Journal articles: '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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Farrell, Gerry. "Teaching Indian Music in the West: Problems, Approaches and Possibilities." British Journal of Music Education 3, no. 3 (November 1986): 267–78. http://dx.doi.org/10.1017/s0265051700000784.

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This article explores ways in which the elements of north Indian classical music may be taught in a western context. It examines traditional methods of teaching in India and points out the difficulties of transferring such methods into Western music education. The basic materials of Indian music are examined, with a view to using them to heighten awareness of music in general, but not necessarily to produce solo performers. The article suggests ways in which Indian music can be explored without compromising its inherent complexity, sense of form and aesthetic beauty; while, at the same time, making it more accessible to a wide range of people.

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Kumari, Neha. "Music Genre Classification for Indian Music Genres." International Journal for Research in Applied Science and Engineering Technology 9, no. 8 (August 31, 2021): 1756–62. http://dx.doi.org/10.22214/ijraset.2021.37669.

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Abstract: Due to the enormous expansion in the accessibility of music data, music genre classification has taken on new significance in recent years. In order to have better access to them, we need to correctly index them. Automatic music genre classification is essential when working with a large collection of music. For the majority of contemporary music genre classification methodologies, researchers have favoured machine learning techniques. In this study, we employed two datasets with different genres. A Deep Learning approach is utilised to train and classify the system. A convolution neural network is used for training and classification. In speech analysis, the most crucial task is to perform speech analysis is feature extraction. The Mel Frequency Cepstral Coefficient (MFCC) is utilised as the main audio feature extraction technique. By extracting the feature vector, the suggested method classifies music into several genres. Our findings suggest that our system has an 80% accuracy level, which will substantially improve on further training and facilitate music genre classification. Keywords: Music Genre Classification, CNN, KNN, Music information retrieval, feature extraction, spectrogram, GTZAN dataset, Indian music genre dataset.

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Aksanova, A. E. "MUSIC IN INDIAN CULTURE." Concept: philosophy, religion, culture 1, no. 9 (2019): 185–92. http://dx.doi.org/10.24833/2541-8831-2019-1-9-185-192.

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Farrell, Gerry. "Reflecting surfaces: the use of elements from Indian music in popular music and jazz." Popular Music 7, no. 2 (May 1988): 189–205. http://dx.doi.org/10.1017/s0261143000002750.

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In this article I explore the manner in which elements from a non-Western music appear in pop music and jazz. The music under discussion is that of the Indian subcontinent and the classical music of North India in particular. The essay covers references to Indian music in pop, rock and jazz from the sixties to the present day but concentrates mainly on the sixties and seventies, and, in the world of pop, on the music of the Beatles. The influence of orientalism on Western music is not a recent phenomena, as Reck (1985) notes, but its appearance in pop during the sixties meant that it reached a larger audience than ever before.

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Manuel, Peter. "Popular Music in India: 1901–86." Popular Music 7, no. 2 (May 1988): 157–76. http://dx.doi.org/10.1017/s0261143000002737.

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The dramatic development of popular music in India illustrates some of the complex and varied ways that South Asians have used art and entertainment as a means of adapting and relating to the social transitions accompanying modernisation. Indian popular music, nevertheless, has been all but ignored in scholarly literature, whether musicological or sociological; this article endeavours to provide a basis for future inquiries by providing a descriptive outline of the development of modern Indian commercial music in the twentieth century.

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Verma, Harish. "CLASSICAL EXPERIMENT IN CINE MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3404.

