DOCSLIB.ORG

Svara, Gtaaa.% Murchana Among the Topics Dealt with in Sa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Svara, Gtaaa.% Murchana Among the Topics Dealt with in Sa CHAPTER II THE CONCEPT OF ^RUTI,SVARA, ETC. A, The Concepts of Sruti« Svara, GTaaa.% Murchana Among the topics dealt with in Sangitaparijata, Pandit Ahobala has mentioned, Nadotpatti (production of sound), Sruti, Svara, GrSnas, Murchanas, etc. These topics constitute the fundamentals of music. It is therefore essential to consider them at the outset, i) Marga and Desl Music Ancient Indian music was called G^dharva Veda, It was regarded as a subsidiary Veda of SaoBaveda. The term Gandharva denoted a special body of music having a well defined form in all the three aspects of Svara, Tala and Pada, It was regarded as immutable and sacred as Veda- mantras, and its performance was also respected like a Vedic sacrifice. The ultimate aim of the performance of the sacri­ fice was to attain heaven. Similarly, the ultimate aim of Gandharva, which was the Ganayajna, was also to get away from the bondage of life and death and attain Moksa. The sacred nature of Saman was also borrowed by Gandharva( being the Upaveda of the former). Ahobala, in the beginning of his treatise (Sangitaparijata), lays down^ that music has been composed with the words of Veda and practice thereof gives 52 ^3 Moksa. It should therefore be practised as religiously as a Vedic ritual, G&dharvas'astra deals with the theory or science of music. Its theoretical vocabulary consisted of well defined terms and ideas. The terra is comprehensively used as Sangita or music, and includes Gayana (vocal music), Vadana (instru- mental music) and Nartana (the art of dancing). It seems the term was in vogue in this sense even before the days of Bharata. The term Gandharva has been defined by many ahcient •a musicologists.-' As per their definitions Gandharva consists of three elements viz, Svara (notation), Tala (time measure) and Pada (composition). Dattila has added one more element, »Avadhana' or concentration. Thus Giiidharva would mean the systematic presentation of a composition in the form of musical notes, duly regulated by a time measure. This is a very broad, com­ prehensive definition, intended to cover all aspects and all forms of music. Abhinavagupta in his commentary on Natyasastra 28.10, quotes the etymology of the term Gandharva, as given by Narada in his Siksa that 'Ga* indicates the vocal music or singing, Dha indicates the skilful playing of the lutist on the lute, Va indicates the Vakya or the composition, and the element of »Ra' indicates the other instruments. There is one more explanation of the term Gandharva, given by Abhinavagupta, as "that which maintains the language",'^ Here the term »Vacaffl» denotes the musical language, i.e. Giti, the 5^ verbal structure of the musical conposltion. Singing was the profession of a particular class of people in the Vedic days. They were called Gandharvas, Because music was their pro­ vince, it came to be termed as Gandharva. Bharata has stated that the origin of Gindharva, was in Gana (meaning Samagana), the lute, (the Vina) and the flute (Vamsa) (N.S. IV, 28.10). He has said that whatever he has stated about Gandharva has already been stated by Prapitamaha (i.e. Brahma), Bharata explained Gandharva in its relation to Natya. The main function of Gindharva in ancient theatre was in the Preliminaries and it had to perform a propitiatory role. Thus the term Gandharva used by Bharata denoted 'music' in general, its science and art. Its range of mean­ ing was almost the same as that of the English term 'music'. The term Sanglta, in its vast compass includes music in all its forms - vocal, instrumental, choral, together with the allied arts of dancing and gesticulating. Different authors like Narada, Sarngadeva, Damodara, Ahobala etc, have given definitions which agree in the meaning of the term as given above. Thus if music comprises of all the three art forms, why is it called only Sarigita? Ahobala says that vocal music being the primary form, other forms have to be taken as included therein, and the whole thing is known only by the term 'Sangita'. Religious fervour was the source of inspiration for ^5 all activities in man^s life, and more so with music. Music had tkus a higher status and belonged to the dignified society. It was regarded as a class music. Side by side, however, there existed music of the people at large. Their music was not connected in any way with rituals. Still that music was a part and parcel of their life. In this music were exposed their own sentiments, experiences in life, their professions etc. This music differed from the ritualistic music; but it was music and had its own rules of practice, though not perhaps as rigid as those of class music. Thus, at a time, there were two systems of music