Abstract
Authors: Ranjan Sengupta, Asoke Kumar Datta, Nityananda Dey
Journal: EUNOMIOS
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