Have a personal or library account? Click to login
On the Distributional Representation of Ragas: Experiments with Allied Raga Pairs Cover

On the Distributional Representation of Ragas: Experiments with Allied Raga Pairs

Open Access
|Dec 2018

References

  1. 1AUTRIM-NCPA. (2017). Music in Motion: The automated transcription for Indian music (AUTRIM) project by NCPA and UvA. URL: https://autrimncpa.wordpress.com/. Last accessed: October 26,2017.
  2. 2Bagchee, S. (1998). Nad: Understanding Raga Music. Business Publications Inc.
  3. 3Belle, S., Joshi, R., & Rao, P. (2009). Raga identification by using swara intonation. Journal of ITC Sangeet Research Academy, 23.
  4. 4Bozkurt, B. (2008). An automatic pitch analysis method for Turkish Maqam music. Journal of New Music Research, 37(1), 113. DOI: 10.1080/09298210802259520
  5. 5Castellano, M. A., Bharucha, J. J., & Krumhansl, C. L. (1984). Tonal hierarchies in the music of north India. Journal of Experimental Psychology: General, 113(3), 394412. DOI: 10.1037/0096-3445.113.3.394
  6. 6Cha, S. H. (2007). Comprehensive survey on distance/similarity measures between probability density functions. International Journal of Mathematical Models and Methods in Applied Sciences, 1(4), 300307.
  7. 7Chordia, P., & Rae, A. (2007). Raag recognition using pitch-class and pitch-class dyad distributions. In: Proceedings of the International Conference on Music Information Retrieval, 431436.
  8. 8Chordia, P., & Senturk, S. (2013). Joint recognition of raag and tonic in north Indian music. Computer Music Journal, 37(3), 8298. DOI: 10.1162/COMJ_a_00194
  9. 9Danielou, A. (2010). The ragas of Northern Indian music. Munshiram Manoharlal Publishers.
  10. 10Datta, A. K., Sengupta, R., Dey, N., & Nag, D. (2006). Experimental analysis of Shrutis from performances in Hindustani music. Scientific Research Department, ITC Sangeet Research Academy.
  11. 11Dighe, P., Karnick, H., & Raj, B. (2013). Swara histogram based structural analysis and identification of Indian classical ragas. In: Proceedings of the International Society for Music Information Retrieval Conference, 3540.
  12. 12Fawcett, T. (2006). An introduction to ROC analysis. Pattern Recognition Letters, 27(8), 861874. DOI: 10.1016/j.patrec.2005.10.010
  13. 13Fujishima, T. (1999). Realtime chord recognition of musical sound: a system using common Lisp music. In: Proceedings of the International Computer Music Conference, 464467.
  14. 14Ganguli, K. K., Gulati, S., Serra, X., & Rao, P. (2016). Data-driven exploration of melodic structures in Hindustani music. In: Proceedings of the International Society for Music Information Retrieval Conference, 605611.
  15. 15Ganguli, K. K., & Rao, P. (2017). Towards computational modeling of the ungrammatical in a raga performance. In: Proceedings of the International Society for Music Information Retrieval Conference, 3945.
  16. 16Gedik, A. C., & Bozkurt, B. (2010). Pitch-frequency histogram-based music information retrieval for Turkish music. Signal Processing, 90(4), 10491063. DOI: 10.1016/j.sigpro.2009.06.017
  17. 17Ghosh, P. K., & Narayanan, S. S. (2009). Pitch contour stylization using an optimal piecewise polynomial approximation. IEEE Signal Processing Letters, 16(9), 810813. DOI: 10.1109/LSP.2009.2025824
  18. 18Gomez, E. (2006). Tonal description of polyphonic audio for music content processing. INFORMS Journal on Computing, 18(3), 294304. DOI: 10.1287/ijoc.1040.0126
  19. 19Gulati, S., Bellur, A., Salamon, J., Ranjani, H. G., Ishwar, V., Murthy, H. A., & Serra, X. (2014). Automatic tonic identification in Indian art music: Approaches and Evaluation. Journal of New Music Research, 43(1): 5371. DOI: 10.1080/09298215.2013.875042
