This study investigates the relationship between musical training and Emotional Intelligence (EI)... more This study investigates the relationship between musical training and Emotional Intelligence (EI) among undergraduate and postgraduate students from diverse academic disciplines across six universities in India. The primary objectives are to assess EI levels in students trained and not trained in Indian Classical Music and to examine the influence of gender and type of musical training on EI. A sample of 130 students was divided into two groups: those with compulsory musical association for five years or more and those without musical exposure. Data was collected using a validated Emotional Intelligence Scale based on Goleman's model. The results indicate that students with musical training have significantly higher EI levels than their non-musical counterparts. Additionally, male students demonstrated higher EI levels than female students, while no significant difference was found between students learning instrumental and vocal music. These findings highlight the positive impact of musical training on emotional intelligence and suggest that music education could play a crucial role in enhancing students' emotional and social competencies. The study's implications extend to educational and developmental contexts, advocating for integrating music education compulsorily in education at every level.
The current quantitative analysis investigates the impact of digital music platforms on music pre... more The current quantitative analysis investigates the impact of digital music platforms on music preference and consumption among students of Hyderabad University. The study aims to understand students' music preferences and consumption habits at the University of Hyderabad. Data was collected from students aged under 18-25 years and 25 years and above studying various disciplines through a questionnaire that concentrates on their preferences and listening habits. This includes the types of digital music platforms preferred, frequency of music consumption, and preferred genres. The result shows that film music, digital audio music platforms, and melody are the most preferred components among Hyderabad University students.
This research aims to identify and examine the differences and similarities between the two genre... more This research aims to identify and examine the differences and similarities between the two genres, Nazrul's Ghazal and the traditional Ghazal. Addressing a notable research gap, this study conducts a comprehensive comparative analysis between traditional Ghazal and Nazrul's Ghazal, focusing explicitly on four carefully selected samples sourced from platforms like YouTube and Spotify. The methodology employed involves the identification of samples in terms of commonalities in rāg and time signature, facilitating a nuanced comparative analysis. Parameters such as melodic ornamentation, lyrical themes, and performance dynamics are scrutinised to unveil each genre's unique musical and cultural nuances. The findings contribute to a deeper understanding of the commonalities and differences in Ghazal and Nazrul's Ghazal, shedding light on their evolving trajectories, cultural significance, performance structure and musical components.
Kanhaiyā daṃgal and huraṃgā are two folk music forms of Rajasthan. People in the Mīṇā and Gurja... more Kanhaiyā daṃgal and huraṃgā are two folk music forms of Rajasthan. People in the Mīṇā and Gurjar communities of rural Sawai Madhopur, Dausa, Karoli, and Bundi perform kanhaiyā daṃgal. They use folk percussion instruments Gherā and Naubat for accompaniment. Huraṃgā is a musical form performed prominently in the Deeg region of Rajast han during Holi. In the past, scholars did scores of research on several folk musical forms of Rajasthan but did not focus on kanhaiyā daṃgal and huraṃgā. The current project investigated if there were similarities between the performance styles or if these musical forms exist as separate art forms. The investigators collected data through participant observations and used openended interviews. The results reveal that both kanhaiyā daṃgal and huraṃgā exist as distinct art forms, but their performance styles have a significant resemblance.
Jhālā is an integral part of the sitār recital, and the sitār players have been using this aṁg as... more Jhālā is an integral part of the sitār recital, and the sitār players have been using this aṁg as the concluding section since 1900. Several texts describe the variations as Ulat Jhālā, Sulat Jhālā, Thok Jhālā, Kattar Jhālā, and other variations like bol-designs on the cikārī. There are significant studies on the evolution of sitār, playing styles, techniques, and construction. Roychoudhary, B and Bandyopadhyay, Sripada mentioned different types of Jhālā but did not describe them under the reference of Imdadkhani Gharana. Roychaudhary also enumerated various forms of Jhālā as subsections of 12-aṁg ālāp. The current investigation identified the characteristic forms of Jhālā, the components carried forward and percolated through the lineage of Imdadkhani Gharana. The research identified and studied 30 sample videos of Imdad Khan, Inayat Khan, Vilayat Khan, and Shujaat Khan from the YouTube repository. The data covers 118 years, from 1904 to 2022, as referenced on YouTube. These recordings were critically analysed. The findings reveal that the basic structural form of Jhālā remained intact, with a few additions in variations with the transitions from one generation to the next.
Rupkatha Journal on Interdisciplinary Studies in Humanities, 2021
Two very widely used terms, ‘musicians’ and the ‘musicians’ statuses’, are commonly applied label... more Two very widely used terms, ‘musicians’ and the ‘musicians’ statuses’, are commonly applied labels across the music fraternity, where Hindustani Raga Music [HRM] is no exception. In HRM, there are no objectively laid definitions of these two expressions. In different music cultures, musicians’ statuses were seen from the societal, economic, and based on the roles played in music production and rendering. The intra-status, a musicians’ relative position within the same group, is not clearly defined. The formal texts of HRM also do not categorically define a musician. In India, Afghanistan, and Pakistan, people use the words vAggeyakAr, kalAvant, mirAsI, kasbi, AtAi, zauqI, and others, but these terms do not categorize musicians within the periphery of a specific musician’s close circuit; these words do not point to intra-status. The current investigation used the DELPHI method to find some objective answers to defining musicians and their intra-status. The HRM Experts from different ...
