Relevant bibliographies by topics / Indian classical instrument

Academic literature on the topic 'Indian classical instrument'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Indian classical instrument"

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V. Chitre, Abhijit, Ketan J. Raut, Tushar Jadhav, Minal S. Deshmukh, and Kirti Wanjale. "Hybrid Feature Based Classifier Performance Evaluation of Monophonic and Polyphonic Indian Classical Instruments Recognition." Journal of University of Shanghai for Science and Technology 23, no. 11 (November 2, 2021): 879–90. http://dx.doi.org/10.51201/jusst/21/11969.

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Instrument recognition in computer music is an important research area that deals with sound modelling. Musical sounds comprises of five prominent constituents which are Pitch, timber, loudness, duration, and spatialization. The tonal sound is function of all these components playing critical role in deciding quality. The first four parameters can be modified, but timbre remains a challenge [6]. Then, inevitably, timbre became the focus of this piece. It is a sound quality that distinguishes one musical instrument from another, regardless of pitch or volume, and it is critical. Monophonic and polyphonic recordings of musical instruments can be identified using this method. To evaluate the proposed approach, three Indian instruments were experimented to generate training data set. Flutes, harmoniums, and sitars are among the instruments used. Indian musical instruments classify sounds using statistical and spectral parameters. The hybrid features from different domains extracting important characteristics from musical sounds are extracted. An Indian Musical Instrument SVM and GMM classifier demonstrate their ability to classify accurately. Using monophonic sounds, SVM and Polyphonic produce an average accuracy of 89.88% and 91.10%, respectively. According to the results of the experiments, GMM outperforms SVM in monophonic recordings by a factor of 96.33 and polyphonic recordings by a factor of 93.33.
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Noone, Matthew James. "The North Indian Sarode and Questions Concerning Technology." Organised Sound 25, no. 1 (March 4, 2020): 116–25. http://dx.doi.org/10.1017/s1355771819000517.

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In three previous issues of OS (10/1, 2005, 13/3, 2008 and 19/2, 2014) a range of scholars explored non-Western instrumentation in electroacoustic music. These issues addressed concerns about sensitive cultural issues within electroacoustic music. This article builds upon this discussion through an examination of a number of electroacoustic composer-performers using non-Western instrumentation. This discussion will include the voices of ‘Western’ electroacoustic composers using non-Western instruments or sounds sources. It will also document some of the work of non-Western electroacoustic composers who incorporate traditional material or indigenous instruments in their music. Special attention will be given to the complexity of being in-between musical cultures through a critical engagement with theories relating to hybridity, orientalism and self-identity. In particular, this article will focus on my own practice of composing and performing electroacoustic music with the North Indian lute known as the sarode. It will discuss both cultural and artistic concerns about using the sarode outside the framework of Indian classical music and question whether Indian classical music can ever be ‘appropriately appropriated’ in an electroacoustic context. Two of my recent compositions will be explored and I will outline the development of my practice leading to the creation of a new ‘hybrid’ instrument especially for playing electroacoustic music.
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Kanaeva, Nataliya. "Analysis of Terms as an Instrument of Comparative Philosophy." Ideas and Ideals 13, no. 4-1 (December 27, 2021): 139–53. http://dx.doi.org/10.17212/2075-0862-2021-13.4.1-139-153.

