Indian Classical Music

The word inanation is related to the state of emptiness. A vessel is exhausted of its contents, rendering it hollowed out, enervated, fragile, and in some sense, prepared for an act of regeneration or transfiguration. The corporeal body, a faithful companion or even ‘a sly beast’1, can through certain embodied practices wander into liminal realms. Acts of inanition such as ritualistic fasting, meditation, and other forms of deprivation result in significant shifts in metabolic, psychological, emotional states. In this liminality, all consciousness and reality seem untethered from the physical world ‘where the body, partly lightened of ballast, enters into a world for which it is not made.’2

भारतीय शास्त्रीय संगीत, चाहे वह हिंदुस्तानी हो अथवा कर्नाटक, उसमें स्वाभाविक रूप से एक गहन आध्यात्मिक तत्व निहित है। इसका उद्देश्य केवल मनोरंजन प्रदान करना नहीं, बल्कि ऐसा असाधारण अनुभव कराना है जो श्रोताओं को एक निराकार और अवर्णनीय लोक में ले जाता है। यद्यपि विश्व की अनेक महान संगीत परंपराओं का किसी-न-किसी रूप में आध्यात्मिकता से प्रत्यक्ष या अप्रत्यक्ष संबंध रहा है, फिर भी भारतीय शास्त्रीय संगीत ने इस आयाम को विशेष महत्त्व दिया है।

यदि हम भारतीय संगीत के इतिहास पर दृष्टि डालें, तो ज्ञात होता है कि प्राचीन काल से ही मंदिर विविध कलात्मक अभिव्यक्तियों, विशेषतः शास्त्रीय संगीत, के लिए एक सशक्त मंच रहे हैं। इन अभिव्यक्तियों का मूल प्रेरक तत्व रहा है भक्ति—एक निःस्वार्थ और समर्पित श्रद्धा—जो भारत में विकसित विभिन्न कला रूपों का अंतर्निहित सार बन गई।

भारतीय शास्त्रीय संगीत के कलात्मक सिद्धांत इस प्रकार सूत्रबद्ध और संरचित किए गए हैं कि वे संगीतकार के लिए एक आंतरिक साधना का मार्ग प्रशस्त करते हैं, जिससे वह अपने अंतर्मन की गहराइयों से जुड़ सके। यही कारण है कि भारतीय शास्त्रीय संगीत का वर्णन करते समय ‘आध्यात्मिक’ शब्द का बहुधा प्रयोग किया जाता है।

भारतीय शास्त्रीय संगीत की उत्पत्ति हमारे पौराणिक अथवा मिथकीय अतीत से जुड़ी मानी जाती है। यदि हम यह स्वीकार भी करें कि किंवदंतियाँ शाब्दिक अर्थ में ऐतिहासिक तथ्य न हों, तो भी यह आवश्यक नहीं कि वे किसी अन्य स्तर पर यथार्थ न हों। उनका यथार्थ रूप आंतरिक अनुभवों में प्रकट हो सकता है।

भारतीय सांस्कृतिक धरोहर, उससे संबद्ध प्रतीकों और मिथकों की गहन समझ रखने वाले संगीतकार अक्सर अपने संगीत के विन्यास और रचना के माध्यम से अमूर्त, संवेदी, प्रेरक और आध्यात्मिक लोक का अनुभव करते हैं।

Hindustani music, deeply rooted in centuries of melodic and improvisatory traditions, has historically emphasized solo performance over collective choral practice. However, recent experiments in South Asia, and particularly in Sri Lanka, have begun to explore the integration of Western choral frameworks with Hindustani raga-based music. This paper examines the dynamics introduced into the Sri Lankan Hindustani music scene through the case study of the Colombo Oriental Choir (COC), the first ensemble in the country to blend Hindustani classical elements with Western choral techniques. Drawing on auto-ethnography, interviews, and comparative analysis, the study identifies the aesthetic negotiations, structural challenges, and creative strategies employed by the ensemble in its performances. It situates the COC within a broader history of cross-cultural choral practices in India, while also considering the historical impact of Parsi theatre, Tagore's visits, and institutionalized music competitions on Sri Lanka's Hindustani tradition. The paper argues that the COC has created a distinctive platform for intercultural musical dialogue, reshaping the reception of Hindustani music in Sri Lanka by bridging melodic discipline with harmonic experimentation. In doing so, it highlights the potential of hybrid ensembles to expand the expressive and pedagogical horizons of classical music in South Asia.

