AN OVERVIEW OF HINDUSTANI MUSIC IN THE CONTEXT OF COMPUTATIONAL MUSICOLOGY Suvarnalata Rao* and Preeti RaoŦ National Centre for the Performing Arts, Mumbai 400021, India * Department of Electrical Engineering, Indian Institute of Technology Bombay, IndiaŦ
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[email protected] [This is an Author’s Original Manuscript of an Article whose final and definitive form, the Version of Record, has been published in the Journal of New Music Research, Volume 43, Issue 1, 31 Mar 2014, available online at: http://dx.doi.org/10.1080/09298215.2013.831109 [dx.doi.org]] ABSTRACT ludes any key changes, which are so characteristic of Western music. Indian film music is of course an excep- With its origin in the Samveda, composed between 1500 - tion to this norm as it freely uses Western instruments 900 BC, the art music of India has evolved through ages and techniques including harmonization, chords etc. and come to be regarded as one of the oldest surviving music systems in the world today. This paper aims to Art music (sometimes inappropriately described as clas- provide an overview of the fundamentals governing Hin- sical music) is one of the six categories of music that dustani music (also known as North Indian music) as have flourished side by side: primitive, folk, religious, practiced today. The deliberation will mainly focus on the art, popular and confluence. The patently aesthetic inten- melodic aspect of music making and will attempt to pro- tion of the art music sets it apart from other categories. It vide a musicological base for the main features associated is governed by two main elements: raga and tala.