Relevant bibliographies by topics / Indian music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Indian music'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 September 2023

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Journal articles on the topic "Indian music"

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Khan, Shazia, and Ajaya K. Sahoo. "The Sound of Diaspora: The Evolution and Transformation of Indo-Caribbean Music." Journal of Migration History 9, no. 2 (July 4, 2023): 220–43. http://dx.doi.org/10.1163/23519924-09020004.

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Abstract Traditional North-Indian music has played a crucial role in creating a distinct identity for Indians in the Caribbean since the arrival of the first indentured migrants in 1838. The use of socio-cultural and political elements to connect with the homeland is one of the important features of Indo-Caribbean music. ‘Creolisation’ is indisputable in Caribbean music, which was a result of merging Indian music with local Caribbean music, giving rise to different styles of music, i.e., Baithak Gana, Chutney, and Chutney Soca. This article examines diasporic metamorphoses as a means to understanding how immigrants from India asserted their ethnic identity through such metrics of music. One of the important findings of this research shows that Indians in the Caribbean tried to keep Hindustani music alive despite constant changes taking place in the field as a result of globalisation.
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Chakravarty, Devpriya. "Popular Musics of India: An Ethnomusicological Review." Journal of Ethnic and Cultural Studies 6, no. 3 (December 18, 2019): 111. http://dx.doi.org/10.29333/ejecs/267.

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This article brings into discussion the presence of a contemporary popular music culture amongst globalised, urban, Indian youth which is perpetuated by Electronic Dance Music (EDM) festivals. This paper begins with the argument as to how there is no one monolithic popular music scene in India by presenting a historical analysis of a timeline for popular musics of India, a scene that has received scanty scholarly attention.
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Meddegoda, Chinthaka Prageeth. "Hindustani Classical Music in Sri Lanka: A Dominating Minority Music or an Imposed Musical Ideology?" ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 41–50. http://dx.doi.org/10.30819/aemr.6-3.

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In Sri Lanka, the various groups of Tamils are jointly the largest minority group who migrated from different places of South India and in different time periods. South Indian music is widely appreciated and learnt by both the Sinhala including by large parts of the Tamil minority spread over Sri Lanka. Although a number of Sinhala people prefer and practice North Indian music geographically, and probably culturally, they are much closer to South India than to North India. Some historical sources report that Sinhalese are descendants of North Indians who are believed to be Aryans who migrated from Persia to the Northern part of India in the 13th century and later. Therefore, some scholarly authorities believe that the Sinhalese ‘naturally’ prefer North Indian music as they also continue the suggested Aryan heritage. Nevertheless, some other sources reveal that the North Indian music was spread in Sri Lanka during the British rule with the coming of the Parsi Theatre (Bombay theatre), which largely promoted Hindustani raga-based compositions. This paper explores selected literature and opinions of some interviewees and discusses what could be the reasons for preferences of North Indian music by the Sinhalese. The interviewees were chosen according to their professional profile and willingness to participate in this research. As a result, this paper will offer insights through analysing various opinions and statements made by a number of interviewees. The research also considered some theories which may relate to the case whether Hindustani classical music is due to these reasons a dominating minority culture or a rather self-imposed musical ideology. The latter would establish an aesthetic hierarchy, which is not reflected in the cultural reality of Sri Lanka. This is a new research scrutinizing a long-term situation of performing arts education in this country taking mainly interviews as a departing point.
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Chandi, Jasdeep Kaur, and Kulveen Trehan. "The cultural shareability of Korean popular media in India: A reflexive thematic analysis of BTS music videos." East Asian Journal of Popular Culture 8, no. 1 (April 1, 2022): 27–52. http://dx.doi.org/10.1386/eapc_00061_1.

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In this article, the BTS phenomenon in India was examined by looking closely at the music of this South Korean band. A reflexive thematic analysis was performed on five BTS music videos followed by interviews with self-identified Indian BTS fans. Three salient themes were identified in the music videos and fans’ interview responses: the fusion of multiple music video genres, cultural hybridity and love as an evolutionary process. It is suggested that these identified themes are culturally shareable with Indian fans. The cultural shareability of the music of BTS has gradually created a mere-exposure effect amongst Indians, which is responsible for their growing affinity for Korean popular media.
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Sykes, Jim. "Towards a Malayan Indian sonic geography: Sound and social relations in colonial Singapore." Journal of Southeast Asian Studies 46, no. 3 (September 14, 2015): 485–513. http://dx.doi.org/10.1017/s0022463415000351.