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The article continues the polemics on the problems of interaction of philosophical cultures in the era of globalization, which was started at the meetings of the Round Table "Geography of Rationality". The author gives answers to critical questions, explains the methodology and principles of her work with Indian philosophical texts. A short research of the meta-term "cognitive subject" is an example of her methods. The analysis of cognitive subject aimed to justify the absence of the concepts of reason and rationality in Indian epistemic culture, the cornerstones of Western epistemic culture, since Modern times. The justification was carried out by comparing the generalized model of the cognitive subject, abstracted from the writings of empiricists and rationalists of the XVII–XVIII centuries, with the generalized models of the cognitive subject, reconstructed on the basis of authoritative writings of three variants of Indian epistemological teachings: Advaita Vedānta, Jainism and Buddhism. From the author's point of view, the absence of the concepts of reason and rationality in India leads to the non-classical problem of pluralism of epistemic cultures, and the exploration of the meta-term "cognitive subject" allows us to find, on the one hand, intersections in the contents of epistemologies in Indian philosophy and Western metaphysics of Modern times, and on the other, their incompatible contents, which are specific manifestations of pluralism of epistemic cultures. For her reconstruction of the cognitive subject models the author takes the principle of "double perspective" in combination with the methods of hermeneutical and logical analysis of philosophical terms. The principle determinates the consideration of the theoretical object from two sides: European and Indian. Having appeared in the Western epistemic culture, these methods effectively work to objectify the results of socio-humanitarian research, thanks to which they are becoming increasingly widespread among non-Western cross-cultural philosophers. When the author applies the method of logical analysis to justify the absence of the concepts of reason and rationality in India, she is guided by the rules of logical semantics and the principles of semiotics. The compared terms, Western and Indian, are considered as signs with their own meanings and senses. The senses are understood as sets of predicates important for solving the author’s task. The author of the article, taking into account the experience of famous philosophers, negatively assesses the possibility of solving the problem of unambiguously correct translation.
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., Saurabh H. Deshmukh. "AUDIO DESCRIPTIVE ANALYSIS OF SINGER AND MUSICAL INSTRUMENT IDENTIFICATION IN NORTH INDIAN CLASSICAL MUSIC." International Journal of Research in Engineering and Technology 04, no. 06 (June 25, 2015): 505–8. http://dx.doi.org/10.15623/ijret.2015.0406087.

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Blume, Gernot. "Blurred affinities: tracing the influence of North Indian classical music in Keith Jarrett's solo piano improvisations." Popular Music 22, no. 2 (May 2003): 117–42. http://dx.doi.org/10.1017/s0261143003003088.

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In the first forty years of his career, American pianist Keith Jarrett has established a reputation in multiple stylistic directions. Jarrett has typically incorporated influences as varied as bebop, country, rock, gospel, minimalism, baroque and classical styles into his often lengthy improvisations. Vital to his musical persona, but less obvious, is the influence North Indian classical music has had in shaping Jarrett's improvisatory strategies. Although he never formally studied Indian music, and although his instrument – the piano – is far removed from the conceptual backdrop of North Indian raga performance, Indian music was a central component in the artistic climate out of which his improvised solo recitals grew.A cultural climate of global influences was the backdrop to the development of Jarrett's solo concerts. Therein, perhaps, lies one key to understanding the spell that this music has cast on large and international audiences. With this format, Jarrett tapped into the ambiance of a particular historic moment, which combined a desire for change with the discovery of spiritual and musical traditions outside the Western world.In this paper I will demonstrate how explicit and implicit references to classical Indian principles of music making helped shape Jarrett's unique free solo concerts.
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Ram, S. Sai. "A STUDY OF STRUGGLE IN VERSATILITY IN TABLA PERFORMANCE." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (May 7, 2022): 218–23. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.77.

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Tabla is the most versatile among percussion instruments today. The challenge that it meets till date is the recognition that Tabla has in terms of a Solo instrument. Although acclaimed worldwide for its versatility, yet the role of Tabla as a Solo instrument remains undefined at large. The tabla player today occupies a decent place on stage during accompaniment and exhibits the art, at times with his repertoire, especially when he accompanies to instrumental music. The rich repertoire of Tabla, which is learnt through life finds its expression only through solo performances, but this is confined only to the elite artists. There is no denial to the fact that Tabla is basically an accompanying instrument. Accompaniment is a beautiful art and every tabla artist should be an able accompanist. In fact, the art of accompaniment does need a better craftsmanship and a greater aesthetic sense than the art of tabla solo presentation. Given to these facts, the repertoire of tabla finds complete expression only during a solo performance. The collection of compositions of tabla from the masters of yesteryears is huge, and how many tabla players are able to put it across the listeners, even a meagre part of what they have learnt in the lineage? And the truth is that the Tabla is the primary accompanying instrument in North Indian classical, fusion and light music today. This is the struggle in its versatility. The music fraternity and the organizers need to ponder over this and improve their endeavors to promote Tabla more, as a solo instrument also.
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Hancher, Michael. "COLLEGE ENGLISH IN INDIA: THE FIRST TEXTBOOK." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 553–72. http://dx.doi.org/10.1017/s106015031400014x.

