Description :Sangitashasfra, the traditional Indian science of music, contains several ideas which are keys for the study, classification and analysis of raga music. These ideas form the base here for an analysis model realized as a computer algorythm. We look at the schema of the Sangita Ratnakara for different note functions. Then data for alap sketches in ragas Bihag and Kalyan composed and notated by three eminent musicians is analyzed using the analysis schema, to study how the notes have been used by the different musicians to define the raga-form (raga rupa). We then turn our attention to the vama-s, the S.R.'s categories of how notes are used in seriatim. Using these categories, the analysis creates for each data sample a 'list of allowed moves' for the raga as it is manifested by the piece. Using this 'list' we isolate and study the contextual use ofminimally sized kernels of musicolinguistic meaning. Lastly, we discuss the question of a generative grammer it la Chomsky's idea of trees of possibility.
Source :Sangeet Natak Akademi
Type :Article
Received From :Sangeet Natak Akademi
DC Field
Value
dc.contributor.author
Arnold, Wasiuddin J.
dc.date.accessioned
2017-06-22T05:20:34Z
dc.date.available
2017-06-22T05:20:34Z
dc.date.issued
1985
dc.description.abstract
Sangitashasfra, the traditional Indian science of music, contains several ideas which are keys for the study, classification and analysis of raga music. These ideas form the base here for an analysis model realized as a computer algorythm. We look at the schema of the Sangita Ratnakara for different note functions. Then data for alap sketches in ragas Bihag and Kalyan composed and notated by three eminent musicians is analyzed using the analysis schema, to study how the notes have been used by the different musicians to define the raga-form (raga rupa). We then turn our attention to the vama-s, the S.R.'s categories of how notes are used in seriatim. Using these categories, the analysis creates for each data sample a 'list of allowed moves' for the raga as it is manifested by the piece. Using this 'list' we isolate and study the contextual use ofminimally sized kernels of musicolinguistic meaning. Lastly, we discuss the question of a generative grammer it la Chomsky's idea of trees of possibility.
Government of India
