Beat and downbeat tracking, jointly referred to as Meter Tracking, is a fundamental task in Music Information Retrieval (MIR). Deep learning models have far surpassed traditional signal processing and classical machine learning approaches in this domain, particularly for Western (Eurogenetic) genres, where large annotated datasets are widely available. These systems, however, perform less reliably on underrepresented musical traditions. Carnatic music, a rich tradition from the Indian subcontinent, is renowned for its rhythmic intricacy and unique metrical structures (tālas). The most notable prior work on meter tracking in this context employed probabilistic Dynamic Bayesian Networks (DBNs). The performance of state-of-the-art (SOTA) deep learning models on Carnatic music, however, remains largely unexplored. In this study, we evaluate two models for meter tracking in Carnatic music: the Temporal Convolutional Network (TCN), a lightweight architecture that has been successfully adapted for Latin rhythms, and Beat This!, a transformer-based model designed for broad stylistic coverage without the need for post-processing. Replicating the experimental setup of the DBN baseline on the Carnatic Music Rhythm (CMR$_f$) dataset, we systematically assess the performance of these models in a directly comparable setting. We further investigate adaptation strategies, including fine-tuning the models on Carnatic data and the use of musically informed parameters. Results show that while off-the-shelf models do not always outperform the DBN, their performance improves substantially with transfer learning, matching or surpassing the baseline. These findings indicate that SOTA deep learning models can be effectively adapted to underrepresented traditions, paving the way for more inclusive and broadly applicable meter tracking systems.

Music source separation demixes a piece of music into its individual sound sources (vocals, percussion, melodic instruments, etc.), a task with no simple mathematical solution. It requires deep learning methods involving training on large datasets of isolated music stems. The most commonly available datasets are made from commercial Western music, limiting the models' applications to non-Western genres like Carnatic music. Carnatic music is a live tradition, with the available multi-track recordings containing overlapping sounds and bleeds between the sources. This poses a challenge to commercially available source separation models like Spleeter and Hybrid Demucs. In this work, we introduce 'Sanidha', the first open-source novel dataset for Carnatic music, offering studio-quality, multi-track recordings with minimal to no overlap or bleed. Along with the audio files, we provide high-definition videos of the artists' performances. Additionally, we fine-tuned Spleeter, one of the most commonly used source separation models, on our dataset and observed improved SDR performance compared to fine-tuning on a pre-existing Carnatic multi-track dataset. The outputs of the fine-tuned model with 'Sanidha' are evaluated through a listening study.

Large scale machine learning-based Raga identification continues to be a nontrivial issue in the computational aspects behind Carnatic music. Each raga consists of many unique and intrinsic melodic patterns that can be used to easily identify them from others. These ragas can also then be used to cluster songs within the same raga, as well as identify songs in other closely related ragas. In this case, the input sound is analyzed using a combination of steps including using a Discrete Fourier transformation and using Triangular Filtering to create custom bins of possible notes, extracting features from the presence of particular notes or lack thereof. Using a combination of Neural Networks including 1D Convolutional Neural Networks conventionally known as Time-Delay Neural Networks) and Long Short-Term Memory (LSTM), which are a form of Recurrent Neural Networks, the backbone of the classification strategy to build the model can be created. In addition, to help with variations in shruti, a long-time attention-based mechanism will be implemented to determine the relative changes in frequency rather than the absolute differences. This will provide a much more meaningful data point when training audio clips in different shrutis. To evaluate the accuracy of the classifier, a dataset of 676 recordings is used. The songs are distributed across the list of ragas. The goal of this program is to be able to effectively and efficiently label a much wider range of audio clips in more shrutis, ragas, and with more background noise.

Ludhiana: Central Board of Secondary Education (CBSE) conducted yoga, early childhood care and education, artificial intelligence exams for Class XII and Arabic, Russian, Persian, Tibetan, Lepcha, Persian, Nepali, Limboo, German, French, carnatic music (melodic instruments), carnatic music (vocal), carnatic music (percussion instruments) for the students of Class X on Saturday. Aditya who took artificial intelligence exam said, "The exam was really easy and got over on time. Now, the students of class XII have accountancy exam on Monday. Meanwhile, Class X students will have computer application exam on Monday.