As a subfield in the study of religion and music, the theology of music is generally understood in Western terms. Yet to fully encompass the rich heritage of music in world religions, the theology of music must welcome non-Western traditions. After introducing ancient Greek and Biblical narratives regarding the origins of music, including metaphysical concepts, narratives of music as Divine Gift, musical angels, and the sacred origin of the notes and scales, this article explores music in Hindu religion through the lens of theology. We find that Indian music is also 'given by the gods' (i.e., Brahmā, Vishnu, and Śiva), associated with 'musical angels,' and originally formed from metaphysical principles (i.e., OM and the concept of Nāda-Brahman). What is demonstrated here, representing a long continuity, is how these same ideas are viable in the performance of Indian classical music today. Citing examples of compositions of Dhrupad and Khayal from the standard repertoire, this article reveals how modern-day classical songs contain references to sacred sound principles and the divine origins of music, both in their lyrics and in the unfoldment of musical notes (Svaras) and melodic patterns (Rāgas).

This paper investigates the core question: Are high-stakes tests in Bangladesh reliably assessing student abilities, especially in the context of secondary and higher secondary education? High-stakes tests, defined as examinations with significant consequences for students' futures (Marchant, 2004), can narrow the curriculum and impact education equity (Madaus et al., 2009; Au, 2023). The research contextualizes Bangladesh's educational evolution, highlighting its colonial legacy and post-liberation reforms aimed at aligning with the UN Sustainable Development Goals for quality and equitable education. A critical analysis of the 2008 reform, which integrated "creative questions" into high-stakes exams, is provided to highlight challenges such as inadequate teacher preparation and allegations of misconduct. The paper argues that for high-stakes testing to be fair, valid, and equitable, a focus on the reliability of both formative and summative assessments from early education stages is crucial. This should involve thorough research, pilot testing, and phased implementation strategies, advocating for a balanced assessment approach that prioritizes validity, fairness, and equity, deeming them essential for advancing quality education reforms in Bangladesh.

নাথধর্মের ইতিহাসে গুরুকেন্দ্রিক সাধনার ধারাকে চিহ্নিত করাই বর্তমান প্রবন্ধের উদ্দেশ্য। নাথসাধনায় গুরু নির্দিষ্ট পথ কীভাবে বজ্রযানের থেকে আলাদা তা এই প্রবন্ধে আলোচিত হয়েছে। পাশাপাশি বাংলায় জালন্ধর পা এবং মীননাথ-গোরক্ষনাথ কেন্দ্রিক নাথসাহিত্যের সঙ্গে সর্বভারতীয় নাথসাহিত্যের সাদৃশ্য বর্তমান প্রবন্ধের আরেকটি দিক। নাথগুরুদের সাধনার ধারা কেবল নাথসাহিত্যেই সীমাবদ্ধ নয়, ভারতীয় সাহিত্যের নানা ধারার তার প্রভাব দেখা যায়। বঙ্গদেশের নাথসাধনা ও নাথসংস্কৃতির নিরিখে এই বহুমুখী ইতিহাসকে বোঝার চেষ্টাও করা হয়েছে।

A Dhrupad vocal concert comprises a composition section that is interspersed with improvised episodes of increased rhythmic activity involving the interaction between the vocals and the percussion. Tracking the changing rhythmic density, in relation to the underlying metric tempo of the piece, thus facilitates the detection and labeling of the improvised sections in the concert structure. This work concerns the automatic detection of the musically relevant rhythmic densities as they change in time across the bandish (composition) performance. An annotated dataset of Dhrupad bandish concert sections is presented. We investigate a CNN-based system, trained to detect local tempo relationships, and follow it with temporal smoothing. We also employ audio source separation as a pre-processing step to the detection of the individual surface densities of the vocals and the percussion. This helps us obtain the complete musical description of the concert sections in terms of capturing the changing rhythmic interaction of the two performers.

Rabindranath Tagore, Aseschchandra Bandyopadhyay and Ranadhir influenced the evolution of a 'modernist' music-culture in Santiniketan. In this paper, I look at the three musicians to argue what that musical 'modernism' in Santiniketan entailed. The paper was read at the international conference of Goethe Society of India "The Universal and the Particular: Contemporary perspectives on an old dispute" on 15 November 2019 at Jawaharlal Nehru University, New Delhi. The uploaded paper is a finished version of the presented paper.

Time travel is most often imagined through the lens of physics and science fiction,wormholes, relativistic spaceships, and paradoxes of causality. Yet this reductionist image ignores the plurality of how human beings have actually experienced and conceptualized time travel. This paper argues that time travel is not singular but plural, encompassing diverse modalities: psychological (through memory and perception), neurological (through the brain's reactivation of past states), spiritual and mythological (through practices such as mantra, raga, and shamanic trance), and speculative physical (through resonance, acoustics, and quantum theory). aligning biological cycles, and hypothetically, under future scientific paradigms, bending spacetime itself. Keywords Music and temporality; Raga Samay Chakra; time travel; music-evoked autobiographical memory (MEAM); phenomenology of music; modal time theory; acoustic black holes; resonance; mythology and music; quantum cognition.