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Indian films cannot be imagined without music. The hallmark of Indian cinema is its vibrant music. Indian films, whether they are in any language (ie Hindi, Tamil, Bengali, Marathi, Telugu, Kannada or Malayalam), music predominates. Music is their basic element in films made in regional dialects like Bhojpuri, Rajasthani, Bandeli, Chhattisgarhi etc. Most of the films in India are made in Hindi language which are popular all over the world. Hence, we will discuss about Indian films by keeping Hindi films at the center. संगीत के बिना भारतीय फिल्मों की कल्पना भी नहीं की जा सकती। भारतीय सिनेमा की पहचान उसका सषक्त संगीत ही है। भारतीय फिल्में चाहे वे किसी भी भाषा (अर्थात् हिन्दी, तमिल, बंगाली, मराठी, तेलुगु, कन्नड़ या मलयालम) की हों, संगीत उनमें प्रमुख होता है। क्षेत्रीय बोलियों जैसे भोजपुरी, राजस्थानी, बंुदेली, छत्तीसगढ़ी आदि में बनने वाली फिल्मों में तो संगीत ही उनका मूल तत्व होता है। भारत में सर्वाधिक फिल्में हिन्दी भाषा में बनती हैं जो विश्व भर में लोकप्रिय होती हैं। अतः आगे हम भारतीय फिल्मों की चर्चा हिन्दी फिल्मों को केन्द्र में रखकर ही करेंगे।

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Raman, Rachna, and W. Jay Dowling. "Real-Time Probing of Modulations in South Indian Classical (Carnātic) Music by Indian and Western Musicians." Music Perception 33, no. 3 (February 1, 2016): 367–93. http://dx.doi.org/10.1525/mp.2016.33.3.367.

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We used Toiviainen and Krumhansl’s (2003) concurrent probe-tone technique to track Indian and Western musicians’ tonal-hierarchy profiles through modulations in Carnātic (South Indian classical) music. Changes of mode (rāgam) are particularly interesting in Carnātic music because of the large number of modes (more than 300) in its tonal system. We first had musicians generate profiles to establish a baseline for each of four rāgams in isolation. Then we obtained dynamic profiles of two modulating excerpts, each of which incorporated two of the four baseline rāgams. The two excerpts used the two techniques of modulation in Carnātic music: grahabēdham (analogous to a Western shift from C major to A minor), and rāgamālikā (analogous to a shift from C major to C minor). We assessed listeners’ tracking of the modulations by plotting the correlations of their response profiles with the baseline profiles. In general, the correlation to the original rāgam declined and the correlation to the new rāgam increased with the modulation, and then followed the reverse pattern when the original rāgam returned. Westerners’ responses matched those of the Indians on rāgams with structures similar to Western scales, but differed when rāgams were less familiar, and surprisingly, they registered the shifts more strongly than Indian musicians. These findings converged with previous research in identifying three types of cues: 1) culture-specific cues—schematic and veridical knowledge—employed by Indians, 2) tone-distribution cues—duration and frequency of note occurrence—employed by both Indians and Westerners, and 3) transference of schematic knowledge of Western music by Western participants.

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Arnold, Alison. "Popular film song in India: a case of mass-market musical eclecticism." Popular Music 7, no. 2 (May 1988): 177–88. http://dx.doi.org/10.1017/s0261143000002749.

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The ubiquitous songs in India's commercial feature films play a dual role in Indian society: they serve as both film songs and pop songs for India's 800 million people. India is the largest film-producing country in the world and one fifth of its current annual production of approximately 750 films is made in Hindi, each film having an average of five to six songs (Dharap 1985). As the major form of mass entertainment available on a national scale, rivalled only by the government-run television network, Hindi cinema plays a prominent and influential role in Indian society. Yet its songs, which represent India's most popular music in the twentieth century, are relatively little known to non-Indians, either to scholars or to the general public. Musicologists and anthropologists have for the most part focused their attention on Indian classical and folk traditions to the neglect of film song. To counteract this imbalance I propose here to examine one important aspect of Hindi film song – its peculiarly eclectic nature – which plays a major role in the nationwide appeal of this popular music. I look at some of the ways in which these film songs are eclectic and possible reasons why they are so. Such a study provides insights into the role of this popular music in Indian society and culture and can thereby contribute to an understanding of the role of popular music generally in non-Western and developing countries.

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Khare, Mrs Asha. "ROLE OF COMMUNICATION TOOLS IN THE PROMOTION OF MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3400.

