Perception and orchestration of melody, harmony, and rhythm on instruments with “chikari” strings

Abstract

The use of “chikari” strings on instruments such as the sitar and sarod manifests principles of Auditory Scene Analysis in creating a harmonic reference, melodic contrast, and rhythmic accompaniment. Unlike the principal “baj” strings on which the main melody is played, or resonant “tarb” strings that reinforce volume, the “chikari” strings are sounded at strategic points in performance to provide a drone, add texture, outline chords, mark rhythmic positions, and keep tempo. Listening and transcription experiments conducted with recordings of interleaved notes played on “chikari” and “baj” strings validate how differences in their timbre and tuning help to keep them perceptually apart while forming more coherent patterns based on timbre similarity and pitch proximity. Such grouping and segregation can affect the perception of temporal order, maintain the illusion of melodic continuity and in some cases of virtual polyphony. These observations add to the growing body of evidence supporting the role of timbre as a structural dimension of music and illustrate how a single instrument can bring about orchestral effects via the strategic use of devices such as “chikari” strings.