prevalent in the society, and they came to be distinguished from each other by their characteristics. Two distinctive terms came to be used to mention them. The first one, the class music, came to be termed as »fflarga», and the other one as Desi. The term 'M5:ga» sarigita covered all forms of Gandharva music. The word Marga is derived from the root 'Mrg*, meaning to find out, to search. This music was for the first time 'found out' by lord Brahma, and was demonstrated by Bharata (who learnt it from Brahma) and his disciples in the presence of lord Siva,' This explanation of the term 'marga* was universally accepted and nobody seems to have raised any controversy about it at any stage. Marga means path, tradition. This type of music was handed down by tradition from times immemorial. Hence it is 'Mirga' music. Ahobala, too, has not gone beyond - 8 this trajditional explanation of Marga. The other type of music, i.e. Desi music, was lauklka, or mundane music. It was the music of the people, music of the masses. If Marga was divine, celestial, Desi was earthly- music, •Desi» means 'regional'. Desi music is the music belonging to people of different regions and having different tastes. This music differed according to the taste of the people of the particular region. It was not uniform, and did not follow any particular set of rules. Matariga was the first musicologist to give a rightful place to Desi music in his treatis:e, Brhaddesi,^ Desi music, according to him, belongs to all, right from the king to the cowherd; it is not, unlike the M^rga music, the property and privilege of a particular class of people (e.g. the priest class). Brhaddesi means a treatise on popular music - the music liked and sung by men, women, children, etc. of different regions. Different regions of the country had different types of Desi (regional, indigenous) music which was sung for the pleasure of the people in general, following the local styles and not any rigid rules of intervals, scales, or melody mould, Sarrigadeva who after Matariga laid down a clear cut distinc­ tion between Marga SangTta and Desi Sarigita, has defined DesT music as music capable of entertaining the masses. In his commentary on Ragaviveka chapter of Sangitaratnakara, Kallinatha has said that in Desi music, the artiste has more freedom for elaborations and improvisations according to will 51 IP 1^ and pleasure. In the chapter on 'Svara* he has equated Gandharva with Marga, and Gana with Desi. Sarngadeva has defined Gaha as a coDsposition in Desi Ragas, duly governed ill. ''- , /- by rules etc. By the time of Sarngadeva, Desi music had also developed into a systematic form of music, and had, like Maxga music, its own set of rules of presentation. Later, Marga Sarigita practically receded in background, and the whole field of music was taken over by the Desi music, which had developed both as a science and as a performing art, Ramamatya.like Sarngadeva regards Gana or Desi music as Laksyapradhaiiam - an art governed by rules of practice, and not by inflexible rules of theory, ^ Somanatha treats Desi music as modern music. Ahobala has defined Desi as •regional music'. He has further said that music, both Mstrga and Desf, when presented artistically, are the source of pleasure, ii) Sruti and Svara Whether it was Matga Saiiglta or Desi Sangita, it was governed by the fundamentals of Sruti and Svara. Any music had to be presented through the mediunj of notes, and the Svaras were built up by smaller micro-intervals or microtones called Srutis. The basic element of music is sound, which is manifested in the form of tones and microtones. Music finds an expression through the medium of sound, and the knowledge of the sound theory forms part of the knowledge of the ?8 physical laws of music. The physics of music comprises of the Svara (the tone structure), tila (rhythm structure) and Pada (composition or the word structure). I't is therefore essen­ tial to have thorough knowledge of all the three, and the study of the tone structure deserves first attention. Just as life is for body, so is sound for music, Nada (sound) is said to be containing two elements viz, 'Na' meaning air, and 'Da' meaning fire. Nada or sound is born 17 out of combination of the two, ' Nada is of two kinds - musical and non-musical, Sound or noise produced by irre­ gular motions of any kind with certain suddenness and energy, is non-musical. But when the motion is repeated regularly and at exact intervals of time, the effect is more uniform and agreeable, forming what is known as musical sound. All musical sounds are distinguished from each other by three qualities, viz. loudness (intensity, or strength, or volume) the pitch (particular place of any sound determined by the number of vibrations), and the timber (or quality or character, depending on the source of production of the sound).