Microtonality (shruti) is regarded as an essential and core aspect of the raga performance in Indian art music. In fact, musicians invariably refer to and rely on specific intonations as an identifying feature for certain ragas, like the komal Gandhar (flat third) in raga Darbari. In this paper an attempt is made to ascertain the validity of this assumption with an empirical case study of intonation of komal Dha (flat sixth) in five different ragas, viz. Darbari, Bhairavi, Puriya dhanashri, Jaunpuri and Bhairav, performed (one after the other) by the same vocalist. Although our results validate the presence of microtonality in Indian music they provide evidence for flexible intonation, ruling out the notion of pitch as fixed points. The influence of melodic context on pitch is also clear from this study. The present meaning of shruti seems more related to melodic shapes (ornamentation) and melodic context. Introduction In previous research (reference) we have suggested that shruti i...

Studying change in music poses considerable challenges. Especially with respect to music that is not, or only partly, written, and improvised music in which the line between 'fixed' and 'free' is extremely fine. Where does internal variability turn into a breach with the established tradition? This question not only concerns non-western music (my example is from India), but also many

This paper explores the role of community radio as a transformative medium for preserving and promoting local literature and oral traditions, focusing on Mann Deshi Tarang Vahini, a community radio station in Maharashtra, India. Community radio, as a participatory and inclusive platform, bridges the gap between oral heritage and modern audiences. It serves as a repository for local cultural expressions, provides a platform for marginalized voices, and integrates oral traditions into educational efforts. This research evaluates its cultural impact, educational outreach, and challenges, presenting a case for institutional and policy support to enhance its role in cultural preservation.

India is renowned for its deep cultural heritage and timeless morals. Every culture or art form here adheres to age-old traditions. Indian classical music was taught using the "Gurukul" method for a very long time. The Gurukula mode of instruction was gradually turned into institutional instruction as a result of evolution. The method that Carnatic music was taught, sung, and transmitted has taken on a new dimension as a result of technological advancement. Singers and teachers that specialize in classical music are showing their online presence on social media. Most sessions were moved to an online format, particularly during the 2019 pandemic. The post-pandemic boom was brought forth by online courses, digital performances, and quick films on social media. The study applies the Uses and Gratification theory and the Technology Acceptance Model to examine the evolving trends in classical Carnatic music instruction and learning. 20 classical music teachers and 100 students studying classical Carnatic music participated in the survey. This descriptive self-administered survey questionnaire primarily focuses on factors such as software usability, understandability, teacher-student relationships, student connectedness, social media presence, desire to study in a live or online setting, benefits and drawbacks of online music classes, and the teaching strategies used. Young classical singers have established online profiles and gain satisfaction quickly from posting on social media. The results of the study reveal that involving the hybrid mode of learning and teaching with both online and live sessions will enhance productivity and motivate the learners and it is also evident that technology and social media provide a great platform for budding musicians to showcase their talent. The quality of the music is not hampered much and it solely depends on the individual's involvement towards the art form. Though there are minor drawbacks like technical glitches, time lag, connectivity issues, and usability comfort, advancements in technology are certainly a boon for Carnatic music practitioners if it is used productively to enhance themselves and the art.

This paper explores the profound transformations that have occurred in Indian classical music over the past century, driven by advancements in technology. From the invention of recording devices to the rise of digital platforms, technology has revolutionized the production, distribution, and consumption of Indian classical music. Utilizing the Social Construction of Technology (SCOT) theory, this study examines how these changes have influenced societal perceptions, access, and engagement with this traditional art form. Through historical analysis, case studies, and content analysis, this paper highlights the interplay between technological innovation and cultural dynamics. It addresses how technological innovation and digital devices have both democratized and stratified access to Indian classical music, offering new avenues for creativity while also raising challenges. Ultimately, the study emphasizes the importance of embracing technological advancements while preserving the rich heritage of Indian classical music.

Sembrava di essere a Bollywood, o sul set di Monsoon Wedding di Mira Nair. Invece eravamo a Cremona, al King Palace, locale tradizionale indiano, ex-supermarket, ora un trionfo di marmi e di luci, dove si organizzano ricevimenti e ricchi matrimoni. In questo ristorante è stato servito il Mahābhārata di Riccardo Nova. È il primo atto di un'opera in fieri che ha già avuto qualche esecuzione e subito diversi, forzosi rimaneggiamenti, dopo la sua prima assoluta nel 2022 alla Philharmonie Essen (che ha commissionato l'opera) con tre solisti indiani e l'ensemble MusikFabrik (per un totale di 22 interpreti), diretti da Peter Rundel. Il numero dei musicisti si è ridotto nei vari appuntamenti italiani: erano otto nella versione presentata a Roma, a Villa Borghese (come introduzione al film Mahabharata di Peter Brook); tredici (con gli archi registrati) nella versione eseguita al Maggio Musicale nel 2024; nove nel concerto del King

