Abstract: Music is ubiquitous in human lives. Ever since the foetus hears the sound inside the mother’s womb and later upon birth the baby experiences alluring sounds, the curiosity of learning emanates and evokes exploration. Music is an education than a mere entertainment. The intricate balance between music, education and entertainment has well been recognized by the scientific community and is being explored as a viable tool to understand and improve the human cognition. There are seven basic swaras (notes) Sa, Ri, Ga, Ma, Pa, Da and Ni in the Carnatic music system that are analogous to C, D, E, F, G, A and B of the western system. The Carnatic music builds on the conscious use of microtones, gamakams (oscillation) and rendering styles that evolved over centuries and established its stance. The complex but erudite raga system has been designed with elaborate experiments on srutis (musical sounds) and human perception abilities. In parallel, ‘rasa’- the emotions evoked by certain srutis and hence the ragas been solidified along with the power of language in combination with the musical sounds. The Carnatic music branches out as Kalpita sangeetam (pre-composed music) and Manodharma sangeetam (improvised music). This article explores the Manodharma sangeetam and its subdivisions such as raga alapana, swara kalpana, neraval and ragam-tanam-pallavi (RTP). The intrinsic mathematical strategies in its practice methods toward improvising the music have been discussed in detail with concert examples. The techniques on swara weaving for swara kalpana rendering and methods on the alapana development are also discussed at length with an emphasis on the impact on the human cognitive abilities. The articulation of the outlined conscious practice methods not only helps to leave a long-lasting melodic impression on the listeners but also onsets cognitive developments.
Abstract: Raga, as the soul and base, is a distinctive musical entity, in the music system, with unique structure on its construction of srutis (musical sounds) and application. One of the essential components of the music system is the ‘tala’ that defines the rhythm of a song. There are seven basic swaras (notes) Sa, Ri, Ga, Ma, Pa, Da and Ni in the carnatic music system that are analogous to the C, D, E, F, G, A and B of the western system. The carnatic music further builds on conscious use of microtones, gamakams (oscillation) and rendering styles. It has basic 72 ragas known as melakarta ragas, and a plethora of ragas have been developed from them with permutations and combinations of the basic swaras. Among them, some ragas derived from a same melakarta raga are distinctly different from each other and could evoke a profound difference in the raga bhava (emotion) during rendering. Although these could bear similar arohana and avarohana swaras, their quintessential differences in the gamakas usage and srutis present therein offer varied melodic feelings; variations in the intonation and stress given to certain swara phrases are the root causes. This article enlightens a group of such allied ragas (AR) from the perspectives of their schema and raga alapana (improvisation), ranjaka prayogas (signature phrases), differences in rendering tempo, gamakas and delicate srutis along with the range of sancharas (musical phrases). The intricate differences on the sruti frequencies and use of AR in composing kritis (musical compositions) toward emotive accomplishments such as mood of valor, kindness, love, humor, anger, mercy to name few, have also been explored. A brief review on the existing scientific research on the music therapy on some of the Carnatic ragas is presented. Studying and comprehending the AR, indeed, enable the music aspirants to gain a thorough knowledge on the subtle nuances among the ragas. Such knowledge helps leave a long-lasting melodic impression on the listeners and enable further research on the music therapy.
Abstract: Many of the interrogations or dilemmas of the contemporary world found the answer in what was generically called the appeal to matrix. This genuine spiritual exercise of re-connection of the present to origins, to the primary source, revealed the ontological condition of timelessness, ahistorical, immutable (epi)phenomena, of those pure essences concentrated in the archetypal-referential layer of the human existence. The musical creation was no exception to this trend, the impasse generated by the deterministic excesses of the whole serialism or, conversely, by some questionable results of the extreme indeterminism proper to the avant-garde movements, stimulating the orientation of many composers to rediscover a universal grammar, as an emanation of a new ‘collective’ order (reverse of the utopian individualism). In this context, the music of oral tradition and therefore the world of the ancient modes represented a true revelation for the composers of the twentieth century, who were suddenly in front of some unsuspected (re)sources, with a major impact on all levels of edification of the musical work: morphology, syntax, timbrality, semantics etc. For the contemporary Romanian creators, the music of rituals, existing in the local archaic culture, opened unsuspected perspectives for which it meant to be a synthetic, inclusive and recoverer vision, where the primary (archetypal) genuine elements merge with the latest achievements of language of the European composers. Thus, anchored in a strong and genuine modal source, the compositions analysed in this paper evoke, in a manner as modern as possible, the atmosphere of some ancestral rituals such as: the invocation of rain during the drought (Paparudele, Scaloianul), funeral ceremony (Bocetul), traditions specific to the winter holidays and new year (Colinda, Cântecul de stea, Sorcova, Folklore traditional dances) etc. The reactivity of those rituals in the sound context of the twentieth century meant potentiating or resizing the archaic spirit of the primordial symbolic entities, in terms of some complexity levels generated by the technique of harmonies of chordal layers, of complex aggregates (gravitational or non-gravitational, geometric), of the mixture polyphonies and with global effect (group, mass), by the technique of heterophony, of texture and cluster, leading to the implementation of some processes of collective improvisation and instrumental theatre.
