Abstract

This empirical research study delves into the nuances of note treatment (swar-lagav) in Hindustani Classical Raga Music, by specifically examining the treatment of Komal Rishabh/minor second (r) in Raga Bhairav and Marwa. The study highlights significant differences in the ornamental movement and pitch-range of Komal Rishabh between the two Ragas, demonstrating a nuanced understanding of single-note treatment across various Khayal and Dhrupad vocal artists of the Hindustani Classical Music tradition. Utilizing Computer software designed for acoustic analysis, the research generates melographs of ‘r’ specific melodic samples curated from both the Ragas, which provide visual evidence of the ‘in-between’ movements of notes, transcending traditional auditory perception. The observation and analysis of data samples and their statistical outcomes reveal complex micro-tonal structures and significant Raga-specific intonational dynamics of ‘r’ in both the Ragas. Bridging the gap between hearing and seeing musical intent, this research marks a technological leap forward in documenting the intricate artistry of Hindustani Classical Raga Music, offering a more improvised and innovative understanding of this rich musical tradition