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Hegel, a well-known scholar of Jammani, has placed music in the category of love arts. Indian music has been called the essence of all four languages. Music has been worshiped extensively in India and has been worshiped as Veena Vavadani. Sa vidya or liberation is music. In the divine period, the reins of music were in the hands of Brahmins. In this period, music flourished in religious atmosphere. Samudragupta was self-effacing. In this period, music began to develop in Rajashraya. Classical and folk music was also promoted. Kaval Das and Bhasa, the great poet and playwright of Sanskrit, wrote important texts in this period. The Rajputs were ruled after the Gupta period. Indian music, which was embedded in the thread of unity, began to be divided into two streams, the music of North India and the music of South India. Important texts of music were written. In the Muvassalam era, Sharangadee wrote a famous book of music called Sangeet Ratnakara. During this period, Amir Khusro brought a new verse in the field of music. The origins of the plants became popular for singing songs and singing ghazali. Bhagakat music was emphasized during the Mughal period. Dhrupad Dhamar singing was popular. The reign of Akbar in the Mughal period has been called the era of music. During this period, musicians and artists enjoyed royalty, and art greatly developed.

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Rahaim, Matt. "That Ban(e) of Indian Music: Hearing Politics in The Harmonium." Journal of Asian Studies 70, no. 3 (August 2011): 657–82. http://dx.doi.org/10.1017/s0021911811000854.

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The harmonium is both widely played and widely condemned in India. During the Indian independence movement, both British and Indian scholars condemned the harmonium for embodying an unwelcome foreign musical sensibility. It was consequently banned from All-India Radio from 1940 to 1971, and still is only provisionally accepted on the national airwaves. The debate over the harmonium hinged on putative sonic differences between India and the modern West, which were posited not by performers, but by a group of scholars, composers, and administrators, both British and Indian. The attempt to banish the sound of the harmonium was part of an attempt to define a national sound for India, distinct from the West. Its continued use in education served a somewhat different national project: to standardize Indian music practice. This paper examines the intertwined aesthetic and political ideals that underlie the harmonium controversy.

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Pal, Dr Tanmoy. "An Analysis of Indian Music Aesthetics with Particular Reference to Hindustani Classical Music." Praxis International Journal of Social Science and Literature 6, no. 5 (May 25, 2023): 1–9. http://dx.doi.org/10.51879/pijssl/060501.

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Learning a language is no easy process. Although English is a worldwide language, mastering all four micro skills is difficult. There are several problems and stumbling blocks to mastering English, particularly for non-native speakers such as Myanmar students. For example, insufficient teaching and learning materials, large numbers of students in classes, utilizing their native language in spite of English, not being in an English-speaking setting, less confident in speaking English and using the incorrect syllabus. These are only a few examples. I occasionally teach English in Myanmar. In both teaching and learning English in Myanmar, I encountered several hurdles and barriers. It motivates me to conduct particular studies on the difficulties that students and instructors face in Myanmar.I used the quantitative research approach to determine the specific issues and impediments experienced in teaching and learning English. I implemented Google Form to identify the most relevant 15 questions for instructors, which took about two months, and I received 47 replies out of 50 surveys on obstacles in teaching English. Through the survey findings, we could clearly see what hurdles and obstacles Myanmar instructors had throughout their teaching and how they dealt with all of these concerns, as well as their dos and don'ts remarks and wise advise. Then I concluded by outlining how we should use the recommended strategies and implementations to overcome all of the obstacles that we have when teaching and learning English.

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Kale, Malini. "INDIAN CULTURAL HERITAGE - RAJASTHANI FOLK MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3467.

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Indian music is the foundation of music. Indian lifestyle is inspired by music itself. With the creation of the universe, there is no page of human scripture that is void of music. As soon as he was born, the music that he heard was composed in his heart for life, and eventually he remained very close to the end of this music. This music is a form of protection of human body. भारतीय संगीत का मूलाधार संगीत है। संगीत से ही भारतीय जीवन शैली अनुप्रेरित है। सृष्टि के निर्माण से मानव के ग्रंथ का कोई भी पृष्ठ ऐसा नहीं है जो संगीत से शून्य हो। जन्म लेते ही जो गीत सुने उसका संगीत जीवन पर्यन्त रग रग में रचता गया और अन्ततः इसी संगीत के अंतिम काल तक उसका सान्निध्य रहा। यह संगीत मानव शरीर की सŸाा का स्वरूप है।

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Slawek, Stephen, and Gerry Farrell. "Indian Music and the West." Yearbook for Traditional Music 31 (1999): 138. http://dx.doi.org/10.2307/767985.

