sitar experiment

March 13, 2024 Please join us in congratulating Dr. Yiding Han from Rice University (Houston, TX), who, on March 5, 2024, successfully defended his Ph.D. thesis, "Thermal dielectron measurements in Au+Au collisions at sqrt(sNN) = 14.6, and 19.6 GeV with the STAR experiment." His supervisor was Prof. Frank Geurts (Rice University). Yiding will continue his career in medical physics at Baylor College of Medicine. We wish him all the best in his future career.

March 13, 2024 Please join us in congratulating Dr. Jagbir Singh from Panjab University in Chandigarh, who, on February 16, 2024, successfully defended his Ph.D. thesis, "Investigation Of Elliptic Flow And Chiral Magnetic Effect With The Star Detector.” His supervisors were Drs. M.M. Aggarwal and A.K. Bhati. Jabgbir plans on continuing in academia, and we wish him all the best. Congratulations, and many thanks to Dr. M.M. Aggarwal and Dr. A.K. Bhati. for their continued contribution to educating the next generation of physicists.

March 4, 2024 Please join us in congratulating Dr. Lukas Kramarik from Czech Technical University in Prague, who, on February 28, 2024, successfully defended his Ph.D. thesis, "Open Charm Production at STAR." His supervisor was Prof. Jaroslav Bielcik and co-advisor Xin Dong (LBNL). Congratulations, and many thanks to Prof. Bielcik and Dr. Dong for their continued contribution to educating the next generation of physicists. Lukas will continue his career in the private sector. We wish him all the best in his future career.

How to Play the Sitar: Beginner’s Guide to String Techniques and Melodies

The sitar is a traditional Indian stringed instrument that has been used for centuries in classical and folk music. It has a unique sound that is instantly recognizable and has been popularized by famous musicians such as Ravi Shankar and Anoushka Shankar. If you’re interested in learning how to play the sitar, this beginner’s guide will provide you with the basics of string techniques and melodies.

What is a Sitar?

The sitar is a long-necked stringed instrument that has a gourd-shaped body. It has 18-20 strings, including 6-7 played strings and 11-13 sympathetic strings that resonate with the played strings. The sitar is played with a pick called a mizrab and has a range of about three and a half octaves.

Why Learn to Play the Sitar?

Learning to play the sitar can be a rewarding experience for several reasons. First, it offers a unique challenge as it requires a different playing technique compared to other stringed instruments. Additionally, the sitar is an important part of Indian culture and learning to play it can help you appreciate the music and traditions of India. Finally, playing the sitar can be a form of meditation and can help you relax and unwind.

What You’ll Need to Get Started

Before you begin your sitar journey, you’ll need a few things. First and foremost, you’ll need a sitar. You can purchase one from a music store or online retailer. You’ll also need a mizrab or pick for playing the strings. Additionally, it’s helpful to have a sitar tuner to ensure that your instrument is in tune. Finally, it’s recommended to find a sitar teacher who can guide you through the basics and help you develop proper technique.

Understanding the Sitar

The sitar is a stringed instrument that originated in India and is commonly used in Indian classical music. It is a complex instrument with many different parts, each of which plays an important role in producing its unique sound. Understanding the different parts of the sitar is essential for any beginner who wants to learn how to play it.

Parts of the Sitar

The sitar consists of a long, hollow neck that is connected to a resonating chamber known as the gourd. The neck is divided into two parts, the main neck and the sympathetic strings. The main neck has 20 frets and six playing strings, while the sympathetic strings sit beneath the frets and vibrate in response to the playing strings.

The bridge, or jawari, is located on the main neck and is responsible for producing the sitar’s distinctive buzzing sound. The pegbox, or headstock, is located at the top of the neck and houses the tuning pegs which are used to adjust the tension of the strings.

Tuning Your Sitar

Before you start playing, it is important to tune your sitar. The standard tuning for the sitar is Sa Re Ga Ma Pa Dha Ni Sa. This translates to the Western equivalent of C D E F G A B C. Tuning can be done manually or with the help of an electronic tuner.

Finger Placement and Hand Positioning

Proper finger placement and hand positioning are crucial to playing the sitar correctly. The left hand is used to press down on the strings to create different notes, while the right hand is used to pluck the strings. The fingers of the left hand should be placed directly behind the frets, while the right hand should be positioned near the bridge.

Basic Techniques and Terminology

There are several basic techniques and terms that are important to know when learning how to play the sitar. These include:

• Meend – sliding from one note to another
• Mukhra – a short melodic phrase played at the beginning of a raga
• Taan – a fast and intricate melodic passage
• Jhala – a technique where the strings are strummed rapidly to create a shimmering effect

By understanding the different parts of the sitar, how to tune it, and the basic techniques and terminology, beginners can start their journey towards mastering this beautiful instrument.

Playing Basic Sitar Melodies

Playing the sa and pa notes.