  20. 20Gulati, S., Serra, J., Ganguli, K. K., Senturk, S., & Serra, X. (2016). Time-delayed melody surfaces for raga recognition. In: Proceedings of the International Society for Music Information Retrieval Conference, 751757.
  21. 21Huron, D. (2006). Sweet Anticipation: Music and the Psychology of Expectation. MIT Press.
  22. 22ITC-SRA. (2017). Distinguishing between similar ragas. URL: http://www.itcsra.org/Distinguishingbetween-Similar-Ragas. Last accessed: October 26, 2017.
  23. 23Koduri, G. K., Gulati, S., & Rao, P. (2011). A survey of raaga recognition techniques and improvements to the state-of-the-art. In: Proceedings of the 8th Sound and Music Computing Conference, 3946.
  24. 24Koduri, G. K., Gulati, S., Rao, P., & Serra, X. (2012). Raga recognition based on pitch distribution methods. Journal of New Music Research, 41(4), 337350. DOI: 10.1080/09298215.2012.735246
  25. 25Koduri, G. K., Ishwar, V., Serra, J., & Serra, X. (2014). Intonation analysis of ragas in Carnatic music. Journal of New Music Research, 43(1), 7293. DOI: 10.1080/09298215.2013.866145
  26. 26Krumhansl, C. L. (1990). Cognitive Foundations of Musical Pitch, 77110. Oxford University Press, New York. Chapter 4: A key-finding algorithm based on tonal hierarchies.
  27. 27Krumhansl, C. L., & Cuddy, L. L. (2010). A Theory of Tonal Hierarchies in Music, 5187. Springer: New York.
  28. 28Krumhansl, C. L., & Kessler, E. J. (1982). Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys. Psychological review, 89(4), 334368. DOI: 10.1037/0033-295X.89.4.334
  29. 29Kulkarni, S. (2011). Shyamrao Gharana, 1. Prism Books Pvt. Ltd.
  30. 30Kumar, V., Pandya, H., & Jawahar, C. V. (2014). Identifying ragas in Indian music. In: International Conference on Pattern Recognition, 767772. DOI: 10.1109/ICPR.2014.142
  31. 31Mahajan, A. (2010). Ragas in Hindustani Music: Conceptual Aspects. Gyan Publishing House.
  32. 32Oak, V. (2017). 22 shruti. URL: http://22shruti.com/. Last accessed: October 26, 2017.
  33. 33Peeters, G. (2006). Chroma-based estimation of musical key from audio-signal analysis. In: Proceedings of the International Conference on Music Information Retrieval, 115120.
  34. 34Powers, H. S., & Widdess, R. (2001). India, subcontinent of, chapter III: Theory and practice of classical music, 170210. New Grove Dictionary of Music. Macmillan, London, 2nd edition.
  35. 35Raja, D. (2016). The Raga-ness of Ragas: Ragas Beyond the Grammar. D.K. Print World Ltd.
  36. 36Raman, R., & Dowling, W. J. (2016). Real-time probing of modulations in south Indian classical (Carnatic) music by Indian and Western musicians. Music Perception, 33(3), 367393. DOI: 10.1525/mp.2016.33.3.367
  37. 37Rao, P., Ross, J. C., & Ganguli, K. K. (2013). Distinguishing raga-specific intonation of phrases with audio analysis. Ninaad, 26–27(1), 5968.
  38. 38Rao, P., Ross, J. C., Ganguli, K. K., Pandit, V., Ishwar, V., Bellur, A., & Murthy, H. A. (2014). Classification of melodic motifs in raga music with timeseries matching. Journal of New Music Research, 43(1), 115131. DOI: 10.1080/09298215.2013.873470
  39. 39Rao, S., Bor, J., van der Meer, W., & Harvey, J. (1999). The Raga Guide: A Survey of 74 Hindustani Ragas. Nimbus Records with Rotterdam Conservatory of Music.
  40. 40Rao, S., & Rao, P. (2014). An overview of Hindustani music in the context of Computational Musicology. Journal of New Music Research, 43(1), 2433. DOI: 10.1080/09298215.2013.831109