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Ruckert, George, and Gerry Farrell. "Indian Music and the West." Notes 55, no. 2 (December 1998): 376. http://dx.doi.org/10.2307/900182.

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Bhattacharjya, Nilanjana, and Gerry Farrell. "Indian Music and the West." Asian Music 32, no. 1 (2000): 196. http://dx.doi.org/10.2307/834337.

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Bor, Joep, and Gerry Farrell. "Indian Music and the West." Asian Music 29, no. 2 (1998): 129. http://dx.doi.org/10.2307/834367.

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Capwell, Charles, and Gerry Farrell. "Indian Music and the West." Ethnomusicology 44, no. 2 (2000): 334. http://dx.doi.org/10.2307/852539.

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Sankar Ganesh, J. "Impact of Carnatic Raga-s on the Milk Yield of Cows." Shanlax International Journal of Arts, Science and Humanities 8, no. 2 (October 1, 2020): 83–87. http://dx.doi.org/10.34293/sijash.v8i2.3318.

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Music is an integral part of human evolution. Indian music is religiously rooted and added as an essential part of religious activities. It is believed that Indian music originated and evolved from Samaveda. The origin of musical sounds perceived by birds and animals illustrates the close relationship of music with the environment. The other species of planet earth can also be influenced by music documented in various earlier literature. Experiments on the influence of music on the milking habit of cows started amid the 19th century in foreign countries. In India, this is a primordial attempt made by the author to study the influence of Carnatic music on the cows. This paper is intended to highlight the positive power of various aspects of Carnatic music on the milk yield of the cows. This paper is an outcome of the UGC- Major Research project, sanctioned to the author, entitled “Impact of Carnatic music on the milk yield of S.V. Gosamrakshanashala- Tirupati.”

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Sinha, Tanusri. "REFLECTION OF MUSIC & DANCE IN ANCIENT INDIAN INSCRIPTION." International Journal of Research -GRANTHAALAYAH 9, no. 4 (May 6, 2021): 375–78. http://dx.doi.org/10.29121/granthaalayah.v9.i4.2021.3875.

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The word ‘inscription’ is derived from the Latin word ‘Inscripto’ which means something that is inscribed or engraved. It was engraved on clay (terracotta), stone pillars, copper plates, walls of temples, caves, and on the surface of much other metal and also even palm leaves. Very often we’ve seen it on coins and seals. It consists of important texts or symbols that reveal crucial information and evidence of ancient kings and their empires. Music is the soul of Indian culture. Indian music has an affluent tradition with its root in Vedic time. It is said that Indian music owes its origin to the Sāma Veda. The Vedic hymns were chanted with a particular pitch and accent which are used in religious work. Dance in India also has a rich and vital tradition since the beginning of our civilization. Dances of Indi were to give symbolic expressions which are also enlightened to religious ideas. Ancient Inscriptions, Engraving of Inscription, Music, Dance, Epigraphical Evidence.

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Sumanta Bhattacharya, Vinay Sahasrabuddhe, Arindam Mukherjee, and Bhavneet Kaur Sachdev. "An analytic interpretation on the importance of India's soft power in international cultural diplomacy over the centuries." World Journal of Advanced Research and Reviews 12, no. 3 (December 30, 2021): 131–36. http://dx.doi.org/10.30574/wjarr.2021.12.3.0995.