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In her groundbreaking bookMasks of Conquest: Literary Study and British Rule in India (1989), Guari Viswanathan established that “the discipline of English came into its own” not in England but in India, as an instrument of cultural colonization: “As early as the 1820s, when the classical curriculum reigned supreme in England despite the strenuous efforts of some concerned critics to loosen its hold, English as the study of culture and not simply the study of language had already found a secure place in the British Indian curriculum” (2, 3). Pausing to summarize the English literary curriculum fostered by “government schools in midcentury India,” she lists the following poetical works, gleaned from a report reprinted for the House of Lords in 1853: “Richardson's Poetical Selections (Goldsmith, Gray, Addison, Pope, and Shakespeare), Otway's Venice Preserved, Shakespeare's Hamlet, Othello, and Macbeth, Pope's Iliad by Homer, [and] Milton's Paradise Lost (the first four books)” (54). Although Viswanathan does not identify Richardson or his Poetical Selections, she is right to head the list with that textbook, which is mentioned in many other government reports of the period, and which was instrumental in establishing a classroom canon of British poetry in India before any such curriculum had been determined in Great Britain.
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Sable, Neha A., and Nisha Shinde. "Prevalence of Wrist Pain in Young Tabla Players: Observational Study." International Journal of Health Sciences and Research 12, no. 5 (May 10, 2022): 10–14. http://dx.doi.org/10.52403/ijhsr.20220502.

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Background: The most popularly used percussion instruments in Indian classical music is Tabla. Playing a percussion instrument demands great force & effort, which may make percussionists prone to playing-related musculo skeletal disorders (PRMDs). Method: A Prevalence study using convenience sampling technique was done from the music schools of Pune-Godse & Madhumati Sangeet Vidyalay with 104 subjects. The subjects aged between 11 to 25 yr old Both males & females who plays table atleast from1 yr. Wrist pain was assessed by using Numeric pain rating scale (NPRS) Subjects rated the pain in the scale of 0 No pain to 10 Worst pain at rest and after playing tabla. Result : Prevalence of pain at Rest the average percentage of person experience pain are 28.84% 74 persons out of 104 are not experiencing any pain, the % of no pain is 71.15%. Prevalence of pain after playing tabala. The average % of person experiencing pain after playing is 66.34%. 35 Person out of 104 are not experiencing any pain. The % of no pain after playing table is 33.65%. Conclusion: The prevalence of wrist pain is more in table players after playing table than compared to pain at rest. Key words: Playing related musculoskeletal disorders (PRMDs), NPRS-Numeric pain rating scale, Percussion instrument, Ergonomics, Musculoskeletal.
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Komangoda, Lahiru Gimhana. "Vinay Mishra and the Artistry of the Harmonium." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (December 9, 2021): 39–46. http://dx.doi.org/10.30819/aemr.8-5.

