top of page

Nicks Piano Studio Group

Public·41 members

The Raga Guide: A Survey of 74 Hindustani Ragas - Nimbus Records

Having reviewed two corpora of Hindustani concerts, we now turn our attention to experimental data. The experiment with performances of 10 musicians (students in the Indian Institute of Technology, Kharagpur) to identify the timbre of notes played by each of them was conducted on five spring evenings and, in a limited fashion, on a summer evening (one note per musician per evening). Note that in this case, performance duration refers to the duration of time taken for the performer to play the note as opposed to the length of the overall instrument performance event. The instrument performance event of the first instrument in a paired raga was configured to have a duration of around 30 minutes. Of the three raagamams (subgenres) of Hindustani music, the Carnatic and Hindustani are known to be more distinctive in timbre than the Jogi. Upon recording the performance event of each of the 10 musicians on each of the five spring evenings, we used a custom-designed system for the audio-to-text processing that annotated the performance event data with the textual notes corresponding to different pitches, belonging to each musician, at all times of the performance event (see figure 1 ). In the case of the summer evening (see figure 2 ), the performer played only two pairs of raagamams; therefore, as performed, each musician played notes corresponding to a different raaga on at least one of the two occasions.

The Raga Guide A Survey Of 74 Hindustani Ragas Pdf Free Download


We also note the greater diversity of the raga chords in Bhupali compared to Deshkar. This can be understood based on the perception of the two ragas as underlying models of syntactic and musical terms. Bhupali, due to its sub-class, is a highly constrained raga while Deshkar is more relaxed, and consequently, it permits more musical material to be expressed. One interesting finding from Table 1 and Figure 11 is that there exist several non-syllabic elements in the pitch content of musical segments. Some of these are specifically related to the global placement of the salience within the given cycle, e.g., the variation of the first phase of the two topmost corresponding segments from the same cycle in Bhupali-1.


Welcome to the group! You can connect with other members, ge...
bottom of page