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India’s Soft Power which is part of Smart Diplomacy or cultural diplomacy in India. India’s soft power diplomacy can be traced back to the time when Swami Vivekananda visited Chicago Parliament of Religion and spoke about Hinduism and India, which attracted many Indians and Foreigners who visited India and learnt about the Indian culture and the Sanskrit, his book on Raja Yoga influenced Western countries to practice Yoga who came to India and visited asharams, India’s main soft powers include spiritualism, yoga, Ayurveda, the world is shifting towards organic method of treatment which has its trace in India. There is culture exchange of arts, music, dance. Indian Diaspora and Young youth are the weapons for the spread of Indian culture across the globe, People are interested in Indian culture and epics of Ramayana and Mahabharat and studying on Kautliya. India literature and craft have received international recognition, countries abroad have included Sanskrit as part of their educational curriculum. India has also emerged has an export of herbs medicine to many foreign countries like Middle East, Europe, Africa etc. and this soft power of India will help in creating a massive influence across the world but before that Indian should have ample knowledge about their own history and culture and languages.

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Masurkar, Shilpa. "INNOVATION IN MUSIC FUSION MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3428.

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The country of India is considered a symbol of art and culture. Indian music has been in the highest position since time immemorial as an invaluable heritage of our India. Music must have come into existence at the same time as the creation of the creation, it is believed that, but if we look at the music, the music resides in the nature, the currents of rivers, the sound of tomorrow, the sound of wind. Music can also be seen, heard, understood and felt in the sound of the wind hitting the leaves and the sound of the drops of rain falling on the leaves, birds chirping etc. Music is the only means of religion, meaning, work and salvation. भारत देश कला व संस्कृति का प्रतीक माना जाता है। भारतीय संगीत हमारे भारत की अमूल्य धरोहर के रूप में अति प्राचीन काल से ही सर्वोच्च स्थान पर विद्यमान है। सृष्टि की उत्पत्ति के साथ ही संगीत भी अस्तित्व में आया होगा, ऐसा माना गया है, परंतु देखा जाये तो प्रकृति के रोम-रोम में ही संगीत बसता है, नदियों की बहती धारा, कल-कल की ध्वनि, हवा की सन्-सन् ध्वनि, पत्तों से टकराती हवा की ध्वनि व पत्तों पर गिरती बारिश के बूंदों के टप्-टप् की ध्वनि, पक्षियों की चहचहाट आदि में संगीत को देखा, सुना, समझा व महसूस भी किया जा सकता है। संगीत ही धर्म, अर्थ, काम और मोक्ष का एकमात्र साधन है।

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Guenther, Alan M. "Ghazals, Bhajans and Hymns: Hindustani Christian Music in Nineteenth-Century North India." Studies in World Christianity 25, no. 2 (August 2019): 145–65. http://dx.doi.org/10.3366/swc.2019.0254.

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When American missionaries from the Methodist Episcopal Church arrived in India in the middle of the nineteenth century, they very soon published hymn-books to aid the Christian church in worship. But these publications were not solely the product of American Methodists nor simply the collection of foreign songs and music translated into Urdu. Rather, successive editions demonstrate the increasing participation of both foreigners and Indians, of missionaries from various denominations, of both men and women, and of even those not yet baptised as Christians. The tunes and poetry included were in both European and Indian forms. This hybrid nature is particularly apparent by the end of the century when the Methodist press published a hymn-book containing ghazals and bhajans in addition to hymns and Sunday school songs. The inclusion of a separate section of ghazals was evidence of the influence of the Muslim culture on the worship of Christians in North India. This mixing of cultures was an essential characteristic of the hymnody produced by the emerging church in the region and was used in both evangelism and worship. Indian and foreign evangelists relied on indigenous music to draw hearers and to communicate the Christian gospel.

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Philips, Anna Amy. "Embracing indian and western classical music in the 21st century: Param Vir and Shankar Tucker." Musica paedagogia pilsnensis 1, no. 1 (2021): 73–80. http://dx.doi.org/10.24132/zcu.musica.2021.01.73-80.

