Parag Chordia

Performing on sarod with Amos Korman (tabla) July 9 in Tel Aviv at Levontin 7.

A performance at the Notes and Neurons program, part of the

A talk I gave in August of last summer on a project to characterize and analyze strong emotional responses and their connection to “wisdom”.

A new mix of slow theka our piece for sarod, electronics, and machine rhythmic improviser.

Presenting a concert featuring one of India’s leading sarodiya’s at Georgia Tech.

Pandit Tejendra Narayan Majumdar (sarod)
Anubrata Chatterjee (tabla)
at Ga Tech (Couch Music Bldg, Rehearsal Hall)

Friday, October 3, 8:30 pm
Questions: contact Dr. Parag Chordia (ppc@gatech.edu)
Tickets: $10 w/GTID, $15 General

more info

Gharana music my weekly Indian classical music broadcast has a new time slot, every Monday 8-9 pm. You can listen at FM 91.1 or at wrek.org. You can also find an mp3 of the most recent broadcast on teh wrek schedule page .

Here’s a rundown of Monday’s show (9/29):

Ali Akbar Khan (sarod) Raag Ahir Bhairav 78RPM

An absolutely brilliant rendition of Ahir Bhairav.

Tejendra Narayan Majumdar (sarod) and Samar Saha (tabla)
Raag Alahiya Bilawal Alap
Raag Alahiya Bilawal Gat in Madhyalay tintal
from India Archive Music 1997

Tejendrada shows tremendous timbral control and melodiousness, particularly in the alap proper and the first half of the madhyalay gat. Some nice ekhara taan work in the gat but too much too fast for me there.

A short excerpt in Raag Ahir Bhairav from a concert this summer at the Sangati Center in SF with Ferhan Qureshi on tabla.

You can now check out the raag emotion survey data for yourself. There is an interactive visualization tool here.

Just got into Philly for the ISMIR conference taking place at Drexel. At first I thought the city was bleak but they were banging the house music on Sunday night. Anyhow, I’m curious about Dmitri Tymoczko talk tomorrow. I wonder if he will address whether his theory of consonance has cognitive grounding and what insights or predictions can be made by the geometric interpretation.

Had a chance to visit Japan for the first time to attend the biennial Music perception and cognition conference in Sapporo. Unfortunately spent almost exactly as long on the plane as on the ground, but still was great. Saw the best water fountain at Moerenuma park (much better than Bellagio), it had a very meditative progression a touch of artifice applied to an elemental process. It was something like a geyser, waves and the tide. It reminded philosophically of the artist Andy Goldsworthy.

I presented work showing that raags do seem to elicit relatively consistent emotions whether or not the listener is enculturated. We also found the age-old minor key = sad, which still awaits a convincing theoretical explanation (which we are working on ) On the other hand, this was an explicit response survey using necessarily crude terms, such as “happy”, “sad”, “restless”, etc. Still, this is among the first studies to empirically show the association of raag and emotion which is taken for granted in Indian music theory. I would like to see if I can find a way to delve deeper using implicit measures. My personal feeling is that the true feelings elicited are complex and not really like emotions elicited by non-musical stimuli. When we project them onto basic axes such as arousal and valence we may get a consistent pattern, but probably we are losing most of the true information. There are more details in the abstract.