Creativity is a broad phenomenon that scholars have interpreted in a multitude of ways. We notice that a majority of the views describe creativity as something innate. This paper aims to verge from this perspective and explore creativity in terms of the constant mutual interaction of a person and their environment. Using the theoretical framework, enactivism, and the notion of emergence, we investigate the creative processes involved in musical improvisations of south Indian classical or Carnatic music and mathematical proof generation. Interview excerpts from professional Carnatic musicians and research mathematicians on their respective creative processes during musical improvisation and proof generation are analyzed. This study gives a perspective to think about creativity, with an emphasis on emergence. This paper has been partly informed by selfreflections on musical improvisations and mathematical proof generation by the first author, who is a performing Carnatic vocalist and a mathematician.

This paper draws a parallel between the creative melodic expansion of a raaga in Carnatic music (South Indian classical music) and mathematical proof writing, grounded in the enactivist theory of emergence. I describe the creative processes involved in the melodic improvisation of a raaga and correlate it with mathematical proof writing activity. This work has been informed by reflections on my own experience both as a Carnatic performing artist and a mathematics graduate.

An important part of India's cultural and artistic legacy is the centuries-old tradition of Hindustani classical music. Generations have passed down the extensive collection of ‘raag’s, ‘taal’s, and compositions orally. But in the present day, the difficulties of maintaining such an oral tradition have made the use of technology necessary.
For many reasons, including preventing physical deterioration, increasing accessibility, recording fleeting performances, promoting learning and teaching, conserving traditional instruments and methods, creating a sense of community, and encouraging cooperation, technology has been
essential to the preservation of Hindustani classical music. In addition to preservation, Hindustani music has been analyzed using numerous scientific and computational techniques in an effort to gain a deeper understanding of it. This essay provides a concise synopsis.
Technology is still revolutionizing the preservation and dissemination of Hindustani classical music, from online learning platforms to digital archiving and artificial intelligence. The numerous ways that technology is currently being used to conserve and advance this priceless art form are examined in this essay. Additionally, certain forward-looking approaches that are likely to be used for this purpose are mentioned, such as blockchain and robotics.

Sharadchandra Arolkar (1912-1994) was a practitioner of the Gwalior Gharana. His gayaki
was based on deep introspection of the very ethos of khyal vocalism and an interpretation of
his talim. This article is an exploration of his gayaki through the process of an objective
analysis based on the recorded music of Arolkar. This analysis further reiterates the notion of
diversity within a gharana and in Hindustani music practice.

This book chapter delves deep into the lives of Bengal's 'Three Daughters' (Tin Kanya) - Kamala Jharia, Angurbala, and Indubala. These three phenomenal women singers went on to become first Bengali women singing stars and is the central focus of this chapter. I have attempted to trace their discipular lineage alongside their individual stories of success.

In the vast and intricate landscape of Hindustani classical music, the Raag Samay Chakra stands as one of the most intellectually fascinating and spiritually resonant frameworks. More than just a guideline for performance, it represents a multi-dimensional interaction between sound, time, mood, and consciousness. This paper revisits the origins, logic, and current relevance of this time theory, drawing on classical treatises, modern scientific research, Ayurvedic and tantric parallels, and neurophysiological evidence. Through this inquiry, it becomes increasingly clear that the association of raag and time is not merely a matter of tradition—it is a reflection of how music aligns with the very fabric of human life, from biological rhythms to cosmic cycles.

Necessity is the mother of invention. The innovative teachers always run after innovation to resolve students' difficulties and ensuring students' achievements level. The investigator is an innovative practitioner who always endeavors to adopt innovative pedagogical inputs on the basis of learners' needs and difficulties. The good handwriting is a foundational skill that supports learning, confidence, and communication. many students struggled with proper letter formation and writing alignment. Conventional notebooks and worksheets were not yielding desired improvements. The researcher has done small experiment and prepared this article. The present study is a case study on an innovative teaching strategy to enhance handwriting skill with proper stroke by using Carved Wooden Board. The innovative practice was employed enhancing handwriting kills of Class I-III students of primary school located at tribal dominated underdeveloped block of Koraput district. The study was conducted on 46 little school going students and found inspiring results. The investigator appeals that in the era of Technology and AI, this strategy can also provide spectacular result.

