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Raags) in Hindustani Indian Classical Music Turkish Journal of Physiotherapy and Rehabilitation; 32(3) ISSN 2651-4451 | e-ISSN 2651-446X A COMPARATIVE ASSESSMENT OF THE DIFFERENT APPROACHES USED TO CLASSIFY THE MELODIC SCALES (RAAGS) IN HINDUSTANI INDIAN CLASSICAL MUSIC Dattatreya Mutalik Desai1, Sanjay H S2, Nandakishor Mutalik Desai3, Kirthana Kunikullaya4, Prithvi B S5 1,5 Medinxt Technologies Pvt Ltd, Bangalore, India 2,3Department of Medical Electronics Engineering, M S Ramaiah Institute of Technology, Bangalore, India 4 Department of Physiology, M S Ramaiah Medical College, Bangalore, India email: [email protected] ABSTRACT Hindustani Indian Classical Music (ICM) is one of the oldest and ancient forms of Indian music culturewhich is existing and is largely being followed and performed even at present in different parts of the country, although Carnatic form of ICM is more predominant in Southern states of India. Music being a qualitative phenomenon, seldom do researchers assess the same with a quantified approach. The present article highlights one such quantitative approach being followed so as to classify a given Hindustani ICM Raaga with the aid of different approaches. In order to classify the raaga, attributes such as Thaat, Arohan, Avarohan, Pakkad, Raagang have been used. While Raagang based approach posed difficulties pertaining to the uncertainties in Pakkad, Arohan and Avarohan based approaches have been found to provide an accuracy of about 85% for Santoor and Sarod, but an accuracy of 70.18% for Sitar due to the incorporation of Meend (Flow from one note to another without pause) and the Chikari (Note used in between two phrases)Sa in the Raags. However, it was to be noted that the Thaat based classification provided an accuracy of 86% for every Raaga and hence was concluded to be the best approach for automated classification of Raagas. Incorporation of digital approaches aided in the ease of the experimental paradigms and hence were preferred over conventional analog approaches. Such approaches can help to develop artificial intelligence-based methods to help in the classification as well as the presentation of Raagas in the near future with a higher accuracy. Also, a combination of different attributes could be explored to develop better classification systems as a next step in this work. Keywords: Hindustani Indian Classical Music; Carnatic Indian Classical Music; Raaga; Thaat; Raagang; Arohan and Avarohan; Artificial intelligence I. INTRODUCTION Indian Classical Music (ICM) is perhaps one of the oldest forms of music known and termed so due to its Indian origin. It is well quoted in different Vedic chants, songs and other music-based domains in ancienthistory [1]. Indian music is known to be melody oriented and is further classified into Hindustani music (originated in the northern part of India) and Carnatic music (originated in the southern part of India) [2]. While Hindustani music is known to depend on the improvisation on raaga-based aspects, Carnatic equivalent depends on the composition-based improvisation. However, both these sects of music depict numerous commonalities and very few differences. Abundant information about ICM is available in Hindu Vedic texts. However, the best source that one could quote would be the Sanskrit text “Sangeetha Ratnakara” written by “Saranga deva”, according to which ICM is based on two basic entities namely Raaga (melodic scale) and Taal [3]. The ICM depends on a 12- note-scale with 7 natural notes called the ShudhSwars(r,g,m,d,n) and 5 derived half-notes called the Komal swaras (r,g,d,n) (Also called as Flat Note in western system) and the swara(m) (Also called as Sharp note in Western system) [9]. As compared to its western counterpart, for the base note termed as Sa frequency remains fixed (also called as PrakruthiSwar) while in the Vikruthaswara (the rest of the notes in the scale) frequency changes as per the raga chosen and composition of its notes. www.turkjphysiotherrehabil.org 5196 Turkish Journal of Physiotherapy and Rehabilitation; 32(3) ISSN 2651-4451 | e-ISSN 2651-446X Swar, is a term in Sanskrit which is known to connect onto an octave. It provides a comprehensive dimension to the scale of a given raag [14]. Swar can be divided into two types, AchalaSwar (PrakruthiSwar) and ChalaSwar (Vikruthi Swar). AchalaSwar refers to the fixed notes namely Sa and Pa, astheir frequencies are fixed for a given Shruthi (Pitch) [15], the ChalaSwar have different frequencies for the given Shruthi (Re, Ga, Ma, Dha and Ni) The different frequencies are labelled as Komal (Frequency lesser than specified standard frequency), Shudh (Specified Standard frequency) and Teevra (Frequency greater than Specified standard frequency), which are selected based on a specific Raag. Swar Re, Ga, Dha, Ni can be represented in Shudh and Komal while Ma can be presented in Shudh and Teevra according to Indian Standard