Index of /~echew/papers/ICMPC8

 Name                    Last modified      Size  Description
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 reference.txt           10-May-2004 01:10  608   
 syec-icmpc.pdf          10-May-2004 00:56  550K  

In this directory is the PDF file for a paper titled

"Giving Ragas the Time of Day:
Linking structure, emotion and performance time in
North Indian Classical Music using the Harmonic Network"
by Shivani Yardi and Elaine Chew

The paper is to be presented at the 
8th International Conference on Music Perception and Cognition
at Northwestern University, Chicago, IL.  3-7 August, 2004.

The paper was published in the
Proceedings of the 8th Intl Conf on Music Perception and Cognition
S.D. Lipscomb, R. Ashley, R.O. Gjerdingen & P. Webster (Eds.)
Adelaide, Australia: Causal Production.

Click on reference.txt for the BibTeX reference.

The conference website is at
http://www.northwestern.edu/icmpc

THE COMPLETE PAPER, text with figures, can be viewed as a PDF document.
Click on syec-icmpc.pdf if you wish to view the paper in PDF format.

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"Giving Ragas the Time of Day:
Linking structure, emotion and performance time in
North Indian Classical Music using the Harmonic Network"
by Shivani Yardi and Elaine Chew

ABSTRACT: This paper demonstrates that the Harmonic Network can be an
appropriate representation of pitch relations in ragas and their
parent classes in North Indian Classical Music (NICM), and that
the relation between each raga and its associated emotion is
elucidated by its spatial configuration on the Harmonic Network.
Ten main parent classes, collections of pitches called thaats, form
the structural basis for melodic improvisation in NICM. Each
raga, belonging to a thaat, conveys a particular emotion. The
Harmonic Network, also known as the tonnetz, is a well-known
representation of pitch relations in Western Classical Music. We
map the ten thaats to their corresponding structures on the
Harmonic Network. These structures -- differing in symmetry and
the weight distribution of pitches relative to a prime axis -- reveal
connections between the symmetries and functions of the raga.
The symmetries provide explanation for the choice of the ten
thaats. Further analyses show strong correspondence between the
pitch patterns of each raga and its emotion and traditional
performance time.