Music is the most abstract and fluid Raags have manifested through different musical forms, which intervals. Musical forms like Prabandh, Dhrupad, Khyaal have been the veh Each of these forms possesses an independent set of criteria and rules. Today, the most popular musical form is the Khyaal. The opinions available regarding the origin of the was the brainchild of Amir Khusro and as a result of the influence of Persians. But at the same time, we can find enough shreds of evidence Hence, let us try to analyse these facts regarding the origin of Keywords: 1. Mukhda-words or tune coming before sum of the first line 2. Darbar-Kings court 3. Gayaki-specific singing style 4. Kavan-small poems 1.1) Khyaal Etymology: The Hindi/Urdu dictionary lists the following synonyms ᮧवृ िᱫ, भावना, ज᭔ब, मित, राग, ᭭मृ ित वहम, अनु मान, अं दाज इ᭜याᳰद [1] The quote few available references opinions on the Etymology of Khyaal evident that the word Khyaal finds a place in medieval Indian literature, and hence there is room to believe that it could have an Indian origin. argument. The word Khyaal if written is याल in Hindi and ख़याल if written or spoken in Urdu. Ratanjankar and Vazebuwa have consistently used the former in their literature, indicating an Indian word. 1.2) Scholars suggest the following possibilities about the development of the a) Khyaal has originated in India. b) Khyaal has travelled from outside the subcontinent. c) Khyaal developed through the confluence of Indian music In this article we are going to we will examine 1.2 A1) Khyaal and its origin from the

The Kirana Thumri, pioneered by Ustad Abdul Karim Khan, represents a distinctive semi-classical genre within the Kirana Gharana, characterized by its melodic purity, emotional depth, and sometimes innovative use of sargam (solfege). Unlike the prevalent Purab, Punjab, and Lucknow thumri styles, the Kirana Thumri emphasizes introspective vocal delivery and subtle ornamentation, reshaping the genre's socio-cultural perception. This study examines the historical origins, structural nuances, and cultural significance of the Kirana Thumri, drawing on archival recordings, interviews, and scholarly texts. Through comparative analysis and musicological examination, it highlights the contributions of Khansaheb and his disciples, in elevating thumri's status within Indian classical music. The findings underscore the Kirana Thumri's role in transcending its courtesan associations, offering a refined aesthetic that resonates with diverse audiences.

The intersection of Artificial Intelligence (AI) and music has become a focal point of global innovation, reshaping creative processes and production techniques. While the use of AI in Western music is well-established, its application to Indian music-comprising classical, popular, and folk traditions-presents unique challenges and potential. This paper investigates how AI is transforming Indian music-making, focusing on classical and contemporary forms. Through examples like the Naadrang app and AI-driven Bollywood compositions, the article explores AI's role in composition, performance, preservation, and innovation. The study argues that while AI holds significant promise, it must be integrated with respect for tradition, human creativity, and cultural sensitivity. The paper concludes by proposing a collaborative future for AI and Indian music that respects both heritage and innovation.

When an outstanding artist creates a new and attractive style and gets a sufficient number of followers, that style becomes a Gharana after some time. But apart from this we also see many artists whose art presentation is out of the box. This article has been written on the subject of how such different personal styles would have been created. Though Gharana is a group of artists following a similar musical ideology, not every artist in the Gharana has an identical presentation style. Quite often, the presentation style of a student differs from the Guru, and on a few occasions, two students of the same Guru also present a different shaili i.e. style. Subsequently, these changes assimilate into the original style, and the next generation of students carry this new style forward. The Gharanas on Indian music is no exception to this phenomenon.

Synopsis (Original Article in Hindi):
In Indian classical music, singing, narration (vocalisation), and expression (rasa) reach a supreme level of refinement. Despite being a performing art, it often becomes a subject of scientific and mathematical analysis and planning. Many musical elements are so closely associated with science and mathematics that their improper execution can disturb the emotional and aesthetic experience of the listener.

Through the study of music based on scientific and mathematical principles, not only do we reach a deeper understanding of music presentation, but an entirely new dimension of musicology also unfolds before us. This kind of study can significantly enhance the expressive quality of a performer’s art, but at the same time, it can also develop a more reflective and introspective approach toward the art.

, is a front ranking vocalist in the field of Hindustani classical music. She is awarded Padmashree, Padmabhushan and Sangeet Natak Academy etc awards for her remarkable contributions in Hindustani classical music for more than 65 years. The rich background in singing, composing, and teaching has made Dr Prabha Atre remit the exceptional authentic benefaction in various areas of music. She has proficiency in both traditional and academic music fields. Most of the time only critics or scholars write on music without having any real-time performing experience. Whereas a very few musicians and performers share their knowledge and actual experience on music, through their write-ups and documents, so undoubtedly the knowledgebased scriptures from a top performer like Dr Prabha Atre hold a special significance. This write-up highlights the essential take aways from her two books; 'Along the path of music' and 'Enlightening the listener'.