The Sa and Pa notes are the fundamental notes in Indian classical music. Playing these notes on the sitar is essential for any beginner. To play Sa, start by placing your index finger on the fifth fret of the second string. Pluck the string with your right hand’s index finger, and you should hear a clear note. To play Pa, place your little finger on the eighth fret of the same string and pluck it with your right hand’s index finger.

Playing Basic Scales

Playing basic scales is an excellent way to develop your sitar playing skills. Start by playing the Bilawal scale, which is one of the most commonly used scales in Indian classical music. To play this scale, start with Sa and play all the notes up to the Sa an octave higher. Practice this scale until you can play it smoothly and without any mistakes.

Playing Simple Songs

Playing simple songs is a great way to apply your sitar playing skills. Start by playing popular Bollywood songs or folk songs, which are usually simple and easy to play. You can find many tutorials and resources online to help you learn these songs. Start with slow songs and gradually increase the tempo as you gain more experience.

• Practice playing Sa and Pa notes until you can play them smoothly and clearly.
• Start with the Bilawal scale and practice until you can play it smoothly.
• Play simple songs to apply your sitar playing skills.

Advanced Sitar Techniques

Playing meend and gamak.

Meend is a technique that involves gliding from one note to another on the sitar. This technique is used to create a seamless transition between notes and to add a smooth and flowing quality to the music. To play meend, start by playing the first note, then slide your finger up or down the string to the second note. Make sure to maintain a consistent pressure on the string as you slide to produce a clear and smooth sound.

Gamak is a technique that involves oscillating between two adjacent notes on the sitar. This technique is used to add depth and complexity to the music. To play gamak, start by playing the first note, then rapidly alternate between the first and second notes by quickly hammering on and pulling off your finger on the string. Practice this technique slowly at first, gradually increasing the speed as you become more comfortable.

Playing Tans and Jhala

Tans are fast and intricate melodic patterns played on the sitar. This technique is used to add excitement and energy to the music. To play tans, start by selecting a scale and playing a series of rapid notes within that scale. Practice this technique slowly at first, gradually increasing the speed as you become more comfortable.

Jhala is a technique that involves playing rapid, repetitive strums on the sitar. This technique is used to create a rhythmic drone that adds a hypnotic quality to the music. To play jhala, start by strumming the strings rapidly with your index and middle fingers, using a consistent down-up motion. Practice this technique slowly at first, gradually increasing the speed as you become more comfortable.

Using Vibrato and Slides

Vibrato is a technique that involves rapidly alternating the pitch of a note on the sitar. This technique is used to add expression and emotion to the music. To play vibrato, start by playing a note and then rapidly oscillating your finger on the string to create a wavering pitch. Practice this technique slowly at first, gradually increasing the speed as you become more comfortable.

Slides are a technique that involves gliding from one note to another on the sitar. This technique is used to create a seamless transition between notes and to add a smooth and flowing quality to the music. To play slides, start by playing the first note, then slide your finger up or down the string to the second note. Make sure to maintain a consistent pressure on the string as you slide to produce a clear and smooth sound.

Tips for Learning the Sitar

If you are interested in playing the sitar, there are a few tips that can help you learn the instrument more effectively:

Practice Regularly

One of the most important things you can do when learning the sitar is to practice regularly. It’s better to practice for shorter periods of time each day than to practice for a long time once a week. This will help you develop muscle memory and make it easier to remember the different techniques and melodies.

Find a Good Teacher

It’s important to find a good sitar teacher who can guide you through the learning process. A good teacher can help you avoid bad habits and provide feedback on your technique. They can also help you with music theory and provide tips on how to improve your playing.

Listen to Sitar Music

Listening to sitar music can be a great way to learn about the instrument and get inspiration for your own playing. Try to listen to a variety of sitar music from different artists and genres. This will help you develop your own style and understand the different techniques used in sitar playing.

Experiment and Have Fun

Finally, it’s important to experiment and have fun when playing the sitar. Don’t be afraid to try new things and make mistakes. This is how you will learn and grow as a musician. And remember, playing the sitar should be an enjoyable experience!

By following these tips, you can improve your sitar playing and develop your skills as a musician. Remember to practice regularly, find a good teacher, listen to sitar music, and have fun!

Playing the sitar is a beautiful and complex art that takes time and dedication to master. With the right approach and technique, anyone can learn to play this incredible instrument and create mesmerizing melodies.

Tips for Beginners

• Start with the basics: learn the tuning, finger placement, and basic techniques before moving on to more complex melodies.
• Practice regularly: playing the sitar requires muscle memory and repetition, so make sure to practice daily to improve your skills.
• Listen to sitar music: listening to experienced sitar players can help you understand the nuances of the instrument and inspire your own playing.
• Experiment with different styles: the sitar can be played in a variety of styles, from classical Indian to fusion and contemporary music. Don’t be afraid to try different genres to find your own unique sound.
• Find a good teacher: having a skilled and experienced teacher can help you progress faster and avoid common mistakes.

Final Thoughts

Playing the sitar is a rewarding and fulfilling experience that requires patience, dedication, and a love for music. Whether you’re a beginner or an experienced musician, there’s always something new to learn and discover when playing the sitar. So, pick up your instrument, start practicing, and let the music take you on a journey of self-discovery and creativity.