Music Scale. Raaga is known to be dependent on Swaras (notes) thereby forming the melody-based aspects while the Taal is relative to the timeline and hence aids to determine the tempo & rhythm of composition to the raag [4]. Due to the fact that the different patterns of notes and associated rhythm of their rendition creates the unique melody, Hindustani as well as the Carnatic music is often perceived to be different, even though they are similar in terms of their origin [5]. The word Raaga is adapted from the Sanskrit word “Ranj” and is known to have a positive impact on the feeling of the listeners [6]. It is based on swaras and is known to depict a definite set of form, structure as well as the sequence so as to provide a mood as well as a definite meaning to the raag. For instance, each of the Graha Swara, (often known as the initial note), the Amsha Swara (the expressive note within a raaga) and the Nyasa Swara (the final note) have different and unique significance with regard to the composition of the Raaga. Every Raaga is known to incorporate two aspects namely the Arohan (ascending notes) and the Avarohan (descending notes) as its basic structure [8]. Raag is a unique but a definitive framework of a predefined set of Swars developed so as to provide a particular bhaava (Feelings/ emotions/ rasas) [10]. Raag is the epicenter of music [11]. Unlike Western music, raag improvisation has no script in ICM and is based on Arohan and Avarohan of a given Raag which may be Sampurna, Audhava or Shadhava [12].Sampurna ragas are those which have all 7 notes in the ascending and descending order. Shadhava is composed of 6 Swars in Arohan and Avarohan each. Audhava is made up of Arohan and Avarohan, each of 5 Swars. Vakra is made up of different numbers of notes with addition or deletion of 1 or 2 notes or jumbling of the notes. There are more than about 10000 raags because of permutation and combinations of notes in different orders. Each raag is given a unique name, for example, Bhoop, Yaman, Durga, Bageshri, Rageshri, Basant, Malkauns, Basant Mukhari etc. When an individual chooses a raag for concert (performance), numerous aspects have to be catered to, such as those pertaining to the timing, mood etc. based on which appropriate improvisation is seen in the raag being played. Raags are known to invoke and stimulate the human body and also vary the psychological status of an individual. Raags produce Rasas (Moods) known as the Nava Rasas namely Shringara (love/beauty), Hasya (laughter), Karuna (sorrow), Raudra (anger), Veera (heroism/courage), Bhayanaka (terror/fear), Bibhatsya (disgust), Adbutha (surprise/wonder), and Shantha (peace or tranquility). Hindu Shastras also mention different raags for different seasons and variations in the same. For instance, raagBhairavi is known to create sad/ sorrow mood[13]. Raags are based on ten Thaats namely Kalyan, Bilawal, Asavari, Kafi, Khamaaj, Bhairavi, Bhairav, Poorvi, Marwa and Todi. (Thaats are the set of scales based on which the Raags are derived). There have been various predefined rules pertaining to Raags. The Swars are often fixed in the Raag. While improvising the notes are to be used in a predefined manner so as to ornament them and emphasize or deemphasize them accordingly. There is also a specific approach to scale the Arohan as well as the Avarohan. Raags could be improvised by the means of Pakkad (important phases). Very few Raags such as those of Lalat, have Komal/TeevraSwar (half note) followed by Shudhswar (full note), which is otherwise not permissible in Hindustani style of music. The performance as well as the time (Prahar) of a given raaga has a definite impact upon the emotional state of the listener as well as the performer. Swar, is a term in Sanskrit which is known to connect onto an octave. It provides a comprehensive dimension to the scale of a given raag [14]. Swar can be divided into two types, AchalaSwar (PrakruthiSwar) and ChalaSwar (Vikruthi Swar). AchalaSwar refers to the fixed notes namely Sa and Pa, astheir frequencies are fixed for a given Shruthi (Pitch) [15], the ChalaSwar have different frequencies for the given Shruthi (Re, Ga, Ma, Dha and Ni)The different frequencies are labelled as Komal (Frequency lesser than the standard frequency), Shudh (Standard frequency) and Teevra (Frequency greater than standard frequency), which are selected based on a www.turkjphysiotherrehabil.org 5197 Turkish Journal of Physiotherapy and Rehabilitation; 32(3) ISSN 2651-4451 | e-ISSN 2651-446X specific Raag. Swar Re, Ga, Dha, Ni can be represented in Shudh and Komal while Ma can be presented in Shudh and Teevra according to Indian Standard Music Scale. Need for the present review Considering all the facts such as Arohan, Avarohan, Raagang, and Thaat systems for the classifications of the raags, it is required to find out and review the best methods for the classification of raags of ICM.
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