Pitch Analysis in South Indian Music
| | Price: | Rs.895.00 |
Detail Of Pitch Analysis in South Indian Music
| ISBN | 9788121512626 |
| Pages | 238 |
| Language: | English |
| Size(in cm): | 10.0 inch x 7.5 inch cm |
| Weight(in grams): | 660(approx) |
Description:
Contents
5.4
List of Tables xi
List of Pitch profiles xiii
Foreword xvii
Acknowledgments xix
Transliteration xxiii
List of Symbols, Abbreviation, and Formulae xxv
1 Introdcution 1
1.1. Tuning and Temperament 3
1.2 Pitch of Musical Sounds 4
1.3 Just Noticeable Difference(JND) 5
1.4 Pitch and Frequency 6
1.5 Pitch and Sruti 7
1.6 Intonation 7
1.7 Impetus and Purpose 9
1.8 Scope of Research 12
1.9 Terminology and Organization 13
2 Sruti 15
2.1 A brief Background in musical Treatises 15
2.2 Bharata's two-vina experiment 16
2.3 Bharta's tw o-vina experiment with various configurations 17
2.3.1. The Sarana Process with Equal intervals 17
2.3.2. The Sarana Process with Unequal Intervals 21
2.3.3. the Sarana Process with Svara-s as Positions 27
2.3.4. Physics of Vibrating Strings 35
2.3.5. Bharata's Two-vina Experiment with Variable intervals 37
2.3.6. Position Analysis 39
2.3.7. Practical Problems with Bharata's two-vina experiment 42
2.4 Sarangadeva's Interpretation 43
2.5 Sruti and Svara 45
2.6 Suddha and Vikrta Svara-s 45
2.7 Ahobala's Approach 46
2.8 Venkatamakhi's View 47
2. 9 Govinda and Subbarama Diksitar 49
2.10 Summing Up 49
2.11 Modern Theroies of 22 Sruti-s 50
2.12 Theories of placement of Sruti-s in Raga-s 60
2.13 Related Issues 62
2.13.1. Octave 62
2.13.1.1. Octave Equivalence 62
2.13.1.2. Octave Stretching 64
2.13.2. Intervals 65
2.13.3 Scales 66
2.13.3.1. Pythagorean Tuning 67
2.13.3.2. Just Tuning 68
2.13.3.3. Equal Temperament 69
2.13.4. Modal Shift of Tonic 71
2.13.4. Consonance and Samvaditva 76
2.13.5. Effect of Tambura 77
3 Factors Affecting Pitch Perception 77
3.1. Physics of Music 78
3.2. Physiology of Hearing 80
3.2.1. Non-linearity in Hearing 81
3.3. Psychoacousitcs of Perception 83
3.4. Holistic Appreciation 84
3.5. The Role of Mathematics 89
4 Empirical Pitch Anlaysis 89
4.1 Overview of Pitch Analysis 92
4.2 Experimental Setup and Methodology 92
4.3 Software and Validation 93
4.4 Parameters-Assumptions and Limitations 93
4.4.1. Maximum Acceptable Pitch Deviation, p+_ 93
4.4.2. Minimum time for pitch perception 94
4.4.3. Establishing Pitch 95
4.4.3.1. The issue of Averaging 96
4.4.4. Plotting Pitch Profiles 97
4.4.5. Typical frequency range in Karnataka music 97
4.4.6 PRAAT parameters 97
4.4.7. Sampling Rate 97
4.5 Pitch Analysis Schedule 98
4.6 Results and Analysis 99
4.6.1. Gaula 99
4.6.2 Saveri 109
4.6.3. Bhairavi 122
4.6.4. Hindolam 129
4.6.5. Hamsanandi 137
4.6.6. Nata 144
4.6.7. Begada 144
4.6.8. Mayamalavagaula 145
4.6.9. Discussion 145 145
4.7 Intonational Imperatives 146
5 Conclusions 148
5.1. Recapitulation 148
5.2 Original Contribution Made 451
5.3 Suggested Further Research 151
Conclusions 152
Epilogue 154
Appendices:
A: 22 Sruti-s 159
B: Various Suddha and Vikrta Svara Positions 164
Empirical Pitch Analysis Results 170
Noes 188
Glossary 195
References 204
Index 210
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