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The first (published) mention of Indian classical music in Western discourse takes us to William Jones’ On the Musical Modes of the Hindus (1784), which ignited a scholarly interest for the Orient in the Western world. Since then, over the years, several researchers in music have been swept along and consumed by the currents of lost, found, translated, (mis-)inter - preted, transliterated and transformed literature on Indian classical music 2. This work delves neither into the labyrinth of the allusive character of Raga, nor the theory, transliteration, and treatises on Indian classical music. Instead, with supporting literature from many diligent scholars, it utilises all the extremely elaborate theories and explanations from the past to initiate a different sort of analysis in this field, one that explores musical material directly in compositions which incorporate both Indian and Western music, using socio-cultural, media studies theories and music analysis theories. The primary intent of this work is to comprehend the creation of a cultural third space brought about by the hybridisation of contemporary Western music and Indian classical music, taking two composers as case studies for this purpose: Param Vir and Shankar Tucker. The parameters of this study centre, in Vir’s case, on Indian classical- and 20 th century Western classical music theories; and, in Tucker’s case, the appropriation of Indian music, using contemporary media studies and popular music the- ories of a globalised world. Such an analysis is customised and therefore is to be considered as an observation of the current scenario within these two systems of music, within these parameters.

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Ramesh, Dr S. "Eternal Elegance: The Resplendent Beauty and Global Impact of Indian Classical Music." Journal of Humanities,Music and Dance, no. 35 (August 31, 2023): 22–26. http://dx.doi.org/10.55529/jhmd.35.22.26.

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This essay delves into the captivating beauty of Indian classical music and its farreaching impact on the global stage. Indian classical music, renowned for its intricate melodies, rhythmic complexities, and spiritual profundity, has captivated audiences worldwide, transcending cultural confines. Through a historical and cultural lens, this essay explores the distinct elements of Indian classical music and its remarkable capacity to evoke emotions, bridge cultural gaps, and nurture cross-cultural appreciation. Additionally, the discussion underscores the significance of various types of Indian classical music and their modern applications, including their therapeutic potential and fusion with other musical genres. Ultimately, the essay emphasizes the enduring influence of Indian classical music and its potential to continue enriching the global cultural tapestry.

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Karácsony, Noémi. "The Sound of India In Maurice Delage’s Quatre Poèmes Hindous." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 277–96. http://dx.doi.org/10.24193/subbmusica.2020.2.18.

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"French composer and pianist Maurice Delage wrote several significant works inspired by his personal contact with the Orient. His travels to India inspired Delage to use innovative sound effects in his compositions, as well as to require his performers to adapt their vocal or instrumental technique to obtain the sound desired by the composer. His representation of the Orient is not a mere evocation of the Other, as is the case with most orientalist works, rather it reflects the composer’s desire to endow Western music with the purity, strength, and vivid colors which he discovered and admired in Indian music. The present paper presents the historical and artistic background which inspired and influenced Delage, the relationship between France and India in the early 20th century and reveals the composer’s idealistic point of view regarding India, its culture, and its music. The analysis focuses on the mélodie cycle Quatre poèmes hindous, composed between 1912 and 1913, striving to reveal the Indian influences in the work of Delage and the way orientalism is represented in French music from the first decades of the 20th century. Keywords: orientalism, France, India, 20th century, Maurice Delage"

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Diyora, Bharat Tulashibhai. "Music and Dance Culture in the City of Vadodara in the Nineteenth and Twentieth Centuries." Scholars Journal of Arts, Humanities and Social Sciences 9, no. 7 (July 7, 2021): 310–14. http://dx.doi.org/10.36347/sjahss.2021.v09i07.002.

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The arts of dance and music are of great importance to the culture of India. Classical Indian dances and music are among the most graceful and beautiful in the world. The Maharaja Sayajirao Gaekwad as a head of state led to making Baroda a city representative of art, which is at once indigenous and modern. Expert artists from across the Indian Subcontinent were invited to perform as well as to extend the knowledge of music to the people of Vadodara. Artists were often encouraged with awards and rewards for their performances on various occasions. Maharaja Sayajirao wanted to disseminate the tradition as well as ear for music among the people of Vadodara, so he decided to employ more artists in the court. Hence, many young and old, professional and novices were appointed. So this paper covered all the aspect of music and dance which evolved under vision of the Maharaja Sayajirao.

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Khanwalkar, Smita. "COLORFUL COMBINATION IN INDIAN FILM MUSIC." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3604.