This paper is an interdisciplinary study between concepts of Indian music and spirituality. Indian Classical Music is immensely impactful; it has the quality and distinction of giving divine pleasure through its presentation. This divinity can transform an average listener, artist or a student in to a thoughtful, focused and, devoted person, and has the capacity to take him to an entirely different state. Hence the connection between musical expression and the spiritual state of mind can be felt or understood clearly through music. While I was studying about various artists and experts in the field of music, I realized that their spiritual outlook had a positive effect on their musical personality.

A glorious tradition commencing from an epoch-making artist could be termed as Gharana. A Gharana reflects the stature, personality, richness and qualities of the epoch-making artist. The Gharanas in music are no exception to this phenomenon, and the concerned epoch-maker musician earns respect and curiosity among listeners and connoisseurs. Examples like Agrewali Malkajaan and Bhendibazaarwale Amaan Ali indicate how a person's name becomes closely associated with the concerned Gharana. "The difference in Swar and Taal's presentation resulted in different performing music styles. We began calling them as Gayaki and every tradition of these Gayakis was then termed as Gharanas." 1 We can observe that all these legendary musicians and inceptors of their respective Gharana had studied in the Gwalior tradition and later found their path through a few significant creative changes in the then existing Gayaki. Hence, we can call the Gwalior Gharana Gayaki the mother of all Gharanas.

According to the Indian tradition, the entire world is believed to have been subject to Nada. Due to this, music education has been given due importance since ancient time. There are four aspects of music education, they are, Theory, Technique, Knowledgeand Art. If we look closely, we find that systematic study of these four elements have been always the mainstay of Indian music education. Due to which, it becomes necessary to know and study these four elements as the fundamental elements of Indian music education. In the present time, due to the changed education system and lifestyle, we see that these four basic elements of Indian music education are not being studied in a detailed manner.

Indian music, spanning classical, semi-classical, theatrical (Marathi Natyasangeet), and popular genres, has long been shaped by gendered expressions, with a notable dominance of feminine narratives. From the khayal compositions of medieval courts to modern Bollywood songs, the portrayal of women as emotive, vulnerable, or romantic figures has overshadowed masculine expressions of depth, complexity, or vulnerability. This article examines the historical and cultural roots of this trend, analyzing how gender roles have influenced musical composition, performance, and reception in Indian traditions. Drawing on examples from khayal, thumri, natya sangeet, and popular music, it highlights the scarcity of male-centric emotional narratives and calls for a more balanced exploration of masculine expressions in Indian music.

The purpose of this article is to list out all the mathematically and theoretically possible scales (even if the word may not seem, or indeed may not actually be, very appropriate for a scale which has only one, two or three, or perhaps even four notes). The scales obviously take into consideration only the normal twelve notes known to both western and Indian music: they do not take into consideration variations in the notes as represented by the 22 śrutis of ancient Indian music, still functioning even now in the case of many specific rāgas, where some particular note(s) may be slightly higher or lower than the basic note (i.e., some “cents” above or below the regular notes, which are normally now standardized in terms of a distance of “100 cents” between any two consecutive notes).

The Santhal Revolt, which occurred nearly 175 years ago, was a powerful uprising against the systemic exploitation inflicted by mainstream Indian society under the rule of the East India Company—one of the earliest European corporate entities. Despite India’s independence, the fundamental pattern of resource extraction and the marginalisation of tribal communities has continued, now driven by the imperatives of a market-oriented economy. The struggle of Adivasi societies to protect their natural resource base and traditional livelihoods remains unresolved, reflecting the persistent legacy of economic and social injustice.

The therapeutic potential of Hindustani classical music lies not only in its sonic properties but also in its deep spiritual, mathematical, and physiological connections. This paper explores the scientific and psychological relevance of Hindustani music therapy, its ancient foundations in Nada Yoga, its connection with Chakra activation, and its real-life healing applications. Drawing from case studies and integrating both traditional and modern research findings, this study aims to validate Hindustani music as a potent tool in holistic medicine and mental wellness.

This paper explores the invaluable insights offered by Tamil palm leaf manuscripts into
the historical transmission and interpretation of performing arts traditions in the provincial regions of India, specifically Tamil Nadu. While the rich classical and folk performing arts of Tamil Nadu have been extensively studied, their documentation and evolution within the vast corpus of indigenous palm leaf manuscripts remain an under-explored domain. This study aims to investigate how various performing arts—including dance, music, and theatre—were codified, transmitted, and interpreted through these unique textual artifacts. By examining the content, scribal practices, and material aspects of select Tamil palm leaf manuscripts, this research seeks to uncover regional nuances in performance theory and practice, the interplay between oral and written traditions, and the socio-cultural contexts that shaped these artistic forms. The findings are expected to contribute significantly to Indian humanities, particularly in the fields of philology, art history, and performance studies, by illuminating the intricate pathways of knowledge preservation and artistic evolution in pre-modern Tamil society.