  41. 41Rao, V., & Rao, P. (2010). Vocal melody extraction in the presence of pitched accompaniment in polyphonic music. IEEE Transactions on Audio, Speech & Language Processing, 18(8), 21452154. DOI: 10.1109/TASL.2010.2042124
  42. 42Ross, J. C., Mishra, A., Ganguli, K. K., Bhattacharyya, P., & Rao, P. (2017). Identifying raga similarity through embeddings learned from compositions’ notation. In: Proceedings of the International Society for Music Information Retrieval Conference, 515522.
  43. 43Ross, J. C., Vinutha, T. P., & Rao, P. (2012). Detecting melodic motifs from audio for Hindustani classical music. In: Proceedings of the International Society for Music Information Retrieval Conference, 193198.
  44. 44Serra, X. (2011). A multicultural approach to music information research. In: Proceedings of the International Society for Music Information Retrieval Conference, 151156.
  45. 45Serra, X. (2014). Creating research corpora for the computational study of music: the case of the Comp- Music project. In: Proceedings of the 53rd AES International Conference on Semantic Audio, 19.
  46. 46Smith, N. A., & Schmuckler, M. A. (2000). Pitchdistributional effects on the perception of tonality. In: Proceedings of the International Conference on Music Perception and Cognition, 510.
  47. 47Smith, N. A., & Schmuckler, M. A. (2004). The perception of tonal structure through the differentiation and organization of pitches. Journal of Experimental Psychology: Human Perception and Performance, 30(2), 268286. DOI: 10.1037/0096-1523.30.2.268
  48. 48Srinivasamurthy, A., & Serra, X. (2014). A supervised approach to hierarchical metrical cycle tracking from audio music recordings. In: Proceedings of the IEEE International Conference on Acoustics, Speech and Signal Processing, 52175221. DOI: 10.1109/ICASSP.2014.6854598
  49. 49SwarGanga. (2017). Swarganga music foundation. URL: https://www.swarganga.org/. Last accessed: October 26, 2017.
  50. 50Temperley, D. (1999). What’s key for key? The Krumhansl-Schmuckler key-finding algorithm reconsidered. Music Perception, 17(1), 65100. DOI: 10.2307/40285812
  51. 51Temperley, D., & Marvin, E. W. (2008). Pitch-class distribution and the identification of key. Music Perception, 25(3), 193212. DOI: 10.1525/mp.2008.25.3.193
  52. 52van der Meer, W. (1980). Hindustani Music in the 20th Century. Martinus Nijhoff Publishers. DOI: 10.1007/978-94-009-8777-7
  53. 53Vidwans, A., Ganguli, K. K., & Rao, P. (2012). Classification of Indian classical vocal styles from melodic contours. In: Proceedings of the 2nd CompMusic Workshop, 139146.
  54. 54Vijaykrishnan, K. G. (2007). The Grammar of Carnatic Music. De Gruyter Mouton. DOI: 10.1515/9783110198881
  55. 55Widdess, R. (1994). Involving the performers in transcription and analysis: a collaborative approach to Dhrupad. Ethnomusicology, 38(1), 5979. DOI: 10.2307/852268
  56. 56Widdess, R. (2011). Dynamics of melodic discourse in Indian music: Budhaditya Mukherjee’s alap in rag Puriya-Kalyan, 187224. Oxford University Press.
  57. 57Widdess, R. (2013). Schemas and improvisation in Indian music. In: Kempson, R., Howes, C., & Orwin, M. (Eds.), Language, Music and Interaction, 197209. College Publications: London.
DOI: https://doi.org/10.5334/tismir.11 | Journal eISSN: 2514-3298
Language: English
Submitted on: Jan 20, 2018
Accepted on: Jun 3, 2018
Published on: Dec 19, 2018
Published by: Ubiquity Press
In partnership with: Paradigm Publishing Services
Publication frequency: 1 issue per year

© 2018 Kaustuv Kanti Ganguli, Preeti Rao, published by Ubiquity Press
This work is licensed under the Creative Commons Attribution 4.0 License.