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Intro -- Prologue -- Contents -- 1 Introduction -- 1.1 What Is Music? -- 1.2 Origin of Music -- 1.3 Indian Music -- 1.3.1 Notes (Swara) in Indian Music -- 1.3.2 Importance of the Tonic (Sa) -- 1.4 Basic Elements of Music -- 1.5 Uniqueness of Indian Classical Music -- 1.6 Different Forms of Indian Classical Music -- 1.7 Raga—The Soul of Indian Classical Music -- 1.8 Scientific Research in Indian Music -- References -- 2 Music Information Retrieval -- 2.1 Introduction -- 2.2 Feature Extraction -- 2.2.1 Process of Feature Extraction -- 2.2.2 Selection of Features -- 2.3 Conclusions and Discussion -- References -- 3 Scales and Shruti Concept -- 3.1 Views on Shruti -- 3.2 Ancient Period -- 3.3 Modern Period -- 3.3.1 Divisive Theory -- 3.3.2 Cyclic Theory -- 3.3.3 Vedic Theory -- 3.4 Musical Scale -- 3.4.1 Objective Modeling of Musical Scale -- 3.4.2 Relevant Psycho-Perceptual Concepts -- 3.4.3 Hypothesis -- 3.4.4 Construction of Shrutis from Hypothesis -- 3.4.5 Conclusion -- References -- 4 Tonic Detection and Shruti Analysis from Raga Performance -- 4.1 Introduction -- 4.2 Relevant Signal Processing -- 4.2.1 Pitch Period Extraction from Signal -- 4.2.2 Smoothing -- 4.2.3 Steady State Detection -- 4.3 Determination of Tonic (Sa) -- 4.3.1 Data Base -- 4.3.2 Experimental Details -- 4.3.3 Results and Discussions -- 4.4 Swara-Shruti Relation -- 4.5 Ratio-Intervals for Steady States -- 4.5.1 Data Base -- 4.5.2 Analysis -- 4.5.3 Results and Discussions -- 4.6 Shruti Positions in Contemporary Performances -- 4.6.1 Clustering Methodology -- 4.6.2 Algorithm (K-Means) -- 4.6.3 Results -- 4.7 Approach of Heuristic Search -- 4.7.1 Methodology -- 4.7.2 Results and Discussions -- 4.7.2.1 Shruti Positions -- 4.8 Conclusion -- References -- 5 Pitch Transition and Pitch Stability -- 5.1 Introduction -- 5.2 Extraction of Meends -- 5.3 Algorithmic Procedure -- 5.4 Results -- 5.4.1 Objective Categorisation of Meends -- 5.4.2 Results -- 5.4.3 More Details on Intonation -- 5.4.4 Results -- 5.4.5 Discussions -- 5.5 On Perceptibility of Transitory Movements -- 5.5.1 Experimental Procedure -- 5.6 Results and Discussions -- 5.7 Summary -- 5.8 Conclusion -- References -- 6 Raga Identification -- 6.1 Introduction -- 6.2 Swars or Notes (To Be Used in Ragas) -- 6.2.1 Raga Structure -- 6.2.2 Quantified Features of Raga -- 6.3 Identification -- 6.3.1 Process of Feature Extraction and Database Building -- 6.4 Recognition of Ragas -- 6.5 Experiments and Results -- 6.5.1 Experimental Parameters -- 6.5.2 Results -- 6.5.3 Identification Accuracy -- 6.5.4 Identification Versus Accuracy -- 6.6 Raga Similarity -- 6.6.1 Experimental Details -- 6.6.2 Results -- 6.7 Identification of Raga -- 6.7.1 Feature Extraction -- 6.7.2 Results and Discussion -- References -- 7 Gharana Identification -- 7.1 Introduction -- 7.1.1 What Is Gharana? -- 7.1.2 Gharana Identification -- 7.2 Audio Feature Set -- 7.2.1 Timbral Texture Features -- 7.2.2 Rhythmic Features -- 7.3 Projection Pursuit -- 7.4 Feature Database Preparation -- 7.5 Experimental Results and Discussions -- 7.6 Conclusion -- References -- 8 Production, Perception and Cognition -- 8.1 Introduction -- 8.2 Perception -- 8.3 Cognition -- 8.3.1 Significance of Cognition -- 8.3.2 Some Experiments in Aural Cognition -- 8.3.3 Emotion -- 8.4 Making Music -- References -- 9 Automatic Musical Instrument Recognition -- 9.1 Musical Instruments -- 9.1.1 Introduction -- 9.1.2 Indian Musical Instruments -- 9.1.3 Tanpura -- 9.1.4 Sarod -- 9.1.5 Flute -- 9.1.6 Harmonium -- 9.1.7 Tabla -- 9.2 Acoustical Analysis for the Sound of Indian Musical Instruments -- 9.2.1 Introduction -- 9.2.2 Timbre Parameters -- 9.2.2.1 Energy Features -- 9.2.2.2 Spectral Features -- 9.2.2.3 Harmonic Features -- 9.2.3 Perceptual Features -- 9.2.4 Spectral Analysis -- 9.2.5 Wavelet Analysis (Transform) -- 9.2.5.1 The Sub-band Coding and the Multiresolution Analysis -- 9.2.6 Shimmer and Jitter -- 9.2.7 Analysis of Acoustic Characteristics of Musical Instrument from Their Sound Signals -- 9.2.7.1 Tanpura -- 9.2.7.2 Sarod -- 9.2.7.3 Flute -- 9.2.7.4 Harmonium -- 9.2.7.5 Tabla -- Timbre Analysis of Tabla Strokes -- Spectral Envelope Analysis of Tabla Strokes -- 9.2.8 Summary -- 9.3 Identification of Indian Musical Instruments -- 9.3.1 Introduction -- 9.3.2 Sound Source Recognition by Human Brain -- 9.3.3 Constraints -- 9.3.4 Important Features for Musical Instrument Recognition Systems -- 9.3.5 Temporal Envelope Estimation -- 9.3.6 Timbre Analysis -- 9.3.7 A Practical Study -- 9.3.7.1 Feature Extraction from Spectral Envelope -- 9.3.7.2 Energy Change -- 9.3.7.3 Resonant Frequency -- 9.3.7.4 Timbre -- 9.3.7.5 Spectral Analysis -- 9.3.8 Summary -- 9.3.9 Applications -- References -- 10 Vadi-Samvadi Controversy and Statistics -- 10.1 Introduction -- 10.2 Methodology -- 10.2.1 Krumhansl’s Method -- 10.3 Experimental Results and Discussions -- 10.3.1 Chi-Square Test -- 10.3.2 Ranking of Notes -- 10.4 Chapter Conclusion -- References -- Epilogue -- .