Signal Analysis of Hindustani Classical Music (Signals and Communication Technology)

Introduction -- Music Information Retrieval -- Scales and Shruti Concept -- Tonic Detection and Shruti Analysis from Raga Performance -- Pitch Transition and Stability -- Raga Identification -- Gharana identification -- Production, Perception and Cognition -- Musical Instruments -- Concluding Remarks.;This book presents a comprehensive overview of the basics of Hindustani music and the associated signal analysis and technological developments. It begins with an in-depth introduction to musical signal analysis and its current applications, and then moves on to a detailed discussion of the features involved in understanding the musical meaning of the signal in the context of Hindustani music. The components consist of tones, shruti, scales, pitch duration and stability, raga, gharana and musical instruments. The book covers the various technological developments in this field, supplemented with a number of case studies and their analysis. The book offers new music researchers essential insights into the use of the automatic concept for finding and testing the musical features for their applications. Intended primarily for postgraduate and PhD students working in the area of scientific research on Hindustani music, as well as other genres where the concepts are applicable, it is also a valuable resource for professionals and researchers in musical signal processing. Prologue 6 Contents 9 1 Introduction 14 1.1 What Is Music? 14 1.2 Origin of Music 15 1.3 Indian Music 16 1.3.1 Notes (Swara) in Indian Music 18 1.3.2 Importance of the Tonic (Sa) 19 1.4 Basic Elements of Music 20 1.5 Uniqueness of Indian Classical Music 21 1.6 Different Forms of Indian Classical Music 22 1.7 Raga—The Soul of Indian Classical Music 25 1.8 Scientific Research in Indian Music 26 References 28 2 Music Information Retrieval 30 2.1 Introduction 30 2.2 Feature Extraction 31 2.2.1 Process of Feature Extraction 32 2.2.2 Selection of Features 35 2.3 Conclusions and Discussion 39 References 43 3 Scales and Shruti Concept 47 3.1 Views on Shruti 47 3.2 Ancient Period 50 3.3 Modern Period 53 3.3.1 Divisive Theory 54 3.3.2 Cyclic Theory 54 3.3.3 Vedic Theory 54 3.4 Musical Scale 56 3.4.1 Objective Modeling of Musical Scale 58 3.4.2 Relevant Psycho-Perceptual Concepts 59 3.4.3 Hypothesis 61 3.4.4 Construction of Shrutis from Hypothesis 62 3.4.5 Conclusion 68 References 68 4 Tonic Detection and Shruti Analysis from Raga Performance 71 4.1 Introduction 71 4.2 Relevant Signal Processing 73 4.2.1 Pitch Period Extraction from Signal 73 4.2.2 Smoothing 74 4.2.3 Steady State Detection 75 4.3 Determination of Tonic (Sa) 76 4.3.1 Data Base 77 4.3.2 Experimental Details 77 4.3.3 Results and Discussions 79 4.4 Swara-Shruti Relation 81 4.5 Ratio-Intervals for Steady States 81 4.5.1 Data Base 83 4.5.2 Analysis 83 4.5.3 Results and Discussions 84 4.6 Shruti Positions in Contemporary Performances 85 4.6.1 Clustering Methodology 86 4.6.2 Algorithm (K-Means) 87 4.6.3 Results 88 4.7 Approach of Heuristic Search 89 4.7.1 Methodology 89 4.7.2 Results and Discussions 90 4.7.2.1 Shruti Positions 90 4.8 Conclusion 93 References 93 5 Pitch Transition and Pitch Stability 95 5.1 Introduction 95 5.2 Extraction of Meends 97 5.3 Algorithmic Procedure 97 5.4 Results 99 5.4.1 Objective Categorisation of Meends 101 5.4.2 Results 101 5.4.3 More Details on Intonation 103 5.4.4 Results 104 5.4.5 Discussions 105 5.5 On Perceptibility of Transitory Movements 106 5.5.1 Experimental Procedure 106 5.6 Results and Discussions 108 5.7 Summary 110 5.8 Conclusion 111 References 111 6 Raga Identification 113 6.1 Introduction 113 6.2 Swars or Notes (To Be Used in Ragas) 113 6.2.1 Raga Structure 114 6.2.2 Quantified Features of Raga 114 6.3 Identification 116 6.3.1 Process of Feature Extraction and Database Building 116 6.4 Recognition of Ragas 120 6.5 Experiments and Results 124 6.5.1 Experimental Parameters 124 6.5.2 Results 124 6.5.3 Identification Accuracy 124 6.5.4 Identification Versus Accuracy 125 6.6 Raga Similarity 127 6.6.1 Experimental Details 127 6.6.2 Results 128 6.7 Identification of Raga 130 6.7.1 Feature Extraction 132 6.7.2 Results and Discussion 134 References 135 7 Gharana Identification 137 7.1 Introduction 137 7.1.1 What Is Gharana? 