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Empirical Study of Indian Classical Ragas Structure and Its Emotional Influence on Human Body for Music Therapy

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Empirical Study of Indian Classical Ragas Structure and Its Emotional Influence on Human Body for Music Therapy Journal of Management Engineering and Information Technology (JMEIT) Volume -3, Issue- 4, Aug. 2016, ISSN: 2394 - 8124 Impact Factor : 4.564 (2015) Website: www.jmeit.com | E-mail: [email protected]|[email protected] Empirical Study of Indian Classical Ragas Structure and its Emotional Influence on Human Body For Music Therapy A.A.Bardekar, Ajay.A.Gurjar A.A.Bardekar, Department of Information Technology Sipna College of Engineering and Technology Amravati(M.S), India [email protected] Ajay.A.Gurjar, Department of Electronics &Telecommunication Sipna College of Engineering and Technology Amravati(M.S), India [email protected] Abstract---Before some decades, ancient Indian classical musical guide lines. This is kind of a grey area when it comes to maestros affirmed that, ragas influences emotions of human being differentiating between a few Sanskrit words that start with by changing the resonance of human body.Some ragas like darbari “ra”, like ranj, which means to colour with emotion. In Indian kanada, khamaj and pooriya are found to help in defusing mental classical music, a raga is performed at a set time of day or tension, particularly in the case of hysterics. Raga malhar Pacifies season with the intention of evoking specific moods within the anger, excessive mental, excitement & mental instability, Raga listener and self very much like theatre and paintings, which jaijaivanti have also been pound effective in curing mental disorders and calming the mind.Although it is require to verify this were closely related mediums of communication. Each different raga correlation systematically. By survey, it has been seen that no raga holds its own set of rules upon which the melody relies and schemes have demonstrated yet. In the light of above discussion, respects. There are rules for upward directions of the scale, the proposed research presented in this paper is aimed to discover “aahroh,” and downward movements, “aavroh”; rules that the science behind phonetics of raga and its effects on nerve specify phrases to use and to avoid and which notes to use system. This research is one step to explore scientifically the sparingly and often. The character of the raga is defined by the ancient way of alternative medicine i.e. raga therapy, which is a order and sequence of these notes and, just as importantly, need of the day since current advances in technology and rising subtle grace-notes called gamakas[2]. workload on human being is accompanied by stress. This research Emotions give meaning to our lives. No aspect of our focuses on to study the influence of Indian classical ragas structure on human body while person is listening and experiencing an mental life is more important to the quality and meaning of our emotion in it by capturing EEG signals. The brainwave signals existence than emotions. They make life worth living, or database will be collected and analyze. This research work sometimes ending. The English word “emotion” is derived from addresses these objectives and aims to present a strong case which the French word ‘emouvoir’ which means ‘move’. Great will help medical practitioners like psychiatrist, to treat patient by classical philosophers Plato, Aristotle, Spinoza, Descartes injecting music stimulus. conceived emotion as responses to certain sorts of events triggering bodily changes and typically motivating Keywords: Music therapy, Emotion, raga and emotions, EEG, characteristics behavior[3]. Traditionally music is said to evoke Brainwave Signals. seven basic emotions: sadness, romance, peace, strength/courage, anger, dispassion, devotion. Each raag elicits I. INTRODUCTION a unique emotional state (rasa) consisting of one or more of In our daily life human being generally come across these emotions [4]. stress resulting in various physical and psychological ailments. A. Emotions and Ragas Ancient Indian tradition provides various therapies such causes like yoga, meditation and raga chikitsa. Raga chikitsa was an Each raga is uniquely defined by its pitch collection ancient manuscript which dealt with the therapeutic effects of and characteristic phrase. Each raga has some mood associated raga. Some ragas like darbari kanada, khamaj and pooriya are with it that can be related to its pitches and their relations one found to help in defusing mental tension, particularly in the case with another. Certain pitch classes commonly occur in ragas of hysterics. Raga malhar Pacifies anger, excessive mental, conveying a particular kind of emotion. The pitch set of a raga excitement & mental instability, Raga jaijaivanti have also been and its characteristic phrase establish the flavor or mood of the pound effective in curing mental disorders