Ayodhya's rich musical heritage originated and flourished within the saint communities (Sant Samaj), where vocal music traditions such as Dhrupad, Khayal, Bhajan, and Keertan have been preserved and continued in temples. The Ramanandi sampradaya's three prominent sections Bindu Sampradaya, Akhada Sampraday and Rasik Sampraday have played a central role in Ayodhya's Keertan tradition. Saint musicians (Sant Sangeetagya), associated with these three sampradayas, created a vast repertoire of Pad and Padavali dedicated to Sri Ram and Janki. This research finds a research gap in Ayodhya's classical and folk music; the Keertan Parampara has received limited scholarly attention. The present study investigates the unique characteristics of this Keertan tradition and its sociocultural impact on the local community. Having been a keen and close observer of the Keertan tradition since childhood, the author brings a personal and intimate understanding to the research. The author adopts an ethnographic approach to studying this tradition in depth based on her experiences and engagements. By conducting in-depth interviews with Mahants of prominent temples and Keertankaars, as well as immersing in festivals, daily practices, and Keertan events, the research aims to capture the nuances of participant interactions and behaviours. This study sheds light on the unexplored dimensions of Ayodhya's Keertan tradition, offering new insights into its cultural significance and role in shaping the everyday life of the people.

Ο στατιστικολόγος Francis Anscombe, το 1973, παρήγαγε 4 διαφορετικά σύνολα δεδομένων, που όμως είχαν σχεδόν πανομοιότυπα στατιστικά χαρακτηριστικά. Τα 4 αυτά σύνολα δεδομένων, κατόπιν τα τοποθέτησε σε άξονες x και y , όπου παρά την ομοιότητά τους σε καίριες στατιστικές παραμέτρους, είχαν εντελώς διαφορετική εικόνα στο διάγραμμα x και y. Κάθε σύνολο έχει σχεδόν: Ίδια μέση τιμή (mean) για τις τιμές x και y. Ίδιο συντελεστή συσχέτισης (correlation). Ίδια ευθεία παλινδρόμησης (linear regression line). Ίδια διακύμανση. Ωστόσο, όταν τα απεικονίσουμε σε διάγραμμα διασποράς (scatter plot), βλέπουμε ριζικά διαφορετικά σχήματα: Παρά, λοιπόν, τα σχεδόν πανομοιότυπα στατιστικά, μπορεί η ιατρική κλινική και εργαστηριακή εικόνα να είναι εντελώς διαφορετική όταν οπτικοποιήσουμε τα δεδομένα μας. Είναι προφανές, ότι αυτές οι οπτικοποιήσεις θα μπορούσαν να αντιστοιχούν σε εντελώς διαφορετικές κλινικές και παθοφυσιολογικές καταστάσεις, αφού φαίνεται λόγου χάρη μια γραμμική σχέση στο διάγραμμα 1, ενώ στο διάγραμμα 4 η εικόνα δείχνει εντελώς διαφορετική, με ένα outlier να επηρεάζει το σύνολο. Στο διάγραμμα 2, φαίνεται ότι τα δεδομένα έχουν «οροφή» και αυτό είναι εντελώς διαφορετικό παθοφυσιολογικά από μια απλή γραμμική σχέση με τα ίδια ακριβώς στατιστικά. Το Anscombe's Quartet, μας δείχνει, λοιπόν, πέραν πάσης αμφιβολίας, ότι:

Master's Dissertation on Dance-Music:
Many studies have been carried out on the improvisational elements found in Karnāṭaka music concerts. The music of Bharatanāṭya performances also contains various aspects of improvisation that have not been analysed previously. This study is an attempt to qualitatively analyse the elements of improvisation as seen in the vocal renditions of dance-vocalists for Bharatanāṭya concerts.

Sakari shruti is an intriguing subject for analysis, primarily because it represents a blend of historical, practical and literary inquiry. The name "Sakari shruti" itself isn't widely recognized in mainstream musicological academic or literary sources, which suggests that it might be a less-known or emerging topic. The ambiguity surrounding its precise positioning and application within ragas leads to varied interpretations, often relying on intuition and stylistic tradition rather than a clearly defined tonal structure. This research paper seeks to excavate the origin, development, change and varied interpretation of Sakari Shruti in Hindustani classical music, employing a multifaceted approach that incorporates textual analysis, figurative illustrations and practical relevance. This paper aims to contribute to a deeper understanding of Indian classical music's complex tonal structure and its implications for music theory and practice.