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Sitar: Studying the co-evolution between production code and test code

sqlab-sustech/Sitar-project

Folders and files.

Repository files navigation

Sitar-project.

This repository contains the artifacts in the Sitar project.

Co-Evolution Samples in Dubbo and Kafka

See the directory dubbo-kafka .

Explaination of files

dubbo_coevo_patches.txt : Co-evolution patches in Duboo .

kafka_coevo_patches.txt : Co-evolution patches in Kafka .

special_dubbo_kafka.txt : uncommon co-evolution patches in Dubbo and Kafka.

Data related to empirical study

The co-evolution change type is already labeled in the text file.

To get the timestamp of commit A (A is SHA1 digest), use the following command in the git repository:

To obtain the number of commits between A and B (A and B are SHA1 digests), use the following command:

Samples with Manual Inspection Results

See the directory co-evolution-samples .

negative list : Negative sample patches (not co-evolved in 20 days ).

positive list : Positive sample patches (co-evolved in 2 days ).

negative-findings.xlsx : Inspecting results of negative samples .

positive-findings.xlsx : Inspecting results of positive samples .

Empirical data

The data used in empirical study is under empirical_data directory. Some repositories do not contain co-evolution changes thus are removed.

Experiment data

The data used in experiment is under experiment_data directory.

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• Grinnell College Musical Instrument Collection - Sitar
• Academia - Sitar History writeup
• National Library Board Singapore - Sitar
• IndiaNetzone - Sitar, Indian Musical Instrument

sitar , stringed instrument of the lute family that is popular in northern India , Pakistan, and Bangladesh. Typically measuring about 1.2 metres (4 feet) in length, the sitar has a deep pear-shaped gourd body; a long, wide, hollow wooden neck; both front and side tuning pegs; and 20 arched movable frets. Its strings are metal; there are usually five melody strings, one or two drone strings used to accentuate the rhythm or pulse, and as many as 13 sympathetic strings beneath the frets in the neck that are tuned to the notes of the raga (melodic framework of the performance). The convex metal frets are tied along the neck, which enables them to be moved as needed. The sitar often has a resonating gourd under the pegbox end of the neck; this balances the weight of the instrument and helps support it when it is not being played. Musicians hold the sitar at a 45° angle on their laps while seated. They pluck the strings with a wire plectrum worn on the right forefinger while the left hand manipulates the strings with subtle pressure on or between the frets and with sideways pulls of the strings.

The word sitar is derived from the Persian word sehtar , meaning “three-stringed.” The instrument appears to have descended from long-necked lutes taken to India from Central Asia . The sitar flourished in the 16th and 17th centuries and arrived at its present form in the 18th century. Today it is the dominant instrument in Hindustani music ; it is used as a solo instrument with tambura (drone-lute) and tabla (drums) and in ensembles, as well as for northern Indian kathak (dance-dramas). Two modern schools of sitar playing in India are the Ravi Shankar and Vilayat Khan schools, each with its own playing style, type of sitar (varying in size, shape, number of strings, etc.), and tuning system.

Worldwide, the instrument has become the best known of the South Asian lutes. In the 1960s the sounds of South Asian instruments, especially the sitar, influenced a number of rock performers. George Harrison , the lead guitarist of the Beatles , studied the sitar and played the instrument on several songs, beginning with “ Norwegian Wood ” (1965). Other musicians of the period imitated sitar sounds on the guitar; some used an electric “sitar” that modified the instrument for ease of performance but preserved its primary tone colour . In the early 21st century Shankar’s daughter Anoushka Shankar became a prominent sitar player who joined with musicians from around the world to perform and record original music based on Hindustani principles.

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The sitar from different angles (Pt. 2): Modern players, global experiments

• Author: George Howlett

Going in deep on Hindustani music's most famous string instrument. Part 2 looks to the future, introducing some modern sitar stars and examining the rise of fusion (also see Part 1 ).

—Part of Living Traditions : 21 articles for 21st-century Indian classical music

The sitar is a living instrument, and the musicians who play it traverse a rapidly changing world. Modern artists build on the work of earlier innovators, and the internet enables aspiring sitarists to draw inspiration from all kinds of music. Students rarely live with their gurus under the harsh isolation of the old-style gurukul (master-disciple system) any more, and many are now scattered across the globe.

Consequently, approaches to the instrument are in a permanent state of flux. In Part 1 we examined how the sitar produces its sound, and explored the technical, aesthetic, and spiritual contributions of three towering 20th-century masters - Pandit Ravi Shankar, Pandit Nikhil Banerjee, and Ustad Vilayat Khan.

But despite its limitless reverence for the old greats, Hindustani music is fundamentally a forward-looking tradition. Here we turn to the future, covering how today’s notable players continue to innovate and sampling some sitar fusion.