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From the mid-1920s, Indian music scenes developed in Singapore that were not just about the construction of regional and religious forms of Indian diasporic belonging. Drawing upon European, Chinese and Malay influences (musical and otherwise), and performing in contexts that were uncommon in India, Singaporean Indian musicians contributed to non-Indian musics, while incorporating non-Indian influences into Indian genres. Such musical–communal interactions functioned in colonial Singapore to locate the island as a hub for the constitution of a ‘Malayan Indian sonic geography’. By encouraging links between various Indian and other communities throughout the peninsula via radio, films, recordings, touring networks, and performances at hotels and amusement parks, music became a means for Indian communication and integration in colonial Malaya — a sonic geography that would be significantly transformed, though not eliminated, after Singapore and Malaysia parted ways in 1965.
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Guha, Smita. "Mathematics in Indian Music: Examining Children's Learning Process." Journal of Global Awareness 3, no. 2 (December 28, 2022): 1–24. http://dx.doi.org/10.24073/jga/3/02/04.

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There are many mathematical concepts found in music. Music is integrated into Indian culture. It is a common practice among children in India to engage in music lessons from a young age. The purpose of this study was to investigate the impact of Indian music on the cognitive development of children to understand or reinforce mathematics. Data was collected from three schools in Kolkata, India, through interviews, observations, and survey questionnaires. Six different music classes from three music schools were observed at different times. Observations were documented through pictures, video recordings, running records, and anecdotal records. To supplement these documentations, a field journal was kept at all times. The study was qualitative in nature, and all data were analyzed thematically. The findings suggested the importance of Indian music in children’s cognitive development and how Indian music helped in learning mathematics. Both teachers and parents felt that music builds concentration among children and also helps children with disabilities.
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Verma, Shalini. "Indian Folk Music." RESEARCH REVIEW International Journal of Multidisciplinary 8, no. 4 (April 14, 2023): 108–13. http://dx.doi.org/10.31305/rrijm.2023.v08.n04.013.

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Folk songs have been a medium for the common people to express their feelings and emotions. There is a simple introduction of folk life in folk songs. Along with the external life of a person, they are also the reflection of his mental feelings. Folk music is short, simple, clear, natural, beautiful, emotional and musical. The real introduction to the natural relationship between life and music is through folk songs. In Indian folk music, its different types have been classified as follows – folk songs, folk instruments, folk dances. Folk songs are classified as follows: - Nature related, family related, religious related, various subject related folk songs. Natural season-based songs are sung under nature related folk songs; Family-related folk songs in this, the heroine urges her hero to come to her home from another state. Under religious-related folk songs, songs are sung at the time of worshiping or praying and worshiping their favorite deity, folk songs on various topics in which animals-birds Songs based on clothes and ornaments are sung. Dholak, Harmonium, Ghungroo, Manjira Naal etc. are used as the main instruments. Simplicity is often found in folk songs. Folk songs are in folk language. Abstract in Hindi Lanaguage: लोकगीत जनसाधारण द्वारा अपने आमोद प्रमोद व अपनी भावनाओं को प्रकट करने का माध्यम रहा है। लोकगीतों में लोक जीवन का सीधा-साधा परिचय होता है। वे व्यक्ति के वाह्य जीवन के साथ-साथ उसके मानसिक भावों के परिचायक भी होती हैं । लोक संगीत संक्षिप्त, सरल, स्पष्ट स्वाभाविक, सुंदर, अनुभूतिमय और संगीतमय होता है। जीवन और संगीत के नैसर्गिक संबंध का वास्तविक परिचय हमें लोकगीतों के माध्यम से होता है।भारतीय लोकसंगीत में इन विधाओं के अन्तर्गत उसके विभिन्न प्रकारों को निम्न प्रकार से वर्गीकृत किया गया है – लोकगीत, लोकवाद्य, लोकनृत्य। लोकगीतों को निम्न प्रकार वर्गीकृत किया है:– प्रकृति सम्बन्धी,पारिवारिक सम्बन्धी,धार्मिक सम्बन्धी, विविध विषयक सम्बन्धी लोकगीत।प्रकृति सम्बन्धी लोकगीतों के अन्तर्गत प्राकृतिक ऋतु आधारित गीत गाए जाते हैं ; पारिवारिक सम्बन्धी लोकगीत इसमें नायिका अपने नायक को दूसरे प्रदेश से अपने घर आने का आग्रह करती है ।धार्मिक सम्बन्धी लोकगीतों के अन्तर्गत धर्म सम्बन्धी अपने इष्ट देव को रिझाने या प्रार्थना व पूजा करने के समय गीत गाए जाते हैं ,विविध विषयक लोकगीत जिसमें पशु – पक्षियों, वस्त्रों व आभूषणों पर आधारित गीत गाए जाते हैं। प्रमुख वाद्य के रूप में ढोलक, हारमोनियम, घुँघरू, मंजीरा नाल आदि का प्रयोग किया जाता है । लोकगीतों में प्रायः सरलता मिलती है । लोकगीत लोक भाषा में होती है। Keywords: लोक संगीत, कजरी, लोक वाद्य
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Laskar, Mahmudul Hasan. "Westernization of Musical Culture and Cultural Stratification in Northeast India: Role of Western Music on the Consumption of Music among Youth." Youth and Globalization 4, no. 2 (February 10, 2023): 240–58. http://dx.doi.org/10.1163/25895745-04020013.

