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Raag Emotion Icmpc08 2
1. Emotion in Raga Music
Parag Chordia (GTCMT)
Alex Rae (GTCMT)
{ppc, arae3}@gatech.edu
2. Goals
• Do specificragas consistently elicit certain
emotions?
• Does this depend on enculturation?
• For a given emotional dimension, what are the
main factors, are there interactions?
3. Introduction to Raga
Scale abstraction
Ascending: C D G E F A G C
Descending: C B A G F G D C
Expression
GFEF
DGEFAGE FDC
Set of motives
GFEF
E FDC
DG EFAG GE
5. Method
• Internet-based survey
• Asked to explicitly rate how well certain
emotion terms applied toraga excerpt
• Terms derived from previous study that
included free response and some quantitative
responses
6. Previous Work: Free Responses
• Darbari “Emptiness. I’m tumbling down a deep abyss. Weightless, then
maybe. Dark and surrounding. Fall.”
“It feels like pain, an agony that is long lasting and is happening at
the time that the music is playing, a time of hardship.”
“Absolutely fresh.... Clearing all the bad thoughts... Gives fresh
• Desh meaning to life. Sounds serene. Very Peaceful i felt.”
“Pure, unblemished...Something white as milk, offering to take you
in, clean all your sins...Compassionate and loving, but in a distant
sort of way. ”
7. Previous Work: Free Responses
• Khamaj “spring time. birds chirping. sun is shinging. love. a mother is telling
her child a story. the child is smiling. good times are upon us.”
“It so reminds me of the blossoming of flowers and prosperity...
the happy chuckles of newborns... The pride of their mothers... ”
• Marwa “my reaction to this raaga was almost sexual. I felt desire. felt very
aware of my body. at times I felt a strange anger and the desire to
control somebody else. i felt very powerful. i felt like a woman.”
“very depressing...felt like crying...someone was going away...
describes life in some way....the ups and downs. ”
13. Subject Data
• 557 respondents, 20,082 total judgments
• 77 % Male /23 %Female
• 26.3Average age (std =9.2)
Familiarity with NICM
35%
36%
very none / little
29%
somewhat
29. Results: Interaction Effects
• Main interaction effect was for Raag and
Enculturation for the emotion ‘Sad’ (p< .013)
• Currently exploring this relationship for
different ragas
30. Conclusions
• Across many emotionsclustering pattern evident
– Positive valence: Khamaj, Deshand Bageshri
– Medium: Bhimpalasiand Yaman
– Negative valence: GujariTodi, Marwa, Shree and
Darbari.
• Enculturation was a significant main effect for
‘Loving’ and ‘Emotional’.
– ‘Very’ and ‘a little’ enculturated listeners rated these
terms higher compared with ‘not at all’ and
‘somewhat’ enculturated
31. Conclusions
• Highest scoring emotions for a given raga
conformed well to traditional descriptions,
whether or not the listener was at all familiar
with Indian music.
– Khamajand Deshwere 'happy', 'peaceful' and
'calming’
– Darbari, Shree and Marwawere 'powerful', 'sad',
'strong', and 'restless'.
32. Future Work
• Explicit model emotional dimensions using
acoustic and musical features
– Pitch-class distribution
– Spectral centroid
– MFCCs
– Event density
– Attack timex
• Implicit measures of emotion
33. Further Information
• Data will be made available at
http://paragchordia.com
• Interactive visualizer
– See data by emotion, raag and filter by
demographic variables