Three 21st-century masters

In most genres, musical technique tends to improve over time. It may expand in different directions, but rarely goes into reverse. Standards are raised as new artists push to be distinctive and find better ways to do what their teachers did.

This is true of any genre - Charlie Parker’s alto sax chops may have astounded late-1940s jazzers, but today’s college learners are expected to be able to run a vast range of his licks on command (and in all keys, mind). But the sitar’s sharp focus on technical virtuosity means that outer limits are always being pushed particularly hard. Here are three 21st-century maestros who have found success in their quests for ever-greater musical powers.

"My sitar recognises me. And that’s what I live for..." Photo: Rehmat Rayatt

• Pandit Budhaditya Mukherjee has expanded the Imdadkhani gharana’s vast range of ‘singing’ ornaments. He is revered for an extraordinary command of the surbahar (bass sitar) as well as the sitar - many count him as among the world’s best at both. On the latter he is renowned for balancing ferocious speed with a strong melodic command, with live performances that take Hindustani music to soaring heights.

As a child he studied under his father Pandit Bimalendu Mukherjee, one of Vilayat Khan’s senior disciples. Bimalendu was an eclectic musician, also learning from a plethora of different singers, drummers, sarangists , and exponents of sursingar , veena , and esraj . Budhaditya quickly absorbed his father’s influences, maturing remarkably early - at the age of just 22, veena maestro S Balachander described him as the “sitar artist of the century”.

The young man also dedicated himself to academic work, graduating with a first class degree in Metallurgical Engineering (it is rumoured that he barely made a key exam on time after flying straight in from a performance). In his student days he sought to replicate the techniques of Vilayat Khan, his father’s guru, calling him “my goal, the shining star, and the sun in whose ambience I too wanted to bathe”.

He soon began to tour internationally, and holds the odd distinction of being the first musician of any genre to perform in the British House of Commons. Always seeking to broaden his gharana's vocabulary, he is recognised as the first sitarist to convincingly capture the fast, angular melodies of tappa music - a semi-classical vocal style derived from Punjabi camel-riders which commonly depicts the emotional outbursts of a jealous lover.

Over the years he has used his engineering knowledge to customise his sitars, and continues to bring fresh imagination to playing them. He prides himself on musical self-control, not allowing his near-unrivalled speed to distract from the underlying shape of a melody (“speed in sitar music is an incidental decoration, not the core on which aesthetics of sitar music stands”). Largely uninterested in self-promotion, he focuses on the music itself.

"Then came the realization of responsibility. When that hits you, it feels like an earthquake opening up the ground below you and that you might be falling straight into the earth’s core...However, my sitar recognises me. And that’s what I live for."

• Listen | Darbar filmed the video below in dramatic circumstances: “Kolkata, West Bengal, one cloudy March afternoon...a combination of wishful thinking and resentment for the miserable forecast leads us to choose the magnificent open courtyard for our evening shoot...Quite obviously, it begins to rain.”

“The wind is beginning to pick up and the tiny flames from the clay lamps go out faster than I can re-light them...Mukherjee tunes his sitar, undisturbed by the roaring of the rain and thunder. I notice that the rain is beginning to descend with such force that it is splashing inside, soaking the corner of Pandit-ji's rug. He is at risk of playing his piece from a puddle if the rain continues at this ferocity.”

Entirely unphased, he announces that he will play Miyan ki Malhar , a powerful monsoon raga, and we submit in the knowledge that whatever happens next will be by virtue of the force of nature...He begins to play. Nature takes pity on us and orchestrates the most magnificent light show we have ever witnessed, illuminating the courtyard for us. We exchange incredulous glances as we bear witness to one of the most magical moments we have ever experienced.”

Budhaditya will perform in more hospitable circumstances at Darbar Festival 2019, in a double-bill with Pandit Shivkumar Sharma ’s santoor (Sun 13 Oct, Barbican Centre - book early for the best seats) .

• Pandit Kushal Das is another leading master of both the sitar and surbahar, with a style that builds on Pandit Nikhil Banerjee’s Maihar repertoire. Despite growing up in a family of successful sitarists and sarodias he was never pressured to learn classical music, with his family first letting him play his way through film songs and find his own connection to the instrument.

But Kushal soon realised his calling ("when I suddenly realised where my goal was, I became serious”), and worked tirelessly to capture the nuances of his idols. Like Vilayat Khan he uses a first-hand understanding of vocal music to expand his mellifluous string phrasings, bending patiently around both his instruments in a gharana-blending style.

And like Banerjee he garners particular respect from fellow musicians - the late sarod master Pandit Buddhadev Dasgupta once remarked that he wished to be born again so he could learn music from Kushal.

"I fell in love with Pandit Nikhil Banerjee’s style of playing and started shadowing him, both literally and figuratively...there was a point when I tried to imitate Nikhil with all my might and I thought it worked for me rather well; but then I was ticked off by well-meaning veterans, who encouraged me to evolve my own musical persona by finding a different vista. Since then I tried to imbibe whatever I could from all the three greats, forming my own melodic syntax."