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Abstract The musical culture in Northeast India is assimilated to Western music. The influence of Western music in the Northeast is more than in any other region of India. Folk music, regional film music, and Indian film music are developed as popular culture. The study revealed that Western music genres like rock, rap, and pop are integral to Northeast India’s music culture. In line with global music culture, rock bands in Northeast India are in operation that molded the music culture. Youths, particularly students, are ardent followers of Western music culture and developed a youth sub-culture. But a unique phenomenon also occurred, e. g. cultural stratification among sections of youths. The study revealed that the tribal youths are more attached to Western music than their non-tribal counterpart. It is highlighted that rural youths are more attached to regional and Indian film music, but urban youths prefer Western music.
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Dona, Lasanthi Manaranjanie Kalinga. "On the Therapeutic Aspects of Indian Classical Music." Musik-, Tanz- und Kunsttherapie 23, no. 1 (January 2012): 8–14. http://dx.doi.org/10.1026/0933-6885/a000069.

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The positive impact of Indian classical music on human health is the subject of a deeply rooted belief in the Indian subcontinent and is also held among those who invest their time and efforts to Indian classical music elsewhere in the world. This article attempts to provide an account for such a widely shared belief, and singles out four essential components that contribute to it: The melodic rāga domain, the rhythmic tāla domain, time theory, and the extramusical rasa system. The discussion is developed from a general introduction to India to the specific therapeutic aspects of North Indian classical music. The author brings together up-to-date research and her first-hand experiences as a scholar and performer of North Indian classical music.
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Karácsony, Noémi, and Mădălina Dana Rucsanda. "Indian Culture and Music as a Source of Inspiration for French Opera Composers." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 31, 2021): 99–121. http://dx.doi.org/10.24193/subbmusica.2021.2.08.

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"The current paper strives to discover and reveal the influences of Indian culture and classical Indian music in French operas. At first, the evocation of India was obtained through the subjects of the operas and stunning scenic designs, fulfilling the requirements of exoticism. Gradually, the composers attempted to include in their musical discourses exotic rhythmic and melodic elements, in some instances inspired by Indian classical music, thus aiming to evoke a genuine image of India. At the same time, the use of elements pertaining to Indian music (rāgas, rhythmic patterns, timbres) offered the musicians the possibility to create novel sound discourses. The analysis focuses on several operas, composed between the eighteenth century and the beginning of the twentieth century, following the evolution of Indian representations in several dimensions: dramatic (libretto), visual (scenic representations, dance), and musical (melody, rhythm, timbre). The present paper investigates the way Indian themes influenced the conception of the libretto, and at the same time the visual dimension of the works (setting, costumes), observing how these visual elements were gradually absorbed into the musical discourse (analysis of the melodic structures), through the incorporation of Indian rāgas in works conceived according to the rules of Western music composition. Keywords: exoticism, orientalism, India, French opera, rāga "
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Dissertations / Theses on the topic "Indian music"

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Nadadur, Kannan Rajalakshmi. "Performing 'religious' music : interrogating Karnatic Music within a postcolonial setting." Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/18272.

