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

2020 ◽  
Vol 148 (4) ◽  
pp. 2767-2767
Author(s):  
Ananya Sen Gupta ◽  
Bernice Kubicek ◽  
Kevin Sobieski ◽  
Tejendra Majumdar
Keyword(s):  
Domain Knowledge ◽  
Classical Music ◽  
Underwater Acoustics ◽  
Braid Theory ◽  
Indian Classical Music

Svaraprastāra in North Indian classical music

1961 ◽  
Vol 24 (2) ◽  
pp. 307-325 ◽  
Author(s):  
N. A. Jairazbhoy
Keyword(s):  
Thirteenth Century ◽  
Classical Music ◽  
Musical Scale ◽  
Complete Enumeration ◽  
Group 4 ◽  
Indian Classical Music ◽  
Complete Series ◽  
Logical Order

In the Saṅgītaratnākara, a thirteenth-century musical text by Śārṅgadeva, listed under svaraprastāra (lit. extension of notes) is a complete enumeration of all the possible combinations of the 7 notes of the Indian musical scale. This enumeration begins with the single note (ārcika) and is followed by all the possible combinations of two notes (gāthika), three notes (sāmika), four notes (svarāntara), five notes (auḍuva), six notes (ṣāḍava), and seven notes (pūrṇa). Each of these series of kūṭatānas (series of notes in which the continuity of the sequence is broken) develop in the same logical order based on the precedence of the ascending line over the descending line. In Śārṅgadeva's arrangement the first of the 7 note series is the straight ascending line, sa ri ga ma pa dha ni, which, for easy comprehension will be rendered as l 2 3 4 5 6 7 in this paper; and the last of the 7 note series is the straight descending line, ni dha pa ma ga ri sa, rendered 7 6 5 4 3 2 1 here. The changes in the order of the notes take place from the beginning of the series, at first involving only the first two notes, then the first three notes, then the first four notes, and so on. In fact, the progression for the 7 note series includes the progressions for all the smaller series within it. Thus the 7th note of the 7 note series remains constant until the progressions of one, two, three, four, five, and six notes have been exhausted. Only then is the 7th note replaced by the 6th. The chart on p. 308 is an abbreviation showing the nature of the progression. The 2 and 3 note series involving the first 2 and 3 notes respectively are complete. Beginning from the 4 note series, the chart is abbreviated as follows. The 4 note series is divided into four groups determined by the terminal note, each involves change in the first 3 notes, and each of these groups corresponds to the previous 3 note series, which is in fact the first group of the 4 note series. Of the remaining groups only the first and last sequences are given with an indication as to the number of sequences comprising that group. Similar abbreviations are used in the longer series that follow. Commas have been placed to indicate that the preceding numbers now replace the original ascending sequence (mūlakrama) and that the progressions which follow in that group involve change in only these preceding numbers. For example, if one wishes to determine the complete series from 1 2 4,3 5 6 7 to the end of its particular group 4 2 1 3 5 6 7 the comma after 4 indicates that only the first three numbers change.

scholarly journals Nonlinear Signal Processing Method Detects Emotional Changes Induced by Indian Classical Music

2019 ◽  
Vol 9 (1) ◽  
pp. 6200-6206
Keyword(s):  
Signal Processing ◽  
Classical Music ◽  
Recurrence Quantification Analysis ◽  
Nonlinear Signal Processing ◽  
Recurrence Quantification ◽  
Quantification Analysis ◽  
Indian Classical Music ◽  
Nonlinear Signal ◽  
Sad Music ◽  
The Brain

Music is one of the major activities that alters the emotional experience of a person. Musical processing in the brain is a complex process involving coordination between various areas of the brain. There are less number of studies that focus on analyzing brain responses due to music using modern signal processing techniques. This research aims to apply a nonlinear signal processing technique i.e. the Recurrence Quantification Analysis (RQA) technique to analyze the brain correlates of happy and sad music conditions while listening to happy and sad ragas of North Indian Classical Music (NICM). EEG signals from 20 different subjects are acquired while listening to excerpts of raga elaboration phases of NICM. Along with behavioural ratings, the signals were analyzed using the Recurrence Quantification Analysis technique. The results showed significant differences in the recurrence plot and recurrence parameters extracted from the frontal and frontotemporal regions in the right and left hemispheres of the brain. Therefore, from the results, it can be concluded that RQA parameters can detect emotional changes due to happy and sad music conditions.

Electroencephalography Measurements and Analysis of Cortical Activations Among Musicians and Non-musicians for Happy and Sad Indian Classical Music

2021 ◽  
pp. 161-168
Author(s):  
Nijin Nizar ◽  
Akhil Chittathuparambil Aravind ◽  
Rupanjana Biswas ◽  
Anjali Suresh Nair ◽  
Sukriti Nirayilatt Venu ◽  
...  
Keyword(s):  
Classical Music ◽  
Indian Classical Music

Companion to North Indian Classical Music (review)

Asian Music ◽  
2006 ◽  
Vol 37 (1) ◽  
pp. 134-136
Author(s):  
Gordon Ross Thompson
Keyword(s):  
Classical Music ◽  
Indian Classical Music

scholarly journals PETER MAXWELL DAVIES IN THE 1950S: A CONVERSATION WITH THE COMPOSER

Tempo ◽  
2010 ◽  
Vol 64 (254) ◽  
pp. 11-19 ◽  
Author(s):  
Nicholas Jones
Keyword(s):  
Classical Music ◽  
Early Music ◽  
Compositional Technique ◽  
Indian Classical Music ◽  
The 1950S ◽  
Peter Maxwell Davies

The 1950s was a particularly important decade for Peter Maxwell Davies. It was the period when he established the fundamental elements of his compositional technique; the decade in which he composed his first acknowledged works; and a time, coinciding with his emergence as a composer of substance, when he travelled to Darmstadt, Paris and Rome. It was also the period that witnessed the publication of two of his own articles, and the decade in which his interest in early music – particularly plainchant – and Indian classical music began to influence his own compositional thinking and resulting works.

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