In this paper, I investigate structural proportions in improvised Hindustani (North Indian) vocal music. 235 examples of two types of ālāp were examined: 175 in the genre of khayāl , 60 in the genre of dhrupad . Both studio recordings and recordings of concerts were used. Three sets of proportions were investigated: the climactic arrival at the upper tonic as a proportion of the time till a point of structural change that is made explicit through rhythmic intensification (C:R), the first point as a proportion of the whole (C:W), and point of rhythmic intensification as a proportion of the whole (R:W). Average proportions for each genre, and the degree of consistency-flexibility within each genre were measured. The results show that proportions may vary between genres, but that flexibility-consistency does not. The data obtained were also used to investigate proportions and consistency-flexibility amongst singers of similar stylistic training, across individual singers, and across different performances by the same singer. The conclusions are followed by suggestions for a further, emic-driven examination of proportionality.

中文翻译：

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HindustaniĀlāp的结构和比例

在本文中，我研究了即兴Hindustani（北印度）声乐的结构比例。考察了235种两种类型的ālāp的例子：khayāl类型175个，dhrupad类型60个。工作室录音和音乐会录音都被使用。研究了三组比例：高潮到达顶部的时间，直到通过节奏增强（C：R）明确的结构变化点为止的时间比例，第一点占整体比例（C ：W），节奏强化点占整体的比例（R：W）。测量每种类型的平均比例，以及每种类型内的一致性/灵活性程度。结果表明，流派之间的比例可能有所不同，但灵活性一致性却没有。所获得的数据还用于调查相似风格训练的歌手之间，单个歌手之间以及同一歌手不同表演之间的比例和一致性/灵活性。结论之后，提出了进一步的，以emic驱动的对比例的检验的建议。