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This research looks at contemporary understandings of performance arts in India, specifically Karnatic Music and Bharatnatyam as ‘religious’ arts. Historically, music and dance were performed and patronized in royal courts and temples. In the early 20th century, increased nationalist activities led to various forms of self-scrutiny about what represented ‘true’ Indian culture. By appropriating colonial discourses based on the religious/secular dichotomy, Karnatic Music was carefully constructed to represent a ‘pure’ Indian, specifically ‘Hindu’ culture that was superior to the ‘materialistic’ Western culture. Importantly, the category called divine was re-constructed and distinguished from the erotic: the divine was represented as a category that was sacred whilst the erotic represented ‘sexual impropriety.’ In so doing, performance arts in the public sphere became explicitly gendered. Feminity and masculinity were re-defined: the female body was re-imagined as ‘sexual impropriety’ when in the public sphere, but when disembodied in the private sphere could be deified as a guardian of spirituality. Traditional performing communities were marginalized while the newly defined music and dance was appropriated by the Brahmin community, who assumed the role of guardians of the newly constructed Indian-Hindu identity, resulting in caste-based ‘ownership’ of performance arts. Mechanical reproduction of Karnatic Music has created a disconnect in contemporary Indian society, in which Karnatic Music is disembodied from its contexts in order to be commodified as an individual’s artistic expression of creativity. This move marks a shift from substantive economics (music was performed and experienced within a specific context, be it royal patronage or Indian nationalist movements) to formal economics (music as a performer’s creative property). I question the understanding of Karnatic Music as ‘religious’ music that is distinguished from the ‘secular’ and seek to understand the colonial patriarchal mystification of the female body in the private sphere by deconstructing the definition of the ‘divine.’ In doing so, I also question the contemporary understanding of Karnatic Music as an item of property that disembodies the music from its historical context.
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Bandopadhyay, Sanjoy. "Music and Music Star: Promotion and Musical Values. Presentation Focus: Indian Classical Music." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71808.

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Magriel, Nicholas Fairchild. "Sarangi style in North Indian art music." Thesis, University of London, 2002. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271640.

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Woolf, Rachel 1988. "Uncovering Aspects of Western and Indian Music in Vanraj Bhatia's Night Music for Solo Flute, and Selected Other Works." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248444/.

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Born in 1927 in Bombay, Vanraj Bhatia is an Indian composer of music for concerts, film, television, opera, meditation, and commercial jingles. His musical style is unique, stemming from his training in both Western and North Indian classical, or Hindustani, music. Little is known about Vanraj Bhatia in the Western classical world, and in India he is recognized primarily as a composer of film music. This dissertation aims to bring awareness of Vanraj Bhatia's significance as a Western classical composer, focusing on uncovering the cross-cultural influences of his only solo flute piece, Night Music, composed in 1964. This research offers Western flutists a better understanding of Indian music, specifically Hindustani and Indian folk music traditions, often not fully understood since Indian music is an aural tradition, rarely transcribed and notated, and relies on a guru/shishya (teacher/student) relationship. Such an understanding will elucidate the compositional choices made in Night Music, allowing flutists to be more informed in their performance of it. Although the focus of this study is on Night Music, other repertoire from Bhatia's concert music and film music will also be examined to illuminate Bhatia's compositional style, which includes elements of Hindustani music, Indian folk music, and Western musical traditions. An exploration of some of Bhatia's other compositions written for Western musicians will give readers beyond the realm of flutists a better understanding of his distinctive, cross-cultural style and influences, and will introduce larger audiences to this exceptional and little-known composer.
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Oppenheim, Michael Hale. "Cross-cultural pedagogy in North Indian classical music." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43062.

