A behavioral study of emotions in south indian classical music andits implications in music recommendation systems

This book explores drumming and other instrumental traditions that are interconnected over vast regions of South and West Asia. The traditions considered here qualify broadly as functional music rather than concert music and include the public instrumental music of weddings, funerals, and religious holidays. The book examines patterns that pervade functional music of South Asia and to some extent North and South Indian classical music and how performed texts are related to their verbal or vocal models. It also considers what it means in particular contexts for musical instruments to be voicelike and carry textual messages. This chapter discusses the broad historical context in which voices and instruments have been co-constructed in the history of the Indian subcontinent and regions west. Many examples from South India are included to help create a picture that transcends the bounds of Muharram Ali's travels.

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Pattern Recognition in South Indian Classical Music Using a Hybrid of HMM and DTW

International Conference on Computational Intelligence and Multimedia Applications (ICCIMA 2007) ◽

10.1109/iccima.2007.337 ◽

2007 ◽

Cited By ~ 11

Author(s):

M.S. Sinith ◽

K. Rajeev

Keyword(s):

Pattern Recognition ◽

Classical Music ◽

South Indian ◽

Indian Classical Music

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The illustrated companion to South Indian classical music

Choice Reviews Online ◽

10.5860/choice.37-2703 ◽

2000 ◽

Vol 37 (05) ◽

pp. 37-2703-37-2703

Keyword(s):

Classical Music ◽

South Indian ◽

Indian Classical Music

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Application of pitch tracking to South Indian classical music

2003 International Conference on Multimedia and Expo. ICME '03. Proceedings (Cat. No.03TH8698) ◽

10.1109/icme.2003.1221330 ◽

2003 ◽

Cited By ~ 3

Author(s):

A. Krishnaswamy

Keyword(s):

Classical Music ◽

Pitch Tracking ◽

South Indian ◽

Indian Classical Music

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A STUDY OF MUTHUSWAMI DIKSHITAR’S EXPERTISE ON VARIOUS ELEMENTS OF MUSICOLOGY REFLECTED THROUGH HIS COMPOSITIONS

ShodhKosh: Journal of Visual and Performing Arts ◽

10.29121/shodhkosh.v2.i2.2021.43 ◽

2021 ◽

Vol 2 (2) ◽

pp. 83-92

Author(s):

Utpala Karanth ◽

Dr. R Rangan

Keyword(s):

Music Theory ◽

Classical Music ◽

The South ◽

Sufficient Knowledge ◽

South Indian ◽

Indian Classical Music ◽

Indian Music ◽

Ancient Texts

Musicology is the study of scientific and intellectually handling of music. This is a colossal subject of music and inquest into the History and phenomenon of music including; life and works of Composers and performers, music theory like melody, rhythm, harmony, modes, aesthetics, form etc. The Historical evidences of Indian Classical music have been discussed in several ancient texts like Veda’s, Upanishads, epics way back 2000 years ago. The Rigveda, Yajurveda, Samaveda and Atharvaveda contains ritual hymns and incantations (vedic chants) , praising the specific dieties during the Sacrificial rituals. The South Indian music has a phlegmatic and pedagogic nature when compared with the music of other unconsecrated Hindustani traditions. This paper highlights the proficiency of Dikshitar’s knowledge of Musicology bequeathed from his father Ramaswami Dikshitar, a scholar, musician, learned musicologist, and recipient of many honours and emoluments in the knowledge of music gained sufficient knowledge in musicology who had settled down at Tiruvarur where Dikshitar was born. Tiruvarur then was a seat of learning of Sanskrit and Vedanta. Dikshitar’s compositions reflect his deep and thorough knowledge widely through the interpretation of their literature as seen in famous compositions like ‘Vatapi Ganapatim Bhaje’, ‘Amrutavarshini’ and others will be discussed with the various rasas created through the ragas as enunciated in the Natyashastra of Bharat Muni.

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