• Listen | Kushal Das follows in the footsteps of Ravi Shankar by sharing the stage with Carnatic musicians, duetting here with venu flute pioneer Shashank Subramanyam on Darbar’s stage at the 2017 Ravenna Festival in Italy. They play Raag Vachaspati , a South Indian scale which has been adapted into Hindustani music by Shankar and others:

• Niladri Kumar is known for stretching the boundaries of classical music, enthusing younger audiences with a lively modern style. Trained under his father Pandit Kartick Kumar, a disciple of Ravi Shankar, he was quickly recognised as a prodigy ( footage exists of him playing on Gujarati TV at the age of eight).

As an emerging artist he became notable for inventing the zitar - an electrified sitar . At the time he was playing many multi-genre events, and found he often struggled to gain a foothold for Indian classical music there amidst competition from more 'modern' styles: “I remember that moment. Armed with a sitar, but placed for a performance between an EDM and DJ set. How is our sound to be heard in the midst of that? On that kind of a global platform, that will make audiences turn their attention towards our music, our country?”

His bright red electric creation features magnetic pickups and a smaller body, meaning it can be played without sitting on the floor. The zitar may not be to the taste of ardent traditionalists, but Niladri’s sellout shows suggest that it has attracted younger audiences. In his words: “It’s about a small attempt to turn attention towards the sitar...[to] draw people towards India, and explore her proud and profound legacy, heritage, and the neverending musical mystery that she has to offer”.

But Niladri has always been an acoustic sitarist at heart. Today he is renowned for his varied technical command, overflowing with dextrous double stops, whispering string bends, and flamboyant taans (melodic elaborations). He has made forays into film composition, and tours extensively as a solo artist as well as with Ustad Zakir Hussain’s percussion ensembles.

"Sitars are like wands described in Harry Potter. You have to mutually select each other, and only once you warm up enough does the musical spell start to grow - and only after that does some magic start to begin."

• Listen | Niladri Kumar showcases his extraordinary bending techniques on Raag Bhairavi , live from Darbar Festival 2014 with Pandit Subhankar Banerjee on tabla:

Female sitarists: lost talent, stifled innovation

In the words of esteemed sitarist Sahana Banerjee, "It pains me to see reviews of my concerts where a certain concession is offered by the generous critic on grounds of gender. I think it is outright discrimination, and not a holistic response to my music”.

In this spirit, I am certainly not giving female sitarists their own category here because none of them merit mention in another. Few musicians of any gender can match Sahana’s broad command over her instrument, and I’ve written much of this article to a soundtrack of Mita Nag as well as the old greats.

But the reality is inescapable and uncomfortable. Sitar history, like the rest of Indian music, has thus far been depressingly male-dominated. Women have certainly played vital roles in the instrument’s evolution - Annapurna Devi taught Nikhil Banerjee for years, and many of the Imdadkhani gharana’s distinctive vocal ornaments were adapted from female singers. It is said that Vilayat Khan would only listen to criticism from his mother.

But broadly, women have been denied the chance to learn the sitar on equal terms - or even to learn at all. And the accomplishments of those who do master the instrument are often lost in a fog of prejudice and extra pressure. The complexities of this will be examined in another extended article, but for now we should consider the specific challenges faced by today’s female learners.

Maa Annapurna Devi

For one, many still see the sitar as inherently masculine, with mastery requiring a strength presumed to be absent from women’s delicate hands. This is curious - Annapurna Devi was without question one of the 20th century’s finest surbahar virtuosi, an instrument universally regarded as a far heftier physical challenge than the sitar. But powerful perceptions remain, leading many young girls to unjustly but understandably feel the instrument is ‘not for them’.

Social expectations constrict in a variety of other ways. Daughters may be dissuaded from taking up the instrument by their parents (a trend Sahana chastises, saying “do not teach only vocal music or dance to your girl with the single-minded agenda of improving marital prospects"). And after marriage many must give up their musical ambitions to run the household. In the words of Carnatic vocalist Aruna Sairam , “It can be more difficult to be in touch with your inner talents, as society expects women to nourish others first”.

And virtually all sitarists struggle with confidence issues at some stage, but for young women this is exacerbated by a persistent absence of visible female icons. Female players have rarely found the audiences they deserve - names like Vidushi Manju Mehta , Vidushi Kalyani Roy , and Vidushi Jaya Biswas should not, on merit, be so unfamiliar (n.b. Vidushi is the female equivalent of Pandit or Ustad, meaning ‘respected teacher’ - but tellingly, it’s not in wide usage yet).

Old prejudices are falling away in the modern age, but for them to fall faster we must celebrate female artists directly for their achievements. So, while the musicians below deserve mention in any list of modern maestros, we should not forget the specific struggles female sitarists must so often endure. The issues above by no means confined to India either - all societies face similar challenges.

• Sahana Banerjee learned vocal music from her mother Chhabi and sitar from her father Santosh. Her parents instructed her in their own styles while also allowing her the freedom to form her own. She seeks to expand Hindustani music’s audience through organising the Swarsudha series of baithak (house concerts), saying her central aim is to “propagate Indian classical music among musically common people”.

