MUSIC IN MOTION

The Automated Transcription for Indian Music (AUTRIM) Project by NCPA and UvA

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162 Responses to “Comments”

  1. Alvin Harper said

    11/03/2022 at 05:37

    I am among the 8% of men with color vision problems. Of the graphics used in the movies, the easiest for me to see is the blue cursor in the middle, under which the graph flows. However, for the tal structure in the graphs, I must be able to distinguish a thick red line, a thin red line, and a thin greyish line. Since red often looks grey, I can’t really see the difference. Also, the thick/thin distinction is more difficult when everything is grey. In the introduction, there are wonderful screen shots to explain the graphics. In the first one, I can see the orange text, except for the top portion that is darker grey, I can’t read any of that. The blue text used to explain the tal structure is very easy to see. It’s easy to see the arrows, not so easy to see what they point to. Just for future reference, please consider that some of us can’t see red.

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    • Wim van der Meer said

      11/03/2022 at 12:55

      Thank you for pointing this out. I’m really sorry we didn’t know/think of this. Of the many users/visitors of our site 8% is really substantial. I hope that in full screen you can at least discern the sam (first beat) as the thickest line. That should make counting along with the structure of the tala easy enough.

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  2. A R BHAVE said

    23/05/2021 at 15:29

    Madam, now we have got sound frequency measuring system.we can compare position of komal swaras.for instant take komal Rushabh in TODI , MARAVA, SHRI, BHAIRAV,exepart string instrument special list,can play different phrases of ragas, consider ing same SHADAJ we can take on same graph.overlaping then We can see difference between can it will be possible? Thanking yo
    u yours faithfully A R BHAVE

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  3. Bhushan Agarwal said

    06/01/2021 at 00:34

    Amazing and very interesting work, and not to mention, really high quality too! Thanks for putting this all together and making it publicly available on this website.

    I’m interested in statistical and numerical analysis of the pitch contours. This could be used, for example, to model gamakas or to develop AI models that can follow the grammar of given ragas. Is there any literature/work already done in this field? Is your team or anyone at NCPA/UoA working with statistical modeling and/or AI? Any inputs about this would be greatly appreciated.

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  4. Pallavi gadepalli said

    23/10/2020 at 22:34

    Hello, I absolutely love what you have achieved in this website. I am preparing for my Visharad and this resource is absolutely useful to me. especially for the Raag’s that I consider to be a little bit limiting in my opinion. Thank you again, the audio graph is very useful.

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  5. Prasenjit Duara said

    06/08/2020 at 09:32

    Thank you so much for this wonderful resource. I finally found a way to understand how shrutis work in practice after 50 years of listening (and learning a bit). Prof Van Der Meer’s essay on Darbari gandhar is no longer available on the original site…

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  6. Wim van der Meer said

    06/07/2020 at 11:19

    The Praat manual for musicologists has moved. You can now find it on https://thoughts4ideas.eu/praat-manual-for-musicologists/

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    • murkhapandit said

      10/07/2020 at 14:08

      Thank you Wim. This will help others like myself. I tried searching for the Manual as I had entered the URL in my bibliography but drew a blank each time. Luckily serendipity stepped in and I found the manual at the thoughts4ideas.eu site.

      Reply

  7. Vijayendra Rao said

    02/01/2020 at 14:08

    Your audio example of Raga Bihagda by Manjijri Asnare is incorrectly assigned. She is singing Ek Nishad Bihagda, not Bihagda. This raga- as it name suggests – removes komal Ni from Bihagda, which has both Nishads. Please compare Raga Bihagda here: https://www.youtube.com/watch?v=_uUhQLUqF9o, to Ek Nishad Bihagda here https://www.youtube.com/watch?v=99Z3YaVSQTI

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