Load more

Recommended publications
  • Comparative Analysis of the Melody in the Kṛti Śhri
    Comparative analysis of the melody in the Kṛti Śri Mahāgaṇapatiravatumām with references to Saṅgīta Sampradāya Pradarśini of Subbarāma Dīkṣitar and Dīkṣita Kīrtana Mālā of A. Sundaram Ayyar Pradeesh Balan PhD-JRF Scholar (full-time) Department of Music Queen Mary‟s College Chennai – 600 004 Introduction: One of the indelible aspects of music when it comes to passing on to posterity is the variations in renditions, mainly since the sources contain not only texts of songs and notations but also an oral inheritance. This can be broadly witnessed in the compositions of the composers of Carnatic Music. Variations generally occur in the text of the song, rāga, tāḷa, arrangement of the words within the tāḷa cycle and melodic framework, graha, melodic phrases and musical prosody1. The scholars who have written and published on Muttusvāmi Dīkṣitar and his accounts are named in chronological order as follows: Subbarāma Dīkṣitar Kallidaikuricci Ananta Krishṇa Ayyar Natarāja Sundaram Pillai T. L. Venkatarāma Ayyar Dr. V. Rāghavan A. Sundaram Ayyar R. Rangarāmānuja Ayyengār Prof. P. Sāmbamūrthy Dr. N. Rāmanāthan writes about Śri Māhādēva Ayyar of Kallidaikuricci thus: He is a student of Kallidaikuricci Vēdānta Bhāgavatar and along with A. Anantakṛṣṇayyar (well known as Calcutta Anantakṛṣṇa Ayyar) and A. Sundaram Ayyar (of Mayilāpūr), has been instrumental in learning the compositions of Dīkṣitar from Śri Ambi Dīkṣita, son of Subbarāma Dīkṣita and propagating them to the next generation2. Dr. V. Rāghavan (pp. 76-92), in his book Muttuswāmi Dīkṣitar gives an index of Dīkṣitar‟s compositions which is forked in two sections. The former section illustrates the list of kṛti-s as notated in Saṅgīta Sampradāya Pradarśini of Subbarāma Dīkṣitar while the other one lists almost an equal number of another set 1 Rāmanāthan N.
    [Show full text]
  • B.A.Western Music School of Music and Fine Arts
    B.A.Western Music Curriculum and Syllabus (Based on Choice based Credit System) Effective from the Academic Year 2018-2019 School of Music and Fine Arts PROGRAM EDUCATIONAL OBJECTIVES (PEO) PEO1: Learn the fundamentals of the performance aspect of Western Classical Karnatic Music from the basics to an advanced level in a gradual manner. PEO2: Learn the theoretical concepts of Western Classical music simultaneously along with honing practical skill PEO3: Understand the historical evolution of Western Classical music through the various eras. PEO4: Develop an inquisitive mind to pursue further higher study and research in the field of Classical Art and publish research findings and innovations in seminars and journals. PEO5: Develop analytical, critical and innovative thinking skills, leadership qualities, and good attitude well prepared for lifelong learning and service to World Culture and Heritage. PROGRAM OUTCOME (PO) PO1: Understanding essentials of a performing art: Learning the rudiments of a Classical art and the various elements that go into the presentation of such an art. PO2: Developing theoretical knowledge: Learning the theory that goes behind the practice of a performing art supplements the learner to become a holistic practioner. PO3: Learning History and Culture: The contribution and patronage of various establishments, the background and evolution of Art. PO4: Allied Art forms: An overview of allied fields of art and exposure to World Music. PO5: Modern trends: Understanding the modern trends in Classical Arts and the contribution of revolutionaries of this century. PO6: Contribution to society: Applying knowledge learnt to teach students of future generations . PO7: Research and Further study: Encouraging further study and research into the field of Classical Art with focus on interdisciplinary study impacting society at large.
    [Show full text]
  • Transcription and Analysis of Ravi Shankar's Morning Love For
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura Bethany Padgett Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Padgett, Bethany, "Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura" (2013). LSU Doctoral Dissertations. 511. https://digitalcommons.lsu.edu/gradschool_dissertations/511 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. TRANSCRIPTION AND ANALYSIS OF RAVI SHANKAR’S MORNING LOVE FOR WESTERN FLUTE, SITAR, TABLA AND TANPURA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Bethany Padgett B.M., Western Michigan University, 2007 M.M., Illinois State University, 2010 August 2013 ACKNOWLEDGEMENTS I am entirely indebted to many individuals who have encouraged my musical endeavors and research and made this project and my degree possible. I would first and foremost like to thank Dr. Katherine Kemler, professor of flute at Louisiana State University. She has been more than I could have ever hoped for in an advisor and mentor for the past three years.