This study investigates the relationship between musical training and Emotional Intelligence (EI)... more This study investigates the relationship between musical training and Emotional Intelligence (EI) among undergraduate and postgraduate students from diverse academic disciplines across six universities in India. The primary objectives are to assess EI levels in students trained and not trained in Indian Classical Music and to examine the influence of gender and type of musical training on EI. A sample of 130 students was divided into two groups: those with compulsory musical association for five years or more and those without musical exposure. Data was collected using a validated Emotional Intelligence Scale based on Goleman's model. The results indicate that students with musical training have significantly higher EI levels than their non-musical counterparts. Additionally, male students demonstrated higher EI levels than female students, while no significant difference was found between students learning instrumental and vocal music. These findings highlight the positive impact of musical training on emotional intelligence and suggest that music education could play a crucial role in enhancing students' emotional and social competencies. The study's implications extend to educational and developmental contexts, advocating for integrating music education compulsorily in education at every level.
The current quantitative analysis investigates the impact of digital music platforms on music pre... more The current quantitative analysis investigates the impact of digital music platforms on music preference and consumption among students of Hyderabad University. The study aims to understand students' music preferences and consumption habits at the University of Hyderabad. Data was collected from students aged under 18-25 years and 25 years and above studying various disciplines through a questionnaire that concentrates on their preferences and listening habits. This includes the types of digital music platforms preferred, frequency of music consumption, and preferred genres. The result shows that film music, digital audio music platforms, and melody are the most preferred components among Hyderabad University students.
This research aims to identify and examine the differences and similarities between the two genre... more This research aims to identify and examine the differences and similarities between the two genres, Nazrul's Ghazal and the traditional Ghazal. Addressing a notable research gap, this study conducts a comprehensive comparative analysis between traditional Ghazal and Nazrul's Ghazal, focusing explicitly on four carefully selected samples sourced from platforms like YouTube and Spotify. The methodology employed involves the identification of samples in terms of commonalities in rāg and time signature, facilitating a nuanced comparative analysis. Parameters such as melodic ornamentation, lyrical themes, and performance dynamics are scrutinised to unveil each genre's unique musical and cultural nuances. The findings contribute to a deeper understanding of the commonalities and differences in Ghazal and Nazrul's Ghazal, shedding light on their evolving trajectories, cultural significance, performance structure and musical components.
Kanhaiyā daṃgal and huraṃgā are two folk music forms of Rajasthan. People in the Mīṇā and Gurja... more Kanhaiyā daṃgal and huraṃgā are two folk music forms of Rajasthan. People in the Mīṇā and Gurjar communities of rural Sawai Madhopur, Dausa, Karoli, and Bundi perform kanhaiyā daṃgal. They use folk percussion instruments Gherā and Naubat for accompaniment. Huraṃgā is a musical form performed prominently in the Deeg region of Rajast han during Holi. In the past, scholars did scores of research on several folk musical forms of Rajasthan but did not focus on kanhaiyā daṃgal and huraṃgā. The current project investigated if there were similarities between the performance styles or if these musical forms exist as separate art forms. The investigators collected data through participant observations and used openended interviews. The results reveal that both kanhaiyā daṃgal and huraṃgā exist as distinct art forms, but their performance styles have a significant resemblance.
Jhālā is an integral part of the sitār recital, and the sitār players have been using this aṁg as... more Jhālā is an integral part of the sitār recital, and the sitār players have been using this aṁg as the concluding section since 1900. Several texts describe the variations as Ulat Jhālā, Sulat Jhālā, Thok Jhālā, Kattar Jhālā, and other variations like bol-designs on the cikārī. There are significant studies on the evolution of sitār, playing styles, techniques, and construction. Roychoudhary, B and Bandyopadhyay, Sripada mentioned different types of Jhālā but did not describe them under the reference of Imdadkhani Gharana. Roychaudhary also enumerated various forms of Jhālā as subsections of 12-aṁg ālāp. The current investigation identified the characteristic forms of Jhālā, the components carried forward and percolated through the lineage of Imdadkhani Gharana. The research identified and studied 30 sample videos of Imdad Khan, Inayat Khan, Vilayat Khan, and Shujaat Khan from the YouTube repository. The data covers 118 years, from 1904 to 2022, as referenced on YouTube. These recordings were critically analysed. The findings reveal that the basic structural form of Jhālā remained intact, with a few additions in variations with the transitions from one generation to the next.
Rupkatha Journal on Interdisciplinary Studies in Humanities, 2021
Two very widely used terms, ‘musicians’ and the ‘musicians’ statuses’, are commonly applied label... more Two very widely used terms, ‘musicians’ and the ‘musicians’ statuses’, are commonly applied labels across the music fraternity, where Hindustani Raga Music [HRM] is no exception. In HRM, there are no objectively laid definitions of these two expressions. In different music cultures, musicians’ statuses were seen from the societal, economic, and based on the roles played in music production and rendering. The intra-status, a musicians’ relative position within the same group, is not clearly defined. The formal texts of HRM also do not categorically define a musician. In India, Afghanistan, and Pakistan, people use the words vAggeyakAr, kalAvant, mirAsI, kasbi, AtAi, zauqI, and others, but these terms do not categorize musicians within the periphery of a specific musician’s close circuit; these words do not point to intra-status. The current investigation used the DELPHI method to find some objective answers to defining musicians and their intra-status. The HRM Experts from different ...
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