• Listen | Sahana plays Raag Piloo against the backdrop of a lakeside Maharashtrian sunset:

• Mita Nag is the sixth sitar generation of her family. She hails from the Bishnupur gharana, a dhrupad -influenced tradition of Bengal, and is known for a virtuosic approach, infused with strands of vocalism not found in the Imdadkhani or Maihar vocabularies. She has a degree in English Literature, and in 2002 founded the Gokul Nag Memorial Foundation in honour of her grandfather, a cultural organisation which seeks to preserve Kolkata’s musical heritage.

• Listen | A trance-like segment of Raag Miyan ki Malhar , live from Mita’s concert with Satyajit Talwalkar at Darbar Festival 2015:

• Anupama Bhagwat studied under Pandit Bimalendu Mukherjee, father and guru of Budhaditya, winning All India Radio’s sitar competition in 1994. Now based in Bangalore, she continues to refine her style while touring to acclaim and participating in fusion projects. For her, music is an unending joy, saying "so exhilarating has been the beauty of my journey in the realms of music that the destination is no longer important".

• Listen | Anupama plays Shahana - a late night raga literally translating to ‘of royal demeanour’:

• Like Darbar Festival, Roopa Panesar was born in Leicester. She trained under British-based maestro Dharambir Singh and is currently a student of Pandit Arvind Parikh (who for over 60 years balanced life as Vilayat Khan’s disciple with his worldly career as a successful industrialist).

Her career has seen her collaborate with the Belgian Symphony Orchestra, make numerous BBC appearances, and record for the film West is West . But the path was not always clear. Roopa “was a chemical engineer...and didn't think I would take up music professionally...I worked for about two years, but then I decided to take music up full time. I just didn't feel fulfilled in my job”.

• Listen | Roopa plays a solo rendition of the austere Raag Kaunsi Kanada :

The Khan dynasty continues

In Part 1 we hailed the 19th century innovations of Ustad Imdad Khan, who redesigned the modern sitar and formulated the singing gayaki style that has influenced all players since. We also looked at Vilayat Khan, his grandson, a firebrand of 20th-century Hindustani classical.

The Khan family is still at the forefront of modern sitar. Here are a few of Imdad’s great-grandchildren, all successful global performers who bridge the late 20th century with the early 21st:

• Ustad Shahid Parvez Khan has been described by critics as ‘Indian music personified’. His playing reaches breathtaking standards, with unique picking patterns and a signature command of layakari (rhythmic-melodic interplay). He believes the sitar is now a “complete instrument”, which, in his Imdadkhani idiom, means that “you can replicate any aspect of vocal music on it”.

His father Ustad Aziz Khan was a famously demanding teacher (“often [his] wife would bring in food, and he would forget about the food and go on teaching his son, oblivious of the fact that his son would also be hungry...”). The guru avoided praise, and never smiled at his son’s prodigious accomplishments despite widespread acclaim. But for the young virtuoso this, perhaps remarkably, did not poison the music. Today Shahid sits at the pinnacle of the sitar world, astounding audiences wherever he goes and continually improving.

His intriguing career personifies many aspects of Indian classical music in the modern world. He has one foot in the isolated routines of the old greats, but also demonstrates a new global focus, teaching online and choosing to found his eponymous SPK Academy in Arizona. (Read my full interview with the Ustad here: ‘ What you play spontaneously must be perfect ’ ).

“I am always moving forward. I always want to proceed, and overcome whatever boundaries I come across. But the direction is never pre-planned. It is about the green light. I don’t have to wait for it to flash - I have reached a level where it is always on. There are no shortcuts to this place, but it must be the goal."

• Listen | Shahid Parvez showcases some fascinating layakari (rhythmic-melodic interplay), stretching and compressing Raag Yaman ’s melodies over Ojas Adhiya ’s 16-beat tintal cycle:

• Ustad Shujaat Khan is Vilayat’s son. His famous father had lofty ambitions for him from the very start, demanding his pregnant wife attend regular concerts so the unborn child could absorb full ragas of only the highest quality. But he proved to be an irascible, demanding teacher: “After strumming the strings of the sitar for several exhausting hours - overnight practice that would make my fingers bleed - he felt that I wasn’t good enough”.

Their personal bond became strained, and Shujaat eventually fled the family house: “At the age of 17 I left home to carve my own life...rebellion is not easy to stomach. Sleeping exposed in public parks, washing utensils to fund your food...it is a very tough call”.

But he forged his own successful path, gaining recognition for singing in unison with his instrument. He has soloed with the Edmonton Symphony Orchestra and formed the Grammy-nominated fusion band Ghazal with Pandit Swapan Chaudhuri on tabla and Kayhan Kalhor on kamancheh fiddle - like the sitar, an instrument rooted in Persia.

“When I performed, there was always the burden of matching the sky-high expectations set by my father. Treading the path carved by your forefathers is not all glitzy like it appears. The journey is beset with travail."