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This thesis is an investigation of pedagogy in North Indian classical music. Historical, cultural, and philosophical elements of pedagogy in the Hindustani musical tradition are addressed in an overview of music education in traditional Indian contexts, the twentieth century, and in cross-cultural contexts. Themes include orality in Indian culture, the traditional guru-shishya parampara, the role of nationalism in twentieth century educational reforms, and the impact of technology in the latter half of the twentieth century. Trends in music education in India are then compared and contrasted with the state of education in Indian music in cross-cultural contexts in the West. From this data a model of the essential elements of Indian pedagogy is synthesized. This model accounts for pedagogical devices utilized to impart musical information as well as methods of transmitting cultural and social values. This model is applied to the experiences of five North American students of Hindustani music interviewed during the research process for this thesis.
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Farrell, Gerard James. "Indian music and the west : a critical history." Thesis, Goldsmiths College (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309508.

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Damm, Robert J. 1964. "American Indian Music in Elementary School Music Programs of Oklahoma : Repertoire, Authenticity and Instruction." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278099/.

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The purpose of this study was to determine the instructional methods of Oklahoma's elementary school music educators with respect to the inclusion of an authentic repertoire of American Indian music in the curriculum. The research was conducted through two methods. First, an analysis and review of adopted textbook series and pertinent supplemental resources on American Indian music was made. Second, a survey of K-6 grade elementary music specialists in Oklahoma during the 1997-1998 school year was conducted.
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Samuels, David William. "A sense of the past : music, place, and history on the San Carlos Apache Reservation /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Tjerned, Veronica. "Granatäppleblomknopp : rytm som dramatisk båge." Thesis, Stockholms konstnärliga högskola, Institutionen för skådespeleri, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-492.

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ABSTRACT How can I as a Swedish dancer devoted to the Indian classical dance form, kathak, re root it into my own cultural sphere? And express topics beyond the Sub Indian continent without diluting the essence of the art form? I don’t want to create a new dance style.I don’t want to add anything. I want to explore and investigate how I within the tradition of kathak dance and Hindustani music can shuffle the classical format in order to create a longer narrative.  To create a dramaturgical nerve in the performance and take it further than the traditional short dances and compositions connected by being strung together on a basic rhythm. During this work I have followed different strands of evolution within me as a kathak dancers as well as personal experiences that has led up to this need of making it my kathak dance, rather than my Indian kathak dance. It’s also a close study of the relationship between a student and her master and how the master forces his student to mature to become her own master.  I want to use the kathak dance as an artistic expression to create performances based on topics interesting to me. I want to use the rhythmical patterns to enhance, elaborate and ornament the story told. How can I use the bols and sound from the kathak dance and Hindustani music? What happens if I instead of using bols create similar material but based on the Swedish language? The unexpected result of my research, the unexpected finding of what happened with me after I decided to drop India, and to focus my gaze to my own cultural space by being a native Swedish person living in Stockholm was that I lost my dance. I lost my geography.
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Cook, Pat Moffitt. "Ghost healer : music healing in a north Indian village /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11230.

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Books on the topic "Indian music"

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RAMA, Swami. Indian music. Homesdale, Penn: Himalayan International Inst., 1989.

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Rama. Indian music. Honesdale, PA: Himalayan International Institute of Yoga Science and Philosophy of the USA, 1989.

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Pingle, Bhavanrav A. Indian music. Delhi: Sri Satguru Publications, 1989.

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1927-1998, Śarmā Premalatā, and Sangeet Research Academy (Calcutta, India), eds. Indian music. Calcutta: Sangeet Research Academy, 1995.

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Bose, Sunil. Indian classical music. New Delhi: Vikas Pub. House, 1993.

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Chauduri, Debu. On Indian music. New Delhi, India: Sanjay Prakashan, 2005.

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Indian music literature. Delhi: Indian Bibliographies Bureau, 1991.

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Browning, Robert H. Festival of India: Masters of Indian music. Edited by World Music Institute. New York: World Music Institute, 1985.

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author, Tarkaswar Venus, ed. Fusion music to Indian classical music. Jaipur: Navjeewan Publication, 2015.

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Mukhopādhyāẏa, Dhūrjaṭiprasāda. Indian music: An introduction. New Delhi: Rupa & Co., 2002.

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Book chapters on the topic "Indian music"

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Khaengkhan, Rangsiphan. "Understanding Thai Music Through Indian Music." In India-Thailand Cultural Interactions, 111–22. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3854-9_7.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "North Indian Classical Music." In Anthology to Accompany Gateways to Understanding Music, 47. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-18.