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Vinay Mishra is an accomplished Indian solo and accompanying harmonium player born and brought up in Benaras and currently residing in Delhi serving as a faculty member of the Department of Music, Faculty of Music and Fine Arts, University of Delhi. The rigorous training of both vocal and instrumental music under veteran Hindustani Music virtuosos, the academic and scholarly scope built up till the degree of PhD in Music, the realizations, and understandings on music must have conspicuously made an impact of his practice and artistry as a harmonium player. Harmonium was originated in the west and adopted by Indian musicians in the colonial era which was brought up to the present day through many artistic, cultural and political controversies, and obstacles. This work focuses on discovering the insights of the harmonium art of Vinay Mishra. Hence, his academic background, musical training, musical career, his playing style as a soloist, general techniques and techniques of accompaniment, sense of machinery, perspectives on raga Taal, and thoroughly the tuning methods were studied in-depth through personal conversations and literature resources where it was observed that modern Hindustani harmonium artists favor a typical natural tuning method over the 12 equal temperaments of the common keyboard instruments. According to him, the stable sound of the harmonium was the reason to be vocal music- friendly in classical and light vocal music accompaniment which was only interrupted by the equal temperament earlier and was later overcome by the artists and harmonium makers. The idea was also raised that apart from gaining the basic command of an instrument, a Hindustani instrumentalist may learn and practice all other aspects of Hindustani music from the teachers of other forms too. Vinay Mishra’s thoughts of machinery, musical forms, compositions, applying Hindustani vocal, and plucking string instrumental ornamentations on the Harmonium were also reviewed.
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Bhushan, Shashi, Shobhit Piplani, and Bheemsain V. Tekkalaki. "Internet addiction and performance of health science students." International Journal Of Community Medicine And Public Health 5, no. 9 (August 24, 2018): 3824. http://dx.doi.org/10.18203/2394-6040.ijcmph20183465.

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Background: The unmonitored surge in the usage of Internet recently has led to Internet Addiction. Internet is a classical instrument known to stimulate addictive behaviour which is on the verge of developing into a considerable public health emergency in the future in a densely populated country like India. Adolescents are more susceptible to this as they spend more time browsing the web. This cross sectional study intends to find out the co-morbidities associated with Internet Addiction in students of health sciences in India.Methods: The study was conducted in an Indian Medical and Dental College. 900 students were randomly selected to fill up the questionnaire. 618 students fulfilled the selection criteria. Young’s Internet Addiction Test was used for assessing the prevalence of Internet Addiction. The Rosenberg self-esteem scale was used to measure the self-esteem.Results: 19.5% students were not addicted to Internet. 61% of students were mildly addicted while 19.5% students were moderately addicted. Significant association was found between academic performance and Internet Addiction. Also, Internet Addiction had no significant association with Self- Esteem and Obesity.Conclusions: Proper screening methods should be used for prompt detection and management of Internet Addiction and awareness should be made about the same. It should be given more attention and students should be made to understand about healthy and safe practices to use internet. There is a need of an improved questionnaire which can provide us better understanding of internet usage by people in terms of amount of time and purpose of using the internet.
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Books on the topic "Indian classical instrument"

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The origin and evolution of violin as a musical instrument and its contribution to the progressive flow of Indian classical music. Kolkata: Ramakrisna Vedanta Math, 2010.

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Mridangam: An Indian classical percussion drum. Delhi: B.R. Rhythms, 2004.

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Hind mumtoz musiqasi va millii cholghulari =: Indian classical music and national instruments. Toshkent: [s.n.], 2008.

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Wolf, Richard K. Drumming, Language, and the Voice in South Asia. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038587.003.0001.

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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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(Illustrator), Avinash Pasricha, ed. Musical Instruments (Classic India S.). Rupa & Co, 1994.

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Hindustani Gata-s Compilation: Instrumental Themes in North Indian Classical Music. Rouen, France: Patrick Moutal Editeur, 2012.

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Morelli, Sarah. A Guru's Journey. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042867.001.0001.

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This book provides the first ethnographic examination into the life of and the community formed around Pandit Chitresh Das, one of India’s most dynamic, outspoken, and captivating dancers. Born in Calcutta in 1944, Pandit Das immigrated to the United States in 1970 and was instrumental in establishing kathak, an Indian classical dance form, in the States. This work examines issues that arose in teaching, learning, and performing kathak in the United States over forty-five years. As a teacher, how does one transmit cultural and dance knowledge to culturally diverse groups of students? Within an artistic diaspora, how does a culture bearer–teacher maintain, modify, and frame dance repertoire, cultural norms associated with being a dancer, and philosophies surrounding the dance? And how do dancers negotiate the challenges of cultural expression in multicultural contexts? This ethnographic study of one of the longest-running sites of kathak transmission in the United States examines such questions, concluding that even in this hierarchical pedagogical tradition, students and teacher mutually navigate issues of artistic style and cultural meaning to create and sustain a dance culture.
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Wolf, Richard K. Tone and Stroke. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038587.003.0003.