and calming the raga. It is a well-accepted notion that there are 11 basic moods mind [1]. In Sanskrit ‘Raga’, literally means “colour” or (based on "Raga, the soul of classical music") in North Indian “mood” similar to rasa but involving specific musical rules or 1 Journal of Management Engineering and Information Technology (JMEIT) Volume -3, Issue- 4, Aug. 2016, ISSN: 2394 - 8124 Impact Factor : 4.564 (2015) Website: www.jmeit.com | E-mail: [email protected]|[email protected] Classical Music that can be depicted through a combination of 1. karuna, 2.shringar,3.shanta4.veer,5.raudra,6 vyragya, music, dance and poetry: 7. bhakti, 8.bhayanak,9.hasya,10.bibhatsa,11.adbhuta. Music alone cannot convey all 11 sentiments and its scope is limited to the first 7 moods. Each raga or ragini is associated with a definite mood or sentiment that nature arouses in human beings. The The ten parent classes are: ancient musicologists were particularly interested in 1. Bhairav - An early morning raga usually played at the effects of musical notes, how it affected and daybreak. enhanced human behavior. Music had the power to 2. Bhairavi - A morning raga often played at the finale cure, to make you feel happy, sad, disgusted and so on. of any musical performance. Extensive research was carried out to find out these 3. Asavari - A morning raga popularly known as a effects. This formed the basis of time theory as we romantic raga. know it today. Aligned with the emotional and 4. Todi –A morning raga meditative in nature. psychological effect of music on the human mind, the 5. Kafi - This raga does not have a performance time, semitones or Shrutis of the octave were named known for its shringar (romantic) mood. according to subtle shades of different sentiments, 6. Marwa - A raga played around dusk bringing about feelings and emotions. The Ragas and Raginis emerge an ascetic mood. as the suggestive sound images of these sentiments, 7. Purvi - An afternoon raga conveying a mood of emotions and passions[6]. serenity. Western classical music is based on harmonic 8. Khamaj - An evening raga, often used in semi- relations between notes, while Hindustani music (HM) classical and folk music owing to its lilting is based on melodic mode (raga) structures within character. rhythmic cycles. Hence, these two forms of "music 9. Kalyan - An evening raga used to convey may demand qualitatively different cognitive descriptions of beauty. engagements. Each raga in HM, conventionally 10. Bilawal - A morning raga that conveys joy [5]. assigned to a corresponding rasa/emotion is known consistently evoke a certain emotion. The artist B.Raga and Time of day exploits her creativity and elaborates melodic framework to bring out the rasa or the emotion [7]. One of the unique characteristics of Indian music is the assignment of definite times of the day and C .Raaga Structure night for performing Raga melodies. It is believed that only in this period the Raga appears to be at the height a)Raag Yaman for Peace ,Happiness is traditionally of its melodic beauty and majestic splendor. There are performed only during the early evening. It conveys a some Ragas which are very attractive in the early hours mood that is serene, calm,and peaceful and at the same of the mornings; others which appeal in the evenings, time joyful and lively. In the South Indian music yet others which spread their fragrance only near the tradition, the counterpart of Raag Yaman, with the midnight hour. There are Ragas associated with the same melodic structure, is called Raag Kalyani.The rainy season (Raga Megha and Raga Malhar), the notes in a Raag Yaman roughly correspond to the autumn season (Raga Basant) and the spring following notes in the western scale, in the key of D: season (Raga Bahar). Seasonal Ragas can be sung and Thaat : Kalyan played any time of the day and night during the season Aaroha : Sa Re Ga Ma(Kori Ma/trivra Ma i.e. Ma#) allotted to them. The obligation of time in case of such Pa Dha Ni Sa melodies is relaxed. This connection of time of the day Avroha : Sa Ni Dha Pa Ma((Kori Ma/trivra Ma i.e. or night, with the Raga or Raginis is based on daily Ma#)) Ga Re Sa cycle of changes that occur in our own moods and Pakad : Ni-Re-Ga-/Re-Ma(Kori Ma/trivra Ma i.e. emotions which are constantly undergoing subtle Ma#)-Pa- /Ma(Kori Ma/trivra Ma i.e. Ma#-Pa- changes in that different moments of the day arouse Dha/Dha-Ni- Sa'(upper octave) and stimulate different moods and emotions. The Vaadi :Ga mental and emotional responses in the autumn or Samvaad:i Ni winter or during the rainy season are different from the Prahar (Time): Night (Pratham Prahar) spring. Scheduling playing times of ragas has a variety of advantages. It fits the mood of the raga with our own b)Raag Todi is mostly pervaded by a pensive, mood, thus forming a fusion of body and soul. It also mournful mood. creates a definite space of time hence making it possible for various ragas to get a turn at performance.
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