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Along with human civilization, arts developed. In the sixty-four arts, music, painting and poetry have special importance. Music-art is also more influential among them. There is no knowledge as much as music is capable of awakening dormant feelings in the heart of man. The expressions which cannot be expressed through pictures, can be expressed through poetry or language, and the expressions which the language is also unable to express, the music can express it easily. It is to say - "Only music is such an art, which is directly related to the audience. It does not require any medium. "Touched by the artist's intimacy, the listener touches the listener's heart and establishes him in the divine world. मानव-सभ्यता के साथ-साथ कलाओं का विकास हुआ। चैसठ कलाओं में संगीत-कला, चित्र-कला और काव्य-कला विषेष महत्व रखती हैं। इनमें भी संगीत-कला अधिक प्रभाव डालने वाली कला है। मनुष्य के हृदय में सुप्त भावों को जागृत करने में संगीत जितना सक्षम है, उतनी और कोई विद्या नहीं। जो भाव चित्र के माध्यम से व्यक्त नहीं किये जा सकते, उन्हें काव्य या भाषा के माध्यम से अभिव्यक्त किया जा सकता हैं और जिन भावों को व्यक्त करने में भाषा भी असमर्थ रहती है, उन्हें संगीत सहज ही व्यक्त कर देता है।।शाॅपेन हाॅवर का कहना है - ’’केवल संगीत ही ऐसी कला है, जो श्रोताओं से सीधा संबंध रखती है। इसे किसी भी माध्यम की आवष्यकता नहीं होती।’’कलाकार के अंतरंग से छेड़ा हुआ सुर श्रोता के अंतस् को छूकर उसे दिव्य लोक में प्रतिष्ठित कर देता है।

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Jani, Pooja A., and Shweta Jejurkar. "Contribution of Kramik Pustak Malika of Chatur Pandit in the field of Indian Music and its Relevance." HARIDRA 2, no. 07 (December 27, 2021): 62–70. http://dx.doi.org/10.54903/haridra.v2i07.7773.

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Indian Classical Music is the best gift of Indian culture to the world. Indian Classical Music is of two types – उत्तर हिन्दुस्तानी संगीत पद्धति एवं दक्षिण हिन्दुस्तानी संगीत पद्धति. The roots of Indian Music are found in Vedas. Sanskrit is the ancient language and we found it in the Vedas. Many treatises related to music systems are also found in Sanskrit Language. To learn music properly, every learner has to go through two paths – 1. Theoretical music (Ancient treatises) 2. Practical Music (which follows Guru Shishya tradition). Pandit Bhatkhande has given wonderful and helpful notation system to Indian Classical Music. With the help of it he has collected many Bandish from different people and made a large collection. This collection is known as Kramik Pustak Malika. (Parts 1 -6). All these six parts are having theory of 150 ragas divided Thata-wise, with introductory chapter on the general theory of music, besides a short description of every Raga, followed by Svar-vistar. They contain about 1000 traditional compositions including Pandit Bhatkhande’s own compositions which are about 300 in notation. To know the Raga deeply, one can refer the same book and can get many Bandish, Svar-vistar, information about Ragas, their descriptions given in Sanskrit treatises, Thata (थाट), Tala, etc. Therefore, Kramik Pustak Malika of Chatur Pandit is the treasure of Indian Music.

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Dubey, Sasikala. "INNOVATIVE RECIPROCITY IN INDIAN AND WESTERN MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3453.

