I came across this fascinating research article (from MIT media lab) on modeling of gamakas:
http://web.media.mit.edu/~mihir/documen ... gamaka.pdf
It would be some interest to find out if further work has been conducted in this area.
Analyzing and Synthesizing Gamakas
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srikant1987
- Posts: 2246
- Joined: 10 Jun 2007, 12:23
Re: Analyzing and Synthesizing Gamakas
It is good that a vocalist has been chosen for the study.
I also feel some good vainikas' gamakas should also be studied.
I also feel some good vainikas' gamakas should also be studied.
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msakella
- Posts: 2127
- Joined: 30 Sep 2006, 21:16
Re: Analyzing and Synthesizing Gamakas
In the article of Mihir Sarkar furnished in this post it was mentioned that the notes used in the Raga Hamsadhvani are taken for the analysation.
In our Karnataka music three notes, Sadharana-gandhara, Shuddha-madhyama and Kashiki-nishada have maximum range of oscillation which is characteristic of Sampradaya-gamaka. Even among them, Sadharana-gandhara and Kaishiki-nishada have wider range of oscillation as against Shuddha-madhyama. In my experiments in categorizing and symbolizing the different kinds of oscillations in our music which has been done for the first time in the history of our Karnataka music I could bring out 27 facets of Kaishiki-nishada alone. Many experiments on the aspirants revealed that any person who has reasonable acquaintance with all the different oscillations of all these three notes and can successfully bring out the true flavour of them in different ragas like Natakuranji, Kambhoji, Darbar, Todi, Varali etc can only analyse and sythesise the Gamakas properly. amsharma
In our Karnataka music three notes, Sadharana-gandhara, Shuddha-madhyama and Kashiki-nishada have maximum range of oscillation which is characteristic of Sampradaya-gamaka. Even among them, Sadharana-gandhara and Kaishiki-nishada have wider range of oscillation as against Shuddha-madhyama. In my experiments in categorizing and symbolizing the different kinds of oscillations in our music which has been done for the first time in the history of our Karnataka music I could bring out 27 facets of Kaishiki-nishada alone. Many experiments on the aspirants revealed that any person who has reasonable acquaintance with all the different oscillations of all these three notes and can successfully bring out the true flavour of them in different ragas like Natakuranji, Kambhoji, Darbar, Todi, Varali etc can only analyse and sythesise the Gamakas properly. amsharma