Authors: Ranjan Sengupta, Asoke Kumar Datta, Nityananda Dey
Title: "Objective Analysis of Consonance (Vaditya) in Indian Classical Music"

The sense of vaditya in Indian music is examined in relation to the psychophysical concept of consonance and dissonance. A theoretical model based on vaditya for Indian musical scale including the shruti structure and the relationship of the representative pitch ratios with respect to the shruti intervals is summarised. The experimental results of investigations on signals taken from recorded performances of maestroes and senior music scholars vis-a-vis the theoretical model are presented. The notion of a personal scale embedded in the general scale used by four maestroes as a consequence of the concepts of global vaditya with its experimental verification is also presented. The nature of local vaditya is examined with respect to the splitting of steady notes into two or more steady pitches in aalap of raga for senior musicians.
Key Words: Indian Classical Music, Consonance, Dissonance, Pitch ratios, Vaditya