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This chapter examines the importance of tone and stroke melody in the rhythmic patterns of South Asian drumming traditions. Many musicians and listeners in South Asia are interested in the relation of what they consider classical music to what they consider folk music. Some emphasize the distinction when wishing to make a point about what constitutes true musical knowledge (usually knowledge associated with the “classical”). This chapter explores the practice of naming and defining drum patterns based on the author's fieldwork in a number of cities, towns, and rural regions in India and Pakistan. It also discusses the role of melody and rhythm in the definition of patterns by looking at examples of (tone-) melodies accompanied by drums, such as functionally specific genres that combine wind-instrument melodies with drum patterns. The chapter highlights the complex ways in which tone and stroke melodies may vie for primacy within a genre or across different items in the drum repertoire.
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Book chapters on the topic "Indian classical instrument"

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Bhat, Ashwini, Karrthik Gopi Krishnan, Vishal Mahesh, and Vijaya Krishna Ananthapadmanabha. "Deep Learning Approach to Joint Identification of Instrument Pitch and Raga for Indian Classical Music." In Advances in Speech and Music Technology, 159–74. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-18444-4_8.

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"Instrument of knowing." In Classical Vaisesika in Indian Philosophy, 111–19. Routledge, 2013. http://dx.doi.org/10.4324/9780203441084-14.

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Jahanbegloo, Ramin. "The Art of Being an Indian Musician." In Talking Poetry, 79–81. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192869180.003.0020.

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Abstract There are few Indians who are closer to western than Indian music. There are many Indians who like Western classical music including some musicians as well. Yes, there are some Indians, two of my nephews, who know as much about western music. They are twins—Asteek and Hutashan and they both know a lot about western classical music. Western classical music is basically instrumental. Not that there is no vocal, just as not that there is no instrumental here in Indian classical music. The notion of the orchestra, which is so dominant in the Western came to India but did not succeed here, in spite of some interesting experimentation in that direction.
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Vishnupad. "Hegemony without Dominance." In Rethinking Law and Violence, 86–117. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120993.003.0003.

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This essay in reversing historian Ranajit Guha’s classic colonialist formulation ‘Dominance without Hegemony’ contrarily suggests that the postcolonial state in India has hegemony without dominance. Over six decades of statist presence, it argues, the Indian social has acquired intimate literacy over the language and idioms of rule of law and statist practices. This pervasive circulation and currency—or hegemonic presence—of the statist idioms however has implied neither its uninhibited dominance, nor an unreserved compliance to it. Rather, the chapter argues, the engagement with rule of law is transactional or instrumental, and takes the form of routine circumvention and erosion, inventive negotiations, leading ultimately to recurrent resurrections and fetishization of law. This transactional and non-transcending articulation of law ultimately indexes a symptomatology of repetition compulsion that pointedly gestures towards irresolvable aporia of sovereignty of the modern Indian state; this paper strives to capture this predicament of the Indian polity through the lacanian category of ‘generalised perversion’
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Sriraam, Natarajan, Nikitha Deepak, Pratibha Ashok Kumar, Priyanka Gopakumar, Shreya Sridhar, Ashwini B. Setlur, Megha Rani, Pooja R., and Eepsa. "Clinical Engineering in India." In Healthcare Ethics and Training, 570–81. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-2237-9.ch025.