137 7.1.2 Gharana Identification 138 7.2 Audio Feature Set 140 7.2.1 Timbral Texture Features 141 7.2.2 Rhythmic Features 142 7.3 Projection Pursuit 144 7.4 Feature Database Preparation 145 7.5 Experimental Results and Discussions 148 7.6 Conclusion 152 References 153 8 Production, Perception and Cognition 154 8.1 Introduction 154 8.2 Perception 155 8.3 Cognition 158 8.3.1 Significance of Cognition 160 8.3.2 Some Experiments in Aural Cognition 161 8.3.3 Emotion 167 8.4 Making Music 171 References 175 9 Automatic Musical Instrument Recognition 177 9.1 Musical Instruments 178 9.1.1 Introduction 178 9.1.2 Indian Musical Instruments 178 9.1.3 Tanpura 179 9.1.4 Sarod 182 9.1.5 Flute 183 9.1.6 Harmonium 184 9.1.7 Tabla 185 9.2 Acoustical Analysis for the Sound of Indian Musical Instruments 187 9.2.1 Introduction 187 9.2.2 Timbre Parameters 188 9.2.2.1 Energy Features 188 9.2.2.2 Spectral Features 188 9.2.2.3 Harmonic Features 189 9.2.3 Perceptual Features 190 9.2.4 Spectral Analysis 191 9.2.5 Wavelet Analysis (Transform) 191 9.2.5.1 The Sub-band Coding and the Multiresolution Analysis 193 9.2.6 Shimmer and Jitter 193 9.2.7 Analysis of Acoustic Characteristics of Musical Instrument from Their Sound Signals 195 9.2.7.1 Tanpura 195 9.2.7.2 Sarod 203 9.2.7.3 Flute 208 9.2.7.4 Harmonium 208 9.2.7.5 Tabla 210 Timbre Analysis of Tabla Strokes 218 Spectral Envelope Analysis of Tabla Strokes 221 9.2.8 Summary 221 9.3 Identification of Indian Musical Instruments 225 9.3.1 Introduction 225 9.3.2 Sound Source Recognition by Human Brain 226 9.3.3 Constraints 228 9.3.4 Important Features for Musical Instrument Recognition Systems 228 9.3.5 Temporal Envelope Estimation 229 9.3.6 Timbre Analysis 229 9.3.7 A Practical Study 230 9.3.7.1 Feature Extraction from Spectral Envelope 230 9.3.7.2 Energy Change 231 9.3.7.3 Resonant Frequency 232 9.3.7.4 Timbre 232 9.3.7.5 Spectral Analysis 237 9.3.8 Summary 238 9.3.9 Applications 240 References 240 10 Vadi-Samvadi Controversy and Statistics 243 10.1 Introduction 243 10.2 Methodology 245 10.2.1 Krumhansl’s Method 245 10.3 Experimental Results and Discussions 246 10.3.1 Chi-Square Test 246 10.3.2 Ranking of Notes 252 10.4 Chapter Conclusion 257 References 257 Epilogue 258 This Book Presents A Comprehensive Overview Of The Basics Of Hindustani Music And The Associated Signal Analysis And Technological Developments. It Begins With An In-depth Introduction To Musical Signal Analysis And Its Current Applications, And Then Moves On To A Detailed Discussion Of The Features Involved In Understanding The Musical Meaning Of The Signal In The Context Of Hindustani Music. The Components Consist Of Tones, Shruti, Scales, Pitch Duration And Stability, Raga, Gharana And Musical Instruments. The Book Covers The Various Technological Developments In This Field, Supplemented With A Number Of Case Studies And Their Analysis. The Book Offers New Music Researchers Essential Insights Into The Use Of The Automatic Concept For Finding And Testing The Musical Features For Their Applications. Intended Primarily For Postgraduate And Phd Students Working In The Area Of Scientific Research On Hindustani Music, As Well As Other Genres Where The Concepts Are Applicable, It Is Also A Valuable Resource For Professionals And Researchers In Musical Signal Processing. Introduction -- Music Information Retrieval -- Scales And Shruti Concept -- Tonic Detection And Shruti Analysis From Raga Performance -- Pitch Transition And Stability -- Raga Identification -- Gharana Identification -- Production, Perception And Cognition -- Musical Instruments -- Concluding Remarks. Asoke Kumar Datta, Sandeep Singh Solanki, Ranjan Sengupta, Soubhik Chakraborty, Kartik Mahto, Anirban Patranabis. Includes Bibliographical References. Front Matter....Pages i-xiii Introduction....Pages 1-16 Music Information Retrieval....Pages 17-33 Scales and Shruti Concept....Pages 35-58 Tonic Detection and Shruti Analysis from Raga Performance ....Pages 59-82 Pitch Transition and Pitch Stability....Pages 83-100 Raga Identification....Pages 101-124 Gharana Identification....Pages 125-141 Production, Perception and Cognition....Pages 143-165 Automatic Musical Instrument Recognition....Pages 167-232 Vadi-Samvadi Controversy and Statistics....Pages 233-247 Back Matter....Pages 249-250