gratis marknadsföring och spridning av musik, vem behöverdå skivbolagen?

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Kuylenstierna, Adam. "Underground in the Cloud : En kvalitativ studie om den digitala musikplattformen Soundcloud." Thesis, Stockholms universitet, Institutionen för journalistik, medier och kommunikation (JMK), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-58932.

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Under 2000-talet har medie- och musikklimatet varit i omstöpning. Förutsättningar för att dela, distribuera och upptäcka musik har förändrats i grunden. Soundcloud, en digital musikplattform som startade sin verksamhet hösten 2008, står på många sätt i centrum för denna utveckling. Det övergripande syftet med föreliggande uppsats är att utifrån ett antal ämnesområden kopplade till teknik och musik, sociala funktioner och relationer, ett förändrat musiklandskap samt Soundclouds samarbete med Audible Magic tematiskt analysera och problematisera den digitala musikplattformen Soundcloud med utgångspunkt i kvalitativa intervjuer med artister/producenter/DJ:s verkandes inom den elektroniska scenen. Mer specifikt behandlas användarnas förhållning till upplevelsen av musik genom den särskilda teknologi och grafiska inramning som Soundcloud tillhandahåller samt de sociala funktioner som implementerats. Vidare problematiseras synen på Soundcloud som ett community, förhållandet mellan global och lokal tillhörighet samt hur artister respektive lyssnare förhåller sig till ett nytt medie- och musikklimat. Slutligen belyser uppsatsen Soundclouds nyligen initierade partnerskap med Audible Magic – ett företag som specialiserat sig på automatiserad identifiering av medieinnehåll. I tidigare forskning behandlas den så kallade modscenen samt den forskning som bedrivits kring det komplexa förhållandet mellan musik, teknologi och sociala praktiker. Det teoretiska ramverket är baserat på Chris Andersons ”Long Tail”-teori, med betoning på demokratiseringen av distributionsmedel respektive produktionsverktyg samt nya filter för urval och sammankoppling mellan utbud och efterfrågan. Vidare berörs Gerd Leonhards samtidsforskning om det nya medie- och musikklimat som står inför dörren. Studien har belyst Soundclouds distinkta grafiska gränssnitt och sociala funktioner och dess inverkan, i både positiv och negative bemärkelse, för hur musik upplevs. Studien visar att Soundcloud kan ses ett steg framåt i processen att göra delning av musik i digital tidsålder mer social, en utveckling som emellertid bromsas av faktum av att banden mellan användarna i många fall är allt för svaga, vilket bland annat beror på Soundclouds allt för kraftfulla filtrering- och urvalsmekanismer. En konsekvens av detta är att Soundcloud i sig ofta inte ses som ett community, utan blott som ett verktyg eller en länk mellan lokala noder. Denna slutsats stärks av faktum att samtliga informanter framhöll lokal tillhörighet som grundläggande. Musikaliska samarbeten via en digital musikplattform som Soundcloud menar man aldrig kommer att kunna ersätta det kreativa utbyte som sker fysisk mellan människor. Partnerskapet med Audible Magic är ännu i ett tidigt stadium. Studien visar att samarbete kan få både negativa och positiva följder. Det negativa består i att DJ-mixar kan komma att försvinna från Soundcloud. Det positiva i att en ökad upphovsrättslig kontroll kan fungera som ett incitament för att göra artister mer originella i sitt arbete
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"Music recommendation and discovery in the long tail." Universitat Pompeu Fabra, 2009. http://www.tesisenxarxa.net/TDX-0612109-190038/.

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Huang, Yi-ching, and 黃益青. "The Study of Network Recommendation Method in Long Tail Market''s Two Sides Application: Take Taiwan''s Digital Music Industry as an Example." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/84242134743483930509.

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碩士
逢甲大學
企業管理所
96
Web2.0 is the contour and new game rule of latter network world. Long Tail is the network marketing criterion and new economics of the culture creative industry in Web2.0 world. The music industry changed rapidly in the last decade, and the product sales changed from physical CD disks to digital music. All industry emerged from the new patterns in essential and operational. The proposes of the research are to explore (1) the fit of latter Taiwan''s digital music industry application in Web2.0 and Long Tail; (2) the recommendation effect of the network recommendation method in that; (3) the future developing tendency in digital music industry. Through the exploration of research questions with perspectives of bibliographical conferring, this research divides consumers'' preferences of the top mass market and the rear niche market into audiences of pop music and niche music. The types of latter digital music divide into three types: P2P Files Exchange, Streaming and Charge for Downloading. Network recommendation method divide equally emphasized basis of media and information in marketing effect into two dimensions: the message''s media sources and the recommendation message''s delivery. Through in-depth interview, this research has discovered that (1) P2P Files Exchange is the most prevalent channel of consumers'' illegal downloading music; (2) Streaming has developed to the popular legal digital music; (3) it''s hard to survive due to Charge for Downloading is too expensive. Furthermore, the consumers of preferring niche music have better accepted recommendation effect to (1) the message''s media sources of higher autonomous content; (2) the recommendation message''s delivery of higher individual controlling content.
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Books on the topic "Tamil Music"

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The history of Tamil music. Chennai: University of Madras, 2003.