• Listen | Shujaat Khan sings and plays Vaishnav Jana To , a tribute to the legacy of Mahatma Gandhi:

• Ustad Nishat Khan is renowned for formidable speed and control. He recounts his early life in the Khan family as involving skipping school to practice and staying up all night to analyse the concerts they had just seen. Nishat has since has taken his sitar into flamenco , Gregorian chant , and jazz, playing with heavyweights such as John McLaughlin .

• His brother Ustad Irshad Khan has taken the family’s sitar and surbahar styles to North America, settling there to play and teach. Ustad Wajahat Khan has adapted their bending techniques to the sarod ’s sliding context. Vilayat’s daughter Zila Khan became a successful crossover singer, and Shahid’s son Shakir Khan (who, it has to be said, learns under much more forgiving conditions than his father) is emerging as a young talent. There are many more besides - see the Khan family tree here .

• Listen | Nishat Khan plays a mournful, almost bluesy rendition of Raag Darbari , running agile shapes through the jor ’s steadily increasing pulse:

Experimental contexts: sitar fusion

In the words of Shahid Parvez, “I always explore within certain boundaries, but find that these boundaries are vast. It is like a great ocean". In other words, he finds all the satisfaction he needs within the established limits of Hindustani frameworks. But for many others, their heart pulls them in different directions. Modern sitarists increasingly look outside the confines of classical music, embracing new contexts and sonorities.

This is not a 21st-century phenomenon. For one thing, India’s musical arts have been in a state of flux for centuries, constantly absorbing new influences. Ancient temple chants were intertwining with folk melodies at the same time as the pharaohs ruled Egypt, and the music has since been coloured by many other cultures - Sikh warrior-saints, medieval Afghan traders, the Islamic Mughal empire, and colonial Britain. Modern technology has had an influence too, with microphones allowing the sitar’s whispering overtones to reach the full expanses of a vast auditorium.

So it is natural that sitarists have been experimenting since the birth of our instrument. We could hardly do otherwise - the sitar is itself a hybrid form, and its ‘pure’ classical repertoire is an amalgamation of dhrupad , khayal , and countless regional ideas. Looking outwards is inevitable, and fusion has been happening since day one.

Sadly, sound recording technology has only been available to the past few generations. But sitar players have been busy since then, achieving varying levels of success for their fusions. Here are a few notable cross-genre sitar excursions (definitely not an exhaustive list!)...

Ravi Shankar was always eager to collaborate with other dedicated musicians. He found a singularly talented acolyte in Yehudi Menuhin, widely regarded as one of the 20th century’s greatest violinists. In 1966 the two virtuosi recorded the landmark West Meets East , playing compositions in tight unison and trading raga-based phrases over Ustad Alla Rakha’s tabla.

Their respective students Gaurav Mazumdar and Daniel Hope improved on their forebears’ work a generation later, filling the same compositions with a greater freedom and energy (witnessing their Homage to Ravi Shankar live in Bath was my first real introduction to the sitar).

Shankar would go on to experiment in other directions. He worked with minimalist icon Philip Glass on 1990’s Passages , playing short, sharp melodic interludes amidst string swells and punctuating rhythms. His first Concerto for Sitar and Orchestra came in 1971, and a second, entitled Raga-Mala (‘garland of ragas’), followed a decade later. Others have also placed the sitar in Western classical settings - Eric Whitacre’s Winter has a choir sing gentle cluster chords around a sitar’s alap (rhythmless section).

Composers have often struggled to integrate the sitar’s spontaneity into their music. But the Philharmonia Orchestra’s Universal Notes took Indo-Western classical to new heights in 2016, seamlessly integrating string sections with windows of melodic improvisation. Led by cellist Matthew Barley, the piece placed Niladri Kumar’s sitar alongside a bansuri , veena , ghatam , and a string quartet, and was the result of a year-long collaboration between Darbar and the Philharmonia Orchestra.

The sitar’s melodic capabilities have long fascinated the jazz world. John Coltrane was in particular awe of Ravi Shankar (“if I recorded with him I’d increase my possibilities tenfold”), even naming his son after him. Trumpeter Wynton Marsalis attempted to realise something of Trane’s dream half a century after his death, adding sitar and bansuri to a live performance of My Favourite Things .

Collin Walcott learned the instrument under Shankar, playing it with impressive fluency on Oregon’s Out of the Woods . John McLaughlin redesigned his acoustic guitar to capture some of the sitar’s characteristic strengths, hollowing out the fretboard and adding strummable sympathetic strings - see his astonishing creation in action on Shakti’s Joy .

The 2008 Miles From India project brought together alumni of Miles Davis’ groups with top Indian classical musicians. Goan sitarist Ravi Chary leads the ensemble through a captivating version of All Blues , compressing its original 6/8 lilt into a sharp-cornered 5/4 cycle.

