Version 1
: Received: 10 April 2019 / Approved: 15 April 2019 / Online: 15 April 2019 (10:46:10 CEST)
How to cite:
Banerjee, A.; Sanyal, S.; Sengupta, R.; Ghosh, D. A Nonlinear Study on Time Evolution in Gharana Tradition of Indian Classical Music. Preprints2019, 2019040157. https://doi.org/10.20944/preprints201904.0157.v1
Banerjee, A.; Sanyal, S.; Sengupta, R.; Ghosh, D. A Nonlinear Study on Time Evolution in Gharana Tradition of Indian Classical Music. Preprints 2019, 2019040157. https://doi.org/10.20944/preprints201904.0157.v1
Banerjee, A.; Sanyal, S.; Sengupta, R.; Ghosh, D. A Nonlinear Study on Time Evolution in Gharana Tradition of Indian Classical Music. Preprints2019, 2019040157. https://doi.org/10.20944/preprints201904.0157.v1
APA Style
Banerjee, A., Sanyal, S., Sengupta, R., & Ghosh, D. (2019). A Nonlinear Study on Time Evolution in Gharana Tradition of Indian Classical Music. Preprints. https://doi.org/10.20944/preprints201904.0157.v1
Chicago/Turabian Style
Banerjee, A., Ranjan Sengupta and Dipak Ghosh. 2019 "A Nonlinear Study on Time Evolution in Gharana Tradition of Indian Classical Music" Preprints. https://doi.org/10.20944/preprints201904.0157.v1
Abstract
Indian classical music is entirely based on the “Raga” structures. In Indian classical music, a “Gharana” or school refers to the adherence of a group of musicians to a particular musical style of performing a raga. The objective of this work was to find out if any characteristic acoustic cues exist which discriminates a particular gharana from the other. Another intriguing fact is if the artists of the same gharana keep their singing style unchanged over generations or evolution of music takes place like everything else in nature. In this work, we chose to study the similarities and differences in singing style of some artists from at least four consecutive generations representing four different gharanas using robust non-linear methods. For this, alap parts of a particular raga sung by all the artists were analyzed with the help of non linear multifractal analysis (MFDFA and MFDXA) technique. The spectral width obtained from the MFDFA method gives an estimate of the complexity of the signal whereas the cross correlation coefficient obtained from the MFDXA technique gives the degree of correlation between two nonlinear time series. The observations give a cue in the direction to the scientific recognition of “Guru-Shisya Parampara” (teacher-student tradition)—a hitherto much-heard philosophical term. Moreover the variation in the complexity patterns among various gharanas will give a hint of the characteristic feature of that particular gharana as well as the effect of globalization in the field of classical music happening through past few decades.
Keywords
Guru-Shishya parampara; gharana; Indian Classical Music; MFDFA; MFDXA
Subject
Arts and Humanities, Music
Copyright:
This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