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Tamil folk music as Dalit liberation theology. Bloomington: Indiana University Press, 2012.

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Iyengar, R. Rangaramanuja. Carnatic music pallavi tradition =: Karnāṭaka saṅkīta pallavi sampiratayam : pala rāka tāḷaṅkaḷil sāhittiya neraval, jāti vin̲yāsam, an̲ulōma pratilōmam, svara pstāram ivar̲r̲ai viḷakkum 25 pallavikaḷ. Mumbai: Vipanchi Cultural Trust, 1997.

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Kuppuswami, T. V. Situating sound and rhythm: Music of Tamil Nadu. New Delhi: Gyan Pub. House, 1999.

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Kuppuswami, T. V. Carnātic music and the Tamils. Delhi: Kalinga Publications, 1992.

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Sundararaman. RagaChintamani: A guide to Carnatic ragas through Tamil film music. Chennai: Pichhamal Chintamani, 2005.

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Centilnātan̲. Kīrttan̲ai mālai, mutalām pākam. Colombo: W.S. Sendhilnathan, 2000.

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Bhagyalekshmy, S. Carnatic music compositions: An index. Trivandrum: CBH Publications, 1994.

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Kulēntiran̲, Ñān̲ā. Teyvat Tamil̲icai. Tañcāvūr: Kiruṣṇi Patippakam, 1994.

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Iḷaṅkumaran̲, Irā. Tamil̲icai iyakkam. Cen̲n̲ai: Maṇivācakar Nūlakam, 1993.

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Book chapters on the topic "Tamil Music"

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Celma, Òscar. "The Long Tail in Recommender Systems." In Music Recommendation and Discovery, 87–107. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-13287-2_4.

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Craw, Susan, Ben Horsburgh, and Stewart Massie. "Music Recommendation: Audio Neighbourhoods to Discover Music in the Long Tail." In Case-Based Reasoning Research and Development, 73–87. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-24586-7_6.

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Nayak, Suraj Kumar, Utkarsh Srivastava, D. N. Tibarewala, Goutam Thakur, Biswajit Mohapatra, and Kunal Pal. "Effect of Odia and Tamil Music on the ANS and the Conduction Pathway of Heart of Odia Volunteers." In Pattern and Data Analysis in Healthcare Settings, 240–63. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0536-5.ch012.

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The current study delineates the effect of Odia and Tamil music on the Autonomic Nervous System (ANS) and cardiac conduction pathway of Odia volunteers. The analysis of the ECG signals using Analysis of Variance (ANOVA) showed that the features obtained from the HRV domain, time-domain and wavelet transform domain were statistically insignificant. But non-linear classifiers like Classification and Regression Tree (CART), Boosted Tree (BT) and Random Forest (RF) indicated the presence of important features. A classification efficiency of more than 85% was achieved when the important features, obtained from the non-linear classifiers, were used. The results suggested that there is an increase in the parasympathetic activity when music is heard in the mother tongue. If a person is made to listen to music in the language with which he is not conversant, an increase in the sympathetic activity is observed. It is also expected that there might be a difference in the cardiac conduction pathway.
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Ahmed, Omar. "Representing Terrorism." In Studying Indian Cinema, 183–200. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0011.

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This chapter explores Mani Ratnam's 1998 film Dil Se (From the Heart) to engage critically with changing representations of terrorism in contemporary Indian cinema. Mani Ratnam is recognised by many critics and the Indian film industry as one of its finest and most commercially successful film-makers. Dil Se was Ratnam's first Hindi film and the third part in a loose trilogy of films dealing with the relationship between nationalism, terrorism, and urban violence. The chapter then looks at regional film-making in India, particularly Tamil cinema. It also considers Mani Ratnam's concerns as an auteur, the music of Dil Se and composer A.R. Rahman, and perhaps most importantly, the impact the film had at the UK box office with the Non-Resident Indian (NRI) audience.
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Weidman, Amanda. "The Remarkable Career of L. R. Eswari." In Vamping the Stage. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824869861.003.0008.