    [Show full text]
  • 301763 Communityconnections
    White Paper, p. 2 White Paper The Connected Community: Local Governments as Partners in Citizen Engagement and Community Building James H. Svara and Janet Denhardt, Editors Arizona State University October 15, 2010 Reprinting or reuse of this document is subject to the “Fair Use” principal. Reproduction of any substantial portion of the document should include credit to the Alliance for Innovation. Cover Image, Barn Raising, Paul Pitt Used with permission of Beverly Kaye Gallery Art.Brut.com White Paper, p. 3 Table of Contents The Connected Community, James Svara and Janet Denhardt Preface, p. 4 Overview: Citizen Engagement, Why and How?, p. 5 Citizen Engagement Strategies, Approaches, and Examples, p. 28 References, p. 49 Essays General Discussions Cheryl Simrell King, “Citizen Engagement and Sustainability.” p. 52 John Clayton Thomas, “Citizen, Customer, Partner: Thinking about Local Governance with and for the Public.” p. 57 Mark D. Robbins and Bill Simonsen, “Citizen Participation: Goals and Methods.” p. 62 Utilizing the Internet and Social Media Thomas Bryer, “Across the Great Divide: Social Media and Networking for Citizen Engagement.” p. 73 Tina Nabatchi and Ines Mergel, “Participation 2.0: Using Internet and Social Media: Technologies to Promote Distributed Democracy and Create Digital Neighborhoods.” - p. 80 Nancy C. Roberts, “Open-Source, Web-Based Platforms for Public Engagement during Disasters.” p. 88 Service Delivery and Performance Measurement Kathe Callahan, “Next Wave of Performance Measurement: Citizen Engagement,” p. 95 Janet Woolum, “Citizen-Government Dialogue in Performance Measurement Cycle: Cases from Local Government.” p. 102 Arts Applications Arlene Goldbard, “The Art of Engagement: Creativity in the Service of Citizenship.” p.
    [Show full text]
  • 9753 Y21 Sy Music H2 Level for 2021
    Music Singapore-Cambridge General Certificate of Education Advanced Level Higher 2 (2021) (Syllabus 9753) CONTENTS Page INTRODUCTION 2 AIMS 2 FRAMEWORK 2 WEIGHTING AND ASSESSMENT OF COMPONENTS 3 ASSESSMENT OBJECTIVES 3 DESCRIPTION OF COMPONENTS 4 DETAILS OF TOPICS 10 ASSESSMENT CRITERIA 14 NOTES FOR GUIDANCE 22 Singapore Examinations and Assessment Board MOE & UCLES 2019 1 9753 MUSIC GCE ADVANCED LEVEL H2 SYLLABUS (2021) INTRODUCTION This syllabus is designed to engage students in music listening, performing and composing, and recognises that each is an individual with his/her own musical inclinations. This syllabus is also underpinned by the understanding that an appreciation of the social, cultural and historical contexts of music is vital in giving meaning to its study, and developing an open and informed mind towards the multiplicities of musical practices. It aims to nurture students’ thinking skills and musical creativity by providing opportunities to discuss music-related issues, transfer learning and to make music. It provides a foundation for further study in music while endeavouring to develop a life-long interest in music. AIMS The aims of the syllabus are to: • Develop critical thinking and musical creativity • Develop advanced skills in communication, interpretation and perception in music • Deepen understanding of different musical traditions in their social, cultural and historical contexts • Provide the basis for an informed and life-long appreciation of music FRAMEWORK This syllabus approaches the study of Music through Music Studies and Music Making. It is designed for the music student who has a background in musical performance and theory. Music Studies cover a range of works from the Western Music tradition as well as prescribed topics from the Asian Music tradition.