Hindustani classical music is entirely based on the strong foundation of 'Swar'-the sound of a musical note of a constant frequency. Seven swars forming the octave give rise to numerous ragas, when taken in different combinations. Each swar has a unique tone, mood associated with it which is also seen to affect the mental state of a person in a specific way. This research aims at (1) Finding out the relationship between music and mental state and (2) Comparison of the effect of different categories of swar in Hindustani classical music viz. shuddha, komal and tivra on mental state. A fairly representative data of 80 respondents (age 18 to 25) was collected through an online experiment conducted via Microsoft Teams. The data was analyzed according to Brief Mood Introspection Scale (BMIS) using Python 3.0 and Microsoft Excel. The descriptive statistics and graphical analysis indicate a positive effect of music on the mental state of a person across all types of swar. The extent of variation depends upon the types of swar in the music. The effect of Hindustani classical music can be observed to shift the mental state of a listener towards a more 'Pleasant', 'Calm', 'Positive' and 'Relaxed'. It was observed that the maximum variation in the mental state can occur after listening to the compositions based on Tivra swar. The findings of this research can be employed for music selection in music therapy, selfhealing for mood upliftment and the treatment of mental disorders.

The Ajanta Caves, a UNESCO World Heritage site in Maharashtra, India, are among the finest expressions of early Buddhist art and architecture in South Asia. Dating from the 2nd century BCE to the 6th century CE, these rock-cut caves are adorned with vibrant murals and sculptures that narrate scenes from the Buddha's life, Jataka tales, and pivotal historical episodes. One of the most compelling representations within this artistic corpus is found in Cave 17, where a mural depicts the legendary "Coming of Sinhala"-the arrival of Prince Vijaya in Sri Lanka. This scene, rooted in the origin myth of the Sinhalese people as recorded in the Mahavamsa, signifies more than a historical narrative; it illustrates the cultural and religious continuum between India and Sri Lanka during the formative periods of Buddhist history. The murals at Ajanta reflect a confluence of regional styles and influences, including those from the Satavahana, Vakataka, Gupta, and Chalukya periods, as well as artistic traditions from Sri Lanka and Central Asia. The depiction of Prince Vijaya amidst elephants and riders in Cave 17 highlights the integration of political myth into Buddhist visual storytelling, serving both religious and cultural functions. Furthermore, striking parallels exist between the paintings of Ajanta and those of Sigiriya in Sri Lanka. Both sites, known for their refined aesthetic, dynamic figures, and use of mineral pigments, suggest a shared artistic dialogue across the Bay of Bengal. These similarities reinforce the idea of an interconnected Buddhist world in the early medieval period. Thus, the Ajanta murals-especially the "Coming of Sinhala"-offer not only a glimpse into ancient Indian artistry but also into the enduring Indo-Sri Lankan cultural and historical relationship. They remain invaluable to understanding how myth, migration, and Buddhism interwove to shape civilizational identities across South Asia.

The article analyses the possible therapeutic uses of a supportive and receptive form of music therapy called Raga Therapy, which can be associated with medical and pharmacological therapies to enhance their scope and help alleviate the unwanted side effects of some drugs. The therapeutic action is based on the transformative principle of emotional energetic blocks, which in Nāda Yoga is actively obtained by singing specific musical scales of the Melakarta system of South India. You can apply Raga regardless of the subjective characteristics of the user (age, sex, geographical origin, culture, personal experiences, etc.) because it is based on a mathematical formula of musical intervals. Listening to the tracks allows specific and predictable emotional states to emerge from the listener's subconscious, thus transforming them into positivity and thus promoting the release of blocked emotional energy, balancing the energetic alterations that are at the basis of the various psychophysical problems, to the benefit of the general well-being of the patient.

The rapid growth of OTT platforms has significantly transformed the way audiences engage with cultural content, including traditional art forms. This study examines the role of OTT culture in promoting Hindustani Classical Music and Gharana tradition, with a focus on the series *Bandish Bandits*, released on Amazon Prime. *Bandish Bandits* is a compelling narrative that delves into the nuances of Hindustani Classical Music, showcasing the rich heritage of the Gharana tradition. This research aims to analyze the impact of the series on viewers' understanding and appreciation of these musical traditions. To achieve this, a survey was conducted among 350 viewers of *Bandish Bandits* to gauge their responses and experiences after watching the series. The findings suggest that the series not only sparked an interest in Hindustani Classical Music among a broader audience but also enhanced the understanding of the Gharana tradition. By presenting classical music in an accessible and engaging format, the series has succeeded in reaching an audience that might otherwise have remained disconnected from this cultural heritage. The study highlights the potential of OTT platforms to serve as powerful mediums for cultural preservation and promotion. It underscores the importance of such platforms in making traditional art forms more approachable to contemporary audiences, thereby contributing to their revival and sustained relevance in modern society. Through this research, the study aims to provide insights into the evolving relationship between digital media and cultural heritage, with specific reference to musical traditions in India.