<span style="mso-bidi-language:HI">Spectral analysis of <i>Gamaka Swaras </i>of Indian music </span>

Abstract

<span style="mso-bidi-language:HI">In Indian classical music, there are a huge number of modes <i>(Ragas). </i>There are also pieces <i>(Ragamala </i>or <i>Ragamalika) </i>in which modulations are employed. In both Hindustani <span style="mso-bidi-font-family:Arial;mso-bidi-language:HI">& <i><span style="mso-bidi-language:HI">Carnatic </span></i><span style="mso-bidi-language: HI">(Karnataka) music, songs are usually preceded by an

<span style="mso-bidi-language:HI">improvised unmeasured prelude <i>(Alap), </i>which is sometimes extensive. Individual pieces are shorter in <i>Camatic </i>music, so recitals are constructed by selecting items in contrasting <i>ragas. Gamaka Swaras, </i>the subtle decorations of musical notes,

<span style="mso-bidi-language:HI">usually referred to as the shaking of notes or vibration of <i>Swaras </i>come in various forms. <i>Gamaka </i>plays a very essential role in Indian music. Spectral analysis of the seven notes of Indian music has been reported. The work reported in the paper is a

<span style="mso-bidi-language:HI">continuation of that work, extending it to <i>Gamaka Swaras. </i>Report of the preliminary study giving a glimpse into spectral intricacies of <i>Arohana Gamaka </i>has also been discussed.

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