Subject: Re: Morning versus Evening Ragas From: Justin London <jlondon@xxxxxxxx> Date: Thu, 2 Sep 2010 15:16:00 -0500 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>Dear Doug & List, Enculturated listeners as well as experts certainly can do this. The association between Ragas and times of day is characteristic of North Indian musical practice, I believe. You can/should look up "Raga" and "India" in the Grove Dictionary of Music (Oxford Online). Another good/related source is: Widdess, Richard (1995) The Ragas of Early Indian Music. Clarendon Press (OUP). I suspect your interests might be along the lines of "what in the acoustical signal distinguishes one raga from another" and this is tricky to tease out. To give a western musical analogy, the difference between a Baroque minuet and a gigue rests on a few characteristic features (mostly in terms of characteristic rhythmic figures and tempo), but also depends on lots of features in common with Baroque music more generally (e.g., timbres, intonation systems, basslines, etc.). All best, Justin London On Sep 2, 2010, at 1:00 PM, Douglas Eck wrote: Maybe this isn't the perfect list for this question, but I suspect I'll get an answer or two. I'm curious about morning versus evening ragas. Can musical experts tell them apart? What are the qualities that define a morning versus evening raga? Is it something that would show up via an acoustical analysis of the audio drawn from lots of morning and evening ragas? Citations would be great. Or just some observations. Thanks in advance, Doug Eck ------------------------------------------ Dr. Douglas Eck Research Scientist, Google Areas: Music and Machine Learning http://www.iro.umontreal.ca/~eckdoug ************************************************* Justin London, Professor of Music (and other stuff) Carleton College Department of Music One North College St. Northfield, MN 55057 USA 507-222-4397 fax 507-222-5561 jlondon@xxxxxxxx