Development and Characterization of Tappa - Chandana Goswami
"In this study, the author attempts to show how tappa in the Punjabi folk language gradually transformed into Bengali tappa. Owing to the nature of its short form, ragas such as Kafi, Jhinjhoti, Bhairavi, Khamaj, Kalingada, Desh are used in tappa. Shori Mian is the creator of tappa. Ramnidhi Gupta commonly known as Nidhu Babu gradually transformed Punjabi tappa into Bengali tappa."
Spectrographic Study of Sitar Sound - B. M. Banerjee, Dipali Nag & V. K. Kichlu
"Acoustic characters of sounds from Sitar, as played by an expert sitarist, have been studied with a digital signal processing Sonagraph - KAY Model DSP 5500. In the demonstration strokes, the sound generated a fundamental close to 290 Hz with 13 continuous harmonics, decaying in amplitude progressively but not without aberrations in the forward strokes 'Da' and the return stroke 'Ra' showed nearly the same frequencies but also generated some harmonics scattered over the spectrum."
Ibrahim Adil Shah II - The Lover of Music and Art - Sisir Kana Dhar Chowdhury
"Adil Shah's 16th Century text 'Kitab-I-Nauras' deals with his personality and the writer of this paper has sought to portray and evaluate him as a poet, a musician and a lover of mankind. It is a modest attempt to list his achievements and offers an analytical assessment of them on medieval music history. This paper serves as an introduction to those who desire to read the original text."
Samagana : Its Three Principal Aspects - Didhiti Biswas
"The core of Indian music has three principal aspects: ritual, meditation and philosophy, which went hand in hand making it a bond between Jivatma and Paramatma and was never meant to be a means of entertainment only. Human and spiritual values have been expressed with a more generous approach within the framework of musical scholarship"
Music Criticism - A Perspective : Basavi Mukerji Rath
"Music when performed in public is treated as public property and as such reviewing of public concert is inevitable and desirable. Media wise, the critic assumes the role of the most important player. It follows from this time-space frame that the critic's superiority is merely one of the, and not the, high point of criticism, or that it is not the final word as most of them assume it to be. The critics are doing a disservice and more provocatively aim to hit the headlines. The writer forces the reader to look different at the sphere of music criticism and wonder whether a big joke is being continuously played at the expense of innocent performers to satisfy the egos of their masters".
Music and Healing - Rajyasree Bandyopadhyay
"Music has a therapeutic potential of it's own. This property of music is used as a mode of treatment to treat various physical, psychological and physiological problems and disorders. Tone colour, pitch, interval, rhythm etc are the different elements of music which play an immense role in healing. This article depicts their effects upon our body and mind. A trained music therapist only, can decide the right kind of music needed to treat a particular individual."
Psychology of Music and its Bearing on Child's Education - E. S. Perera
"What is psychology of music all about? This study shows the basic principles of the discipline and provides data mainly as an introduction for students of music to make an attempt at a comprehensive study of the subject. Recent findings attach much importance to the study of early childhood. The experience of the earliest years continues to exert a considerable influence on the life and character of the child when he grows up, though the chances are great that he may have forgotten these experiences."
Dr Bimal Roy - A Brief Sketch - Basavi Mukerji Rath
"A fruitful account of the invaluable contributions the Late Dr Bimal Roy gives a glimpse of not only of one of the distinguished musicologists but also the man. His published essays on the various aspects of Indian musicology alone go over 1100 in number, which could well he a world record. These appeared in Bengali, Hindi and English journals."
Emancipation of Music - Pradip Kumar Sengupta
"Some aspects on the creativity of music with or without the dependence on lyrics or poetry have been lucidly and logically dealt with. They give us a unique glimpse of not only vocal music but instrumental music as well".
Lucknow - A seat of music - Chhaya Chatterjee
"This paper provides a brief account of the socio-political life during the dynastic rule of the Nawabs of Lucknow who patronized the sophisticated Persian culture and helped its propagation in that region."
Spectrographic Study of Sitar Sounds - B M Banerjee, Dipali Nag and V K Kichlu
Acoustic characters of sounds from Sitar, as played by an expert Sitarist, have been studied with a digital signal processing Sonagraph - KAY Model DSP 5500. The Sitarist demonstrated several times the forward stroke Da with the return stroke Ra; the stroke combination known as Diri Da Ra; the stroke combinations: Da Diri Da Ra; Da Diri Diri, Da-RaDa-Ra Diri etc. The Sitarist also demonstrated the 'chikari' stroke and combinations. Finally, the Sitarist played the Sitar in normal fashion - first at the slow pace of 'Alaap', and then in normal and finally also at the fast place of "Jhala".
In the demonstration strokes, the sound generated a fundamental close to 290 Hz with 13 continuous harmonics, decaying in amplitude progressively but not without aberrations in the forward strokes. The return strokes "Ra" showed nearly the same frequencies but also generated some anharmonics scattered over the spectrum. The forward stroke "Da" usually generated some anharmonics also. Demonstration 'chikari' strokes generated fundamental and harmonics close to stroke "Da", but generated some anharmonics also. In the 'Alaap', the Sitarist would vary the frequency over a wide range, when he executed 'Meend'. Subharmonics of half frequency are sometimes produced, when the pitch dropped to half. The sounds appear remarkably sweeter, compared to demonstration strokes, as the Sitarist gets emotionally motivated. This holds true also in the normal, less so in fast paces. Sitar sounds have not been studied scientifically before.
Some Studies on Spectral Dynamics of Tanpura Strings with Relation to Perception of Jwari - R Sengupta, N Dey, B M Banerjee, D Nag, A K Dutta & V K Kichlu
Four-stringed plucked accompanying musical instrument, Tanpura, has been investigated in this paper. The study shows the spectral dynamics of the instrument. Though the strings are tuned to three fundamental frequencies, musicians get a cue of all the notes while performing. The uniqueness of this instrument lies in the periodic fluctuation of the frequency components and the multiple decay in its amplitude. The paper also presents Resonance Balance and the Energy Ratio of all the strings played individually by an expert musician. Four different Tanpuras of scales C, C-sharp, G and B-Flat were taken for the study. It was shown in the paper that Resonance Balance and the Energy Ratio may be utilized for quality assessment.