    [Show full text]
  • Computational Analysis of Audio Recordings and Music Scores for the Description and Discovery of Ottoman-Turkish Makam Music
    Computational Analysis of Audio Recordings and Music Scores for the Description and Discovery of Ottoman-Turkish Makam Music Sertan Şentürk TESI DOCTORAL UPF / 2016 Director de la tesi Dr. Xavier Serra Casals Music Technology Group Department of Information and Communication Technologies Copyright © 2016 by Sertan Şentürk http://compmusic.upf.edu/senturk2016thesis http://www.sertansenturk.com/phd-thesis Dissertation submitted to the Department of Information and Com- munication Technologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA, with the mention of European Doctor. Licensed under Creative Commons Attribution - NonCommercial - NoDerivatives 4.0 You are free to share – to copy and redistribute the material in any medium or format under the following conditions: • Attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. • Non-commercial – You may not use the material for com- mercial purposes. • No Derivative Works – If you remix, transform, or build upon the material, you may not distribute the modified ma- terial. Music Technology Group (http://mtg.upf.edu/), Department of Informa- tion and Communication Technologies (http://www.upf.edu/etic), Univer- sitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain The doctoral defense was held on .................. 2017 at Universitat Pompeu Fabra and scored as ........................................................... Dr. Xavier Serra Casals Thesis Supervisor Universitat Pompeu Fabra (UPF), Barcelona, Spain Dr. Gerhard Widmer Thesis Committee Member Johannes Kepler University, Linz, Austria Dr.
    [Show full text]
  • The Microtones of Bharata's Natyashastra
    The Microtones of Bharata’s Natyashastra John Stephens N about 200 CE, Bharata and Dattila penned closely related Sanskrit treatises on music in I the Natyashastra and Dattilam, respectively (Ghosh 1951, lxv). Inside, they outline the essential intervals and scales of Gandharva music, a precursor to the Hindustani and Carnatic traditions. Their texts are the first known documents from south Asia that attempt to systematically describe a theory of intonation for musical instruments. At the core of their tonal structure is a series of twenty-two microtones, known as sruti-s.1 The precise musical definition of the twenty-two sruti-s has been a topic of debate over the ages. In part, this is because Bharata does not explain his system in acoustically verifiable terms, a hurdle that all interpretations of his text ultimately confront. Some authors, such as Nazir Ali Jairazbhoy and Emmie te Nijenhuis, suggest that Bharata believed the sruti-s were even (twenty-two tone equal temperament, or 22-TET), though they were not in practice (Jairazbhoy 1975, 44; Nijenhuis 1974, 14–16). Jairazbhoy concludes that it is impossible to determine the exact nature of certain intervals in Bharata’s system, such as major thirds. Nijenhuis (1974, 16–19) takes a different approach, suggesting that the ancient scales were constructed using interval ratios 7:4 and 11:10, so as to closely approximate the neutral seconds and quarter tones produced by 22-TET. Prabhakar R. Bhandarkar (1912, 257-58) argues that Bharata’s 22-TET system was approximate and still implied the use of 3:2 perfect fifths and 5:4 major thirds.
    [Show full text]
  • An Overview of Hindustani Music in the Context of Computational Musicology
    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 [email protected], [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.
    [Show full text]
  • The Oral in Writing: Early Indian Musical Notations Richard Widdess
    The Oral in Writing: Early Indian Musical Notations Richard Widdess Early Music, Vol. 24, No. 3, Early Music from Around the World. (Aug., 1996), pp. 391-402+405. Stable URL: http://links.jstor.org/sici?sici=0306-1078%28199608%2924%3A3%3C391%3ATOIWEI%3E2.0.CO%3B2-8 Early Music is currently published by Oxford University Press. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/oup.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Fri Jun 29 11:02:20 2007 Richard Widdess The oral in writing: early Indian musical notations t is generally agreed that written musical notation plays a relatively Iinsignificant part in the history and practice of music in South Asia.
    [Show full text]
  • The Classical Indian Just Intonation Tuning System
    The Classical Indian Just Intonation Tuning System with 22 SRUTI-s defining the 7 SWARA-s of Hindu Classical Music combining the three different kinds of SRUTI which are understood as PRAMANA ("measuring" or "standard") SRUTI = Syntonic Comma (81/80) = 21.5 cents NYUNA ("deficient") SRUTI = Minor Chroma (25/24) = 70.7 cents Wolfgang von Schweinitz October 20 - 22, 2006 PURNA ("fullfilling") SRUTI = Pythagorean Limma (256/243) = 90.2 cents (where PURNA SRUTI may also, enharmonically, be interpreted as the sum of PRAMANA SRUTI and NYUNA SRUTI = Major Chroma (135/128 = 81/80 * 25/24) = 92.2 cents) purna nyuna purna nyuna purna nyuna purna purna pramana pramana pramana pramana pramana pramana pramana pramana pramana pramana nyuna purna nyuna purna nyuna nyuna # # # # # # " ! # " # # ! # # # <e e f m n >m n # # # # # f # n t e u f m n # # ! # # # <e e# f# m# n# e f m n >m ! n" t <f e u f m n # # # # # # " ! # " # # ! # # # <e e f m n >m n ! # # # # # f # n t e u f m n # # ! # # # <e e# f# m# n# n o u v >u n " t <f e u f m n # # " ! ! # # ! # # # <n n# o# u# v# >u n # # # # f # # n" t e u f m n # # # ! # # # <e e # f # m# n# n o u v >u n " t <f e u f m n 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 # # ! # # ! <e e# f# m# n# >m n " # # f n" t e# u f# m# n# $ # ! <e e# f# m# n# n# o# u# v# >u n " t <f e#u f# m# n# Sa ri ri Ri Ri ga ga Ga Ga ma ma Ma Ma Pa dha dha Dha Dha ni ni Ni Ni Sa 1 25 21 256 135 16 10 9 7 32 6 5 81 4 27 45 64 729 10 3 25 128 405 8 5 27 7 16 9 15 243 40 2 Ratio 1 24 20 243 128 15 9 8 6 27 5 4 64 3 20 32 45
    [Show full text]
  • Classification of Melodic Motifs in Raga Music with Time-Series Matching
    Classification of Melodic Motifs in Raga Music with Time-series Matching Preeti Rao*, Joe Cheri Ross*, Kaustuv Kanti Ganguli*, Vedhas Pandit*, Vignesh Ishwar#, Ashwin Bellur#, Hema Murthy# Indian Institute of Technology Bombay* Indian Institute of Technology Madras# 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 Ragas are characterized by their melodic motifs or catch phrases that constitute strong cues to the raga identity for both, the performer and the listener, and therefore are of great interest in music retrieval and automatic transcription. While the characteristic phrases, or pakads, appear in written notation as a sequence of notes, musicological rules for interpretation of the phrase in performance in a manner that allows considerable creative expression, while not transgressing raga grammar, are not explicitly defined. In this work, machine learning methods are used on labeled databases of Hindustani and Carnatic vocal audio concerts to obtain phrase classification on manually segmented audio. Dynamic time warping and HMM based classification are applied on time series of detected pitch values used for the melodic representation of a phrase. Retrieval experiments on raga- characteristic phrases show promising results while providing interesting insights on the nature of variation in the surface realization of raga-characteristic motifs within and across concerts. Keywords: raga-characteristic phrases, melodic motifs, machine learning 1 Introduction Indian music is essentially melodic and monophonic (or more accurately, heterophonic) in nature.
    [Show full text]
  • A Historic Overview of Oriental Solmisation Systems Followed by an Inquiry Into the Current Use of Solmisation in Aural Training at South African Universities
    A historic overview of oriental solmisation systems followed by an inquiry into the current use of solmisation in aural training at South African universities by Theunis Gabriël Louw (Student number: 13428330) Thesis presented in fulfilment of the requirements for the degree Magister Musicae at Stellenbosch University Department of Music Faculty of Arts and Social Sciences Supervisor: Mr Theo Herbst Co-supervisor: Prof. Hans Roosenschoon Date: December 2010 DECLARATION By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the owner of the copyright thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Date: 1 November 2010 Copyright © 2010 Stellenbosch University All rights reserved i ABSTRACT Title: A historic overview of oriental solmisation systems followed by an inquiry into the current use of solmisation in aural training at South African universities Description: The purpose of the present study is twofold: I. In the first instance, it is aimed at promoting a better acquaintance with and a deeper understanding of the generally less well-known solmisation systems that have emerged within the oriental music sphere. In this regard a general definition of solmisation is provided, followed by a historic overview of indigenous solmisation systems that have been developed in China, Korea, Japan, India, Indonesia and the Arab world, thereby also confirming the status of solmisation as a truly global phenomenon. II. The second objective of the study was to investigate the current use of solmisation, and the Tonic Sol-fa system in particular, in aural training at South African universities.
    [Show full text]