1. Effect of music training on depicting emotions conveyed through ragas Mrs. Namita Joshi*, Ms. Gaurri Mangaonkar**, Ms. Nikita Kirane** * Faculty, School of Audiology & Speech Language Pathology, Dhankawadi Campus Pune. ** Students, School of Audiology & Speech Language Pathology, Dhankawadi Campus Pune.

2. RESCON 2014 Emotions! Part of daily living Medium of communication Help us express with impact Develops since childhood through adulthood

3. RESCON 2014 Emotions –scientific approach Semantics Prosody Pragmatics Social Emotions

4. RESCON 2014 Prosody -Suprasegmental Aspects Intonation Rhythm Stress Intonation Music training enhances Suprasegmental aspects -Martin et al (2011) Music

5. RESCON 2014 Need of the study Classical music Ragas have specific timings They depict different emotions : Rasa (11) Swara melody –indirect method of training for emotions Emotions 1. Karun : evoking pathos 2. Shringar: romantic 3. Shanta: peaceful 4. Veer: courage/victory 5. Raudra: anger 6. vairagya: ascetic 7. Bhakti: devotion 8. Bhayanka: Fearful 9. Hasya: comic 10. Bibhatsa: disgust 11. Adbhuta:amazement (Yardi et al., 2004), (Wieczorkowska et al., 2008).

6. RESCON 2014 Need…. Emotional development affected in Individuals with Speech Language disorders. Music training could help them develop it.

7. RESCON 2014 Aim & Objectives To find out the effect of music training on depicting emotions conveyed through Ragas.

8. RESCON 2014 Review of literature Author & yearMethodFindings (Balkwill and Thompson, 1999) Task of identifying emotions through Ragas.. Listeners were not trained Listeners could identify ragas of different emotions (Yardi et al., 2004)Algorhythms of different ragas & their parent class was studied, Pitch patterns & emotions connections were explored there is a particular time of day associated with the performance of most ragas which ensures that each raga achieves its desired effect (Chordia and Rae, 2007).Perceptual analysis of emotions Different raags evoke a different set of emotional reactions (Wieczorkowska et al., 2008). Perceptual analysis of emotions through Indian classical music Listeners could give one or two source directed & observed emotions expressed through ragas

9. RESCON 2014 Method Participants Total 18 Age range:18- 30 yrs. M: 13 F:5 Groups Experimental group: 9 (with music experience) Control group: 9 (without Music experience) Material 4 Ragas samples sung by Expert (30yrs experince) in ‘Aalaap’ form. Raga’s Pakad sample digitally recorded in quiet environment Response sheet with emotions to be marked was provided Ragas sample randomly presented with 4 trials each

10. RESCON 2014 Method…. Sr. No. Happiness Bhoop Depression Bhairav Devotion Yaman Peace Kaphi 1 2 3 4-16 Response sheet

11. RESCON 2014 Procedure 4 excerpts randomized to be played in 4 trials. A total of 16 excerpts were played to each participant. The experiment was carried out in individual session for 9 trained listeners and 9 untrained listeners. Each participant was seated comfortably in a quiet room. Musical excerpts were presented using VLC player via Sennheiser earphones on a laptop. Statistical analysis was done to find out whether two groups differed significantly.

12. RESCON 2014 Results & Discussion Objective 1: To find out whether the participants could identify one specific emotions out of ragas played to them. % correctly identified emotions between groups This could be due to the similarities between parent raga This also could be due to varied years of experience in experimental group

13. RESCON 2014 Results & Discussion Average 49 % Average 24 % Objective 2: To study whether the participants with music training were better in identifying emotions than those who did not receive music training. With <1yr 1yr 3yr

14. RESCON 2014 Results & Discussion Objective 3: To find out whether there was any difference with reference to years of music training on identifying emotions. With <1yr 1yr 3yr 49% 62.5% 40%

15. RESCON 2014 Summary

16. RESCON 2014 Implications Since music experience could help in perception of emotions, so music training will help in better development of emotions. Better perception of emotions will give better expressive capacities of emotions. May be significant in prosody intervention in clinical population like stuttering, Autism, & Hearing Impairment. Technological research is also focusing on developing emotional quotients in Artificial Intelligence, so results of the present study can throw light on aspects of intonations of emotion. Future research could be conducted with clinical population, with gender differences, with varied experience of music among musicians etc.

17. RESCON 2014 Limitations Equal gender distribution was not done. Sample included only four ragas with different parent group. Sample size was less to conclude the results obtained.

18. RESCON 2014 References Balkwill, L.L. & Thompson, W.F. (1999). A cross-cultural investigation of the perception of emotion in music: Psychophysical and cultural cues. Music Perception17, 43–64 (1999) Chordia, P. & Rae, A.(2007). Understanding Emotion in Raag: An Empirical Study of Listener Responses, 4thInternational Symposium, CMMR 2007, Copenhagen, Denmark, August 27-31, 2007. Wieczorkowska, A., On Search for Emotion in Hindusthani Vocal music Martin Ott, C., Langer, N., Jancke, L., (2011). Processing of voiced and unvoiced acoustic stimuli in musicians. Frontiers in Psychology.;2:195.

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