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At present, increasing steps of innovation are being reflected in almost every field globally. Innovative experiments are being done in the field of music, due to which various concepts related to music are giving a living momentum.There was also a time when the distinction between Indian and Western music was said to be that the listeners of Indian music shook the heads of the listeners while the westerners heard the feet of the listeners. The same belief is still prevalent among the well-known siblings of music. But from the point of view of joint creativity, it gets its own opinion. The innovations in music have also knocked on the minds of traditional listeners, consequently, innovation has awakened the reciprocal sensation of the mutual audience of music towards the modern form of music. वर्तमान समय में वैश्विक स्तर पर प्रायः हर क्षेत्र में नवाचार के बढ़ते कदम परिलक्षित हो रहे हैं। संगीत के क्षेत्र में नवाचार को लेकर नवीन प्रयोग हो रहे हैं, जिससे संगीत विषयक विभिन्न धारणाओं को जीवन्त गति मिल रही है।एक समय ऐसा भी था कि जब भारतीय और पाश्चात्य संगीत के मध्य भेद को लेकर कहा जाता था कि भारतीय संगीत को सुनने वाले श्रोताओं के सिर हिला करते हैं जबकि पाश्चात्य संगीत को सुनने वालों के पैर हिला करते हैं। संगीत के पारखी सुधीजनों के बीच आज भी यही मान्यता स्थिर है। लेकिन प्रयोग की दृष्टि से संयुक्त सृजनात्मकता अपनी बात को मनवा ही लेती है। संगीत में आये नवाचार ने भी पारम्परिक श्रोताओं के मस्तिष्क पर दस्तकें दी हैं, फलस्वरूप नवाचार के कारण संगीत के आधुनिक स्वरूप के प्रति भी संगीत के पारस्परिक श्रोताओं का रागात्मक संवेदन जागा है।99

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Troutman, John. "To Win the Indian Heart: Music at Chemawa Indian School." Ethnohistory 63, no. 2 (April 2016): 431–32. http://dx.doi.org/10.1215/00141801-3455507.

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Abburu, Sunitha, and G. Suresh Babu. "Indian Music Instruments Semantic Knowledge Representation." International Journal of Computer Applications 71, no. 15 (June 26, 2013): 1–5. http://dx.doi.org/10.5120/12431-8540.

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Cavanagh, Beverley. "North America: Indian and Inuit Music." Ethnomusicology 29, no. 2 (1985): 337. http://dx.doi.org/10.2307/852148.

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Gupta, Uma, and B. S. Gupta. "Psychophysiological responsivity to Indian instrumental music." Psychology of Music 33, no. 4 (October 2005): 363–72. http://dx.doi.org/10.1177/0305735605056144.

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Neuman, Daniel M. "Indian Music as a Cultural System." Asian Music 17, no. 1 (1985): 98. http://dx.doi.org/10.2307/833743.

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Richards, Vicki. "Indian Music: An Introduction for Musicians." American String Teacher 54, no. 2 (May 2004): 72–77. http://dx.doi.org/10.1177/000313130405400210.

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Shirey, Kim F. "General Music at Marty Indian School." Soundings (Reston, VA) 5, no. 3 (April 1992): 6–7. http://dx.doi.org/10.1177/104837139200500303.

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Bhavanani, AnandaBalayogi. "An introduction to Indian music therapy." Journal of Applied Consciousness Studies 10, no. 1 (2022): 93. http://dx.doi.org/10.4103/ijoyppp.ijoyppp_14_22.

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Trivedi, N. K., and D. Mehrotra. "Optimum r/t of music studios suited to Indian music." Applied Acoustics 32, no. 3 (1991): 169–77. http://dx.doi.org/10.1016/0003-682x(91)90001-u.

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Gardner, K. A. "Edward MacDowell, Antimodernism, and "Playing Indian" in the Indian Suite." Musical Quarterly 87, no. 3 (January 1, 2004): 370–422. http://dx.doi.org/10.1093/musqtl/gdh016.

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Garrett-Davis, Josh. "American Indian Soundchiefs." Resonance 1, no. 4 (2020): 394–411. http://dx.doi.org/10.1525/res.2020.1.4.394.

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American Indian Soundchiefs, an independent record label founded by the Rev. Linn Pauahty (Kiowa) in the 1940s, developed a remarkable model of Indigenous sound media that combined home recording, dubbing, and small-scale mass production. Alongside other Native American media producers of the same era, Soundchiefs built on earlier engagements with ethnographic and commercial recording to produce Native citizens’ media a generation prior to the Red Power era of the 1960s and 1970s. This soundwork provided Native music to Native listeners first, while also seeking to preserve a “rich store of folk-lore” sometimes in danger of being lost under ongoing colonial pressures. Pauahty’s label found ways to market commercial recordings while operating within what music and legal scholar Trevor Reed (Hopi) calls “Indigenous sonic networks,” fields of obligation and responsibility.

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Journal articles on the topic 'Indian music'

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