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  Indian J Med Microbiol
 

Figure 1: (a) Identification of the Kalya:ni ra:ga with different notes across the different stimuli (male, female, and instrumental rendering) for participants with and without musical training. (b) Identification of the Ma:ya:ma:ļavagavļa ra:ga with different notes across the different stimuli (male, female, and instrumental rendering) for participants with and without musical training. Note – FKR: Female Kalya:ni ra:ga; MKR: Male Kalya:ni ra:ga; IKR:Instrument Kalya:ni ra:ga; FMMR: Female Ma:ya:ma:ļavagavļa ra:ga; MMMR: Male Ma:ya:ma:ļavagavļa ra:ga; IMMR:Instrument Ma:ya:ma:ļavagavļa ra:ga; I is participants with musical training and II is participants without musical training. The black line 0.5 indicates the NOTE-50 which is 50% of the time a raga is identified with respect to the notes

Figure 1: (a) Identification of the Kalya:ni ra:ga with different notes across the different stimuli (male, female, and instrumental rendering) for participants with and without musical training. (b) Identification of the Ma:ya:ma:ļavagavļa ra:ga with different notes across the different stimuli (male, female, and instrumental rendering) for participants with and without musical training. Note – FKR: Female Kalya:ni ra:ga; MKR: Male Kalya:ni ra:ga; IKR:Instrument Kalya:ni ra:ga; FMMR: Female Ma:ya:ma:ļavagavļa ra:ga; MMMR: Male Ma:ya:ma:ļavagavļa ra:ga; IMMR:Instrument Ma:ya:ma:ļavagavļa ra:ga; I is participants with musical training and II is participants without musical training. The black line 0.5 indicates the NOTE-50 which is 50% of the time a raga is identified with respect to the notes