Abstract: Floorplanning plays a vital role in the physical design
process of Very Large Scale Integrated (VLSI) chips. It is an
essential design step to estimate the chip area prior to the optimized
placement of digital blocks and their interconnections. Since VLSI
floorplanning is an NP-hard problem, many optimization techniques
were adopted in the literature. In this work, a music-inspired
Harmony Search (HS) algorithm is used for the fixed die outline
constrained floorplanning, with the aim of reducing the total chip
area. HS draws inspiration from the musical improvisation process of
searching for a perfect state of harmony. Initially, B*-tree is used to
generate the primary floorplan for the given rectangular hard
modules and then HS algorithm is applied to obtain an optimal
solution for the efficient floorplan. The experimental results of the
HS algorithm are obtained for the MCNC benchmark circuits.
Abstract: For the music composer Myriam Marbe the musical
time and memory represent 2 (complementary) phenomena with
conclusive impact on the settlement of new musical ontologies.
Summarizing the most important achievements of the contemporary
techniques of composition, her vision on the microform presented in
The Concert for Daniel Kientzy, saxophone and orchestra transcends
the linear and unidirectional time in favour of a flexible, multivectorial
speech with spiral developments, where the sound substance
is auto(re)generated by analogy with the fundamental processes of
the memory. The conceptual model is of an archetypal essence, the
music composer being concerned with identifying the mechanisms of
the creation process, especially of those specific to the collective
creation (of oral tradition). Hence the spontaneity of expression,
improvisation tint, free rhythm, micro-interval intonation, coloristictimbral
universe dominated by multiphonics and unique sound
effects, hence the atmosphere of ritual, however purged by the
primary connotations and reprojected into a wonderful spectacular
space. The Concert is a work of artistic maturity and enforces respect,
among others, by the timbral diversity of the three species of
saxophone required by the music composer (baritone, sopranino and
alt), in Part III Daniel Kientzy shows the performance of playing two
saxophones concomitantly. The score of the music composer Myriam
Marbe contains a deeply spiritualized music, full or archetypal
symbols, a music whose drama suggests a real cinematographic
movement.
Abstract: Recent environmental turbulence including financial
crisis, intensified competitive forces, rapid technological change and
high market turbulence have dramatically changed the current
business climate. The managers firms have to plan and decide what
the best approaches that best fit their firms in order to pursue superior
performance. This research aims to examine the influence of strategic
reasoning and top level managers- individual characteristics on the
effectiveness of organizational improvisation and firm performance.
Given the lack of studies on these relationships in the previous
literature, there is significant contribution to the body of knowledge
as well as for managerial practices. 128 responses from top
management of technology-based companies in Malaysia were used
as a sample. Three hypotheses were examined and the findings
confirm that (a) there is no relationship between intuitive reasoning
and organizational improvisation but there is a link between rational
reasoning and organizational improvisation, (b) top level managers-
individual characteristics as a whole affect organizational
improvisation; and (c) organizational improvisation positively affects
firm performance. The theoretical and managerial implications were
discussed in the conclusions.
Abstract: In this paper we address the problem of musical style
classification, which has a number of applications like indexing in
musical databases or automatic composition systems. Starting from
MIDI files of real-world improvisations, we extract the melody track
and cut it into overlapping segments of equal length. From these
fragments, some numerical features are extracted as descriptors of
style samples. We show that a standard Bayesian classifier can be
conveniently employed to build an effective musical style classifier,
once this set of features has been extracted from musical data.
Preliminary experimental results show the effectiveness of the
developed classifier that represents the first component of a musical
audio retrieval system