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Jackson, William J. "Indian philosophy of music." In History of Indian Philosophy, 467–75. 1 [edition]. | New York : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315666792-47.

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Manuel, Peter, and Andre Fludd. "Indian music and transnationalism." In Routledge Handbook of Indian Transnationalism, 78–91. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315109381-7.

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Ray, Sitansu. "European Scholars on Indian Music." In Life the Human Quest for an Ideal, 311–27. Dordrecht: Springer Netherlands, 1996. http://dx.doi.org/10.1007/978-94-009-1604-3_24.

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Mukherji, Somangshu. "Musicological method and Indian music." In Rītigaula, 119–41. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003171225-4.

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Chakraborty, Soubhik, Guerino Mazzola, Swarima Tewari, and Moujhuri Patra. "An Introduction to Indian Classical Music." In Computational Musicology in Hindustani Music, 1–14. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11472-9_1.

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Sarrazin, Natalie. "Concept and Style in Indian Music." In Focus: Popular Music in Contemporary India, 37–66. New York : Routledge, 2020. | Series: Focus on world music: Routledge, 2019. http://dx.doi.org/10.4324/9780429505249-3.

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Golding, Rosemary. "W. Ouseley, ‘Anecdotes of Indian Musick’." In Music in Nineteenth-Century Britain, 249–52. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003915-28.

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Akant, Kalyani, Rajesh Pande, and Shyamkant Limaye. "Automatic Music Transcription of Indian Classical Music into MIDI Data." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 347–50. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-35615-5_55.

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Conference papers on the topic "Indian music"

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Viramgami, Gaurav, Hitarth Gandhi, Hrushti Naik, Nipun Mahajan, Praveen Venkatesh, Shivam Sahni, and Mayank Singh. "Indian Classical Music Synthesis." In CODS-COMAD 2022: 5th Joint International Conference on Data Science & Management of Data (9th ACM IKDD CODS and 27th COMAD). New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3493700.3493762.

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Kumar, Vijay, Harit Pandya, and C. V. Jawahar. "Identifying Ragas in Indian Music." In 2014 22nd International Conference on Pattern Recognition (ICPR). IEEE, 2014. http://dx.doi.org/10.1109/icpr.2014.142.

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Ujlambkar, Aniruddha M., and Vahida Z. Attar. "Mood classification of Indian popular music." In the CUBE International Information Technology Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2381716.2381768.

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Sridharan, Anusha, Melody Moh, and Teng-Sheng Moh. "Similarity Estimation for Classical Indian Music." In 2018 17th IEEE International Conference on Machine Learning and Applications (ICMLA). IEEE, 2018. http://dx.doi.org/10.1109/icmla.2018.00130.

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Adhikary, Sneha, Manasa S. M, Shreesha S. K, Shreya Bhat, and Kamatchi Priya L. "Automatic Music Generation of Indian Classical Music based on Raga." In 2023 IEEE 8th International Conference for Convergence in Technology (I2CT). IEEE, 2023. http://dx.doi.org/10.1109/i2ct57861.2023.10126388.

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Sridhar, Rajeswari, and T. V. Geetha. "Swara Indentification for South Indian Classical Music." In 2006 9th International Conference on Information Technology. IEEE, 2006. http://dx.doi.org/10.1109/icit.2006.83.

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Dandawate, Yogesh H., Prabha Kumari, and Anagha Bidkar. "Indian instrumental music: Raga analysis and classification." In 2015 1st International Conference on Next Generation Computing Technologies (NGCT). IEEE, 2015. http://dx.doi.org/10.1109/ngct.2015.7375216.

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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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Kini, Sujeet, Sankalp Gulati, and Preeti Rao. "Automatic genre classification of North Indian devotional music." In 2011 National Conference on Communications (NCC). IEEE, 2011. http://dx.doi.org/10.1109/ncc.2011.5734697.

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Ganguli, Kaustuv Kanti, and Preeti Rao. "Discrimination of melodic patterns in indian classical music." In 2015 Twenty First National Conference on Communications (NCC). IEEE, 2015. http://dx.doi.org/10.1109/ncc.2015.7084866.

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