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Song sequences in Indian popular cinema play a central role in organizing affect and desire through imagery and sound. These songs feature the voices of “playback” singers, so named because their voices are first recorded in the studio and then lip-synced by the actors and actresses on the set during the filming process. This chapter examines how playback singing, which emerged as a professional career possibility in the 1950s, produced new forms of stardom and opportunities for women to enter the public sphere, while serving as a key site for the creation and circulation of ideologies and aesthetics of gender and voice. In particular, it will examine the career and persona of L.R. Eswari, who, although she did not start out as such, came to be branded as a “vampy” singer in the late 1960s Tamil film industry, subsequently made a name for herself in devotional music in the 1970s and 80s, and has recently re-emerged as a playback singer in the last few years.
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Miller, Malcolm. "Ancient Symbols, Modern Meanings The Use of the Shofar in Twentieth- and Twenty-First-Century Music." In Qol Tamid, 165–220. Claremont Press, 2018. http://dx.doi.org/10.2307/j.ctvbcd1px.12.

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"A Standard of Socialist Cinema: The Clear River Tamir (Tungalag Tamir, 1970–1973)." In Mongolian Film Music, 93–112. Routledge, 2016. http://dx.doi.org/10.4324/9781315596044-12.

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Vedral, Vlatko. "Place Your Bets: In It to Win It." In Decoding Reality. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198815433.003.0012.

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Until now we have discussed how life propagates and how life eventually ends; but I guess what most of us are preoccupied with is ‘what we do in between.’ In this chapter, I would like to stay in-between these two extremes and enjoy the moment. What more could we ask for? Excitement is what I, for one, would like to have. Whilst the concept of excitement may be subjective, most would agree that some modicum of risk comes as a given. It is much harder to get excited by certainty (let’s face it, we all find certainty boring). Let us instead choose life and discuss the various ways to make it more exciting. It’s 1962 Las Vegas, the city of dreams. Millions are made and lost every minute of every day. The city is littered with dreams of rookies making their way across the Nevada desert with borrowed money to chance their arm. Perhaps he will come back a millionaire or perhaps he will come back with his tail between his legs. But this day is different. Today a new cowboy is in town. He enters one of the casinos, the music is going, the cameras are on him, and the wine and the girls are on tap. He looks around, spots the blackjack table and makes a beeline straight for it. When the sexiest game in town is poker – why is this guy spending all his time on the blackjack table? He has a strategy, he thinks, that will beat the dealer. In his pocket, he has $10,000 to play with (in 1962 not an insignificant amount – worth around a cool quarter of a million dollars today), so this guy clearly means business. He starts to play the game like any rookie, placing small bets, quite innocuous, but as the game wears on, whilst others were leaving the table, this guy is still going. Slowly but surely his strategy seemed to be working. Of course, no casino likes winners, and is particularly wary of those that go about their business with such ruthless efficiency in such a cool and methodical manner.
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"Glossary Bailian Jiao White Lotus teachings baimiao paying homage at the temples ban band caijie street procession cha, ban small cymbals chi hui hold a feast for all the households chuige songs for winds chuigu shou drumers and wind players dangzi gong in frame daqu large pieces dizi transverse flute with kazoo membrane fang dengke releasing the lanterns fangshe or shishi pardon and distribution of food fang hedeng releasing the river lanterns gongche traditional notation gu large barrel drum guanshi, zan guan helper guanzi double-reed pipe guyueban, chuida ban wind-and-percussion band huahui assembly of performing troupes hui association huishou association head nanyue the southern music nao, bo large cymbals pai prelude paizi percussion pieces, cf. the melodic qupai qu pieces qupai labelled melodies shang miao going to the temple shan hui charitable associations she society she hui altar assembly shen body sheng free-reed mouth organ sheng-guan yue type of wind-and-percussion music shenghui outstanding association shifu masters tao suites wei tail xiangshou incense head xiaoqu small pieces xueshi learning the [ritual] business xuyuan make vows to the gods." In Tradition & Change Performance, 48. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-10.

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Conference papers on the topic "Tamil Music"

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Supriya, P., R. Jayabarathi, C. Jeyanth, Yogeshwar Ba, Adith Sarvesh, and Mohamed Shurfudeen. "Preliminary Investigation for Tamil cine music deployment for mood music recommender system." In 2020 6th International Conference on Advanced Computing and Communication Systems (ICACCS). IEEE, 2020. http://dx.doi.org/10.1109/icaccs48705.2020.9074249.

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Ferraro, Andres. "Music cold-start and long-tail recommendation." In RecSys '19: Thirteenth ACM Conference on Recommender Systems. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3298689.3347052.

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Domingues, Marcos Aurélio, Fabien Gouyon, Alípio Mário Jorge, José Paulo Leal, João Vinagre, Luís Lemos, and Mohamed Sordo. "Combining usage and content in an online music recommendation system for music in the long-tail." In the 21st international conference companion. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2187980.2188224.

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Domingues, Marcos Aurelio, and Solange Oliveira Rezende. "The Impact of Context-Aware Recommender Systems on Music in the Long Tail." In 2013 Brazilian Conference on Intelligent Systems (BRACIS). IEEE, 2013. http://dx.doi.org/10.1109/bracis.2013.28.

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