• Listen | Wynton Marsalis partners with the Sachal Jazz Ensemble for a sublime cover My Favourite Things :

The sitar’s persistent relationship with rock has borne inconsistent fruit. George Harrison’s study with Shankar is part of pop folklore, and others made their own attempts too. Brian Jones played it on Paint It Black , and Gabor Szabo on Jazz Raga , but neither really sounded in full control.

It fascinated Hendrix, who drew psychedelic inspiration from Shankar’s live sets and experimented with the Coral Electric Sitar (n.b. which isn’t really a sitar, just a guitar with an extra ‘sparkling’ bridge). Jeff Beck has gone further in, reworking Indian-style melodic ornamentations on his Stratocaster with fine control of the whammy-bar ( Nadia ).

It has found its way into electronic music too, bringing a spontaneous, microtonal fluency far removed from the world of pre-programmed beats. Brian Eno sampled it on 1977’s One , and Four Tet did the same on 1999’s Charm . Sheema Mukherjee, Nikhil Banerjee’s British-born niece, has recorded with Mercan Dede ( Ab-i Lal ) and Transglobal Underground ( Vanilka ).

Ravi Shankar’s daughter Anoushka has collaborated with flamenco musicians ( Buleria con Ricardo ), and eccentric loopmaking visionary Madlib worked sitars into his Beat Konducta in India series. Rob Scallon’s Sitar Metal is impressively tight, drawing together the fiendishly complex subdivisions common to both Hindustani music and djent .

And we haven’t even got started on Indian filmi music - its blend of classical textures and Western pop forms deserves an article to itself. This is only a haphazard overview, and there is much more to sitar fusion beyond this.

• Listen | Anoushka and Ricardo Miño perform a dramatic bulerias (flamenco in fast 12-beat rhythm):

Personal snapshots of a global instrument

When studying the sitar in Varanasi under Benares gharana exponents Pandit Shivnath Mishra and his son Deobrat , the gurukula we lived at played host to a curious array of musicians from across the globe - Australian guitarists, American sax players, Czech spiritual chanters, visitors from South India, and many more from still further afield.

I will never forget meeting a Japanese student who had just performed impressively at a ganda bandhan (the ‘tying of the sacred thread’ ceremony, performed to confirm the lifelong bond between guru and disciple). He had initially intended to stop by in Varanasi for a short time - like me, to spend a few months branching out from the guitar.

But he quickly become drawn to both the music and the discipline of learning it, and decided to stay for the long term. He even took a pittance-paying menial labour job after his money ran out, telling me he was planning to get a better one once his Hindi improved.

The academy’s wider comings-and-goings also reflect the modern sitar’s global imprint. In a given week you could interact with ‘traditional’ Indian artists - dancers who came to practice kathak with the tabla teachers, khayal Pandits who attended our baithak (house concerts), and Mishra family guests who came bearing all manner of different instruments (including a mini-sitar which guru-ji’s 6-year-old grandson could outclass many of us students on).

Global visitors were drawn to the academy too, for a variety of reasons. There was David Laborier , a jazz guitar professor from Luxembourg who came to perform with my gurus. We met a meditation instructor from Arizona who wished to learn more about the music he used in his sessions, and local community leaders who came to discuss a fundraising concert to help clean the Ganges. At one point our gurus left for a week, answering a last-minute invitation to play for the Danish royal family.

• Listen | Pandit Shivnath Mishra, my guru, performs for the BBC in the 1970s, playing the morning Raag Ahir Bhairav on a boat on the Ganges:

Though still rooted inexorably in North India, the sitar now has a plethora of listeners and learners from all around the world. Exponents have long led globally connected lives - Ravi Shankar toured Europe as a dancer aged ten, and his senior student Premadasa Hegoda , born in Sri Lanka, moved to Japan in 1974.

Western learning hardly stopped after George Harrison (...some critical voices say that he barely got started). Sitarists from outside the Subcontinent have since gained respect for straight-up classical playing, including Paul Livingstone , Patrick Moutal , and Josh Feinberg . Alan Posselt took the instrument to Australia, and Alberto Marsicano to Brazil. Japanese psychedelia pioneer Hideki Ishima studied it and later invented the sitarla , perhaps the first broadly convincing electric guitar-sitar hybrid.

London-based Jonathan Mayer further exemplifies even these transglobal tangles. He learned European classical composition with his Kolkata-born father John Mayer, an early Indo-jazz pioneer, and studied sitar under Clem Alford , a Scotsman who in the late 1960s had given up the bagpipes to learn under Pandit Sachindranath Saha. Mayer currently plays and teaches around the UK, collaborating across a variety of genres.

Even inexperienced, Western-resident learners such as myself can find a multitude of performance opportunities. I’ve played jazz gigs, meditation sessions, Indian weddings, a Celtic folk festival, and even (with my guru-ji’s unexpected blessing) an all-night psytrance rave at the historic Lakota nightclub. Despite living in Bristol, a provincial English city, I found it surprising how regularly people specifically wanted a sitar for whatever it was they were putting on.

While the instrument was once rarely heard outside the royal courts of the Mughal Empire, it is now found everywhere. And I