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Clinical Engineering (CE), an interdisciplinary field derived from classical engineering emphasize on the importance of two important domains, medical and engineering. The field comprises of major themes that include medical terminology, clinical measurement and instruments, human factor engineering, medical ethics. As a clinical engineer, he/she makes sure on safety aspects in the hospital, ensures regular preventive maintenance procedures, evaluates new technologies, and develops a close relationship with clinicians. All this process ensures effective patient care and successful outcome of treatment. If clinical engineering procedures are incorporated in a larger scale in greater number of hospital and healthcare centers, a better patient-care outcome can be expected. The proposed work reports on the case study on need for clinical engineering and clinical engineers in India to bridge the crucial gap between engineering and medical domains. A survey was conducted to know from the public on initiating a new post graduate program on clinical electronics engineering. The outcome of the survey clearly shows an indication on the need for initiating the course in the post graduate level engineering program.
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Varier, M. R. Raghava. "Suśrutasamhita." In A Brief History of Āyurveda, 66–84. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190121082.003.0004.

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Suśruta is widely known as the author of the Suśrutasamhita, the authentic text of surgery in Āyurveda. Suśruta probably lived around sixth century BCE. At the same time his treatise Suśrutasamhita, the classical text of surgery, in its present form appears to belong to a much later date. This is a logical inference based on the subject matter of the text. The Suśrutasamhita in its present form is a huge text with 186 chapters arranged in six sthānas. The text is composed in a mixture of long and short portions in prose as well as in verses composed in various metres. The sthānas and the chapters are Sūtrasthāna, Śārīrasthāna, Nidānasthāna, Cikitsasthāna, Kalpasthāna, and Uttaratantra. Since the emphasis of the text is on surgery, a descriptive account of the various aspects of surgery is given including the surgical techniques, instruments and appliances, practical training, duties of the surgeon, battlefield surgery and so on. Among these, battlefield surgery is important since its emphasis is on the urgent medical services to be provided to soldiers for fatal wounds and other ailments. The rhinoplastic surgery as prescribed by the ācārya Suśruta continued to be practiced in India for several centuries. The surgical tools designed by Suśruta included one hundred blunt instruments and twenty sharp ones. The Suśrutasamhita lays down specific procedures for studying the science of surgery.
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Conference papers on the topic "Indian classical instrument"

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Prakash, Aayush Millenn, Abhishek Hegde, Pratap A. K, and Ashwini Bhat. "Melodic Filtering for Indian Classical Instrumental Music." In 2021 International Conference on Circuits, Controls and Communications (CCUBE). IEEE, 2021. http://dx.doi.org/10.1109/ccube53681.2021.9702736.

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Gaikwad, Sneha, Abhijit V. Chitre, and Yogesh H. Dandawate. "Classification of Indian Classical Instruments Using Spectral and Principal Component Analysis Based Cepstrum Features." In 2014 International Conference on Electronic Systems, Signal Processing and Computing Technologies (ICESC). IEEE, 2014. http://dx.doi.org/10.1109/icesc.2014.52.

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Bidkar, Anagha A., Rajkumar S. DeshPande, and Yogesh H. Dandawate. "A Novel Approach for Selection of Features for North Indian Classical Raga Recognition of Instrumental Music." In 2018 International Conference on Advances in Communication and Computing Technology (ICACCT). IEEE, 2018. http://dx.doi.org/10.1109/icacct.2018.8529392.

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Basu, Medha, Shankha Sanyal, Archi Banerjee, Sayan Nag, Kumardeb Banerjee, and Dipak Ghosh. "Does musical training affect neuro-cognition of emotions? An EEG study with Indian Classical Instrumental Music." In International Conference on Underwater Acoustics 2022. ASA, 2022. http://dx.doi.org/10.1121/2.0001624.

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Tandle, A., Nandini Jog, A. Dharmadhikari, Suyog Jaiswal, and Vishal Sawant. "Study of valence of musical emotions and its laterality evoked by instrumental Indian classical music: An EEG study." In 2016 International Conference on Communication and Signal Processing (ICCSP). IEEE, 2016. http://dx.doi.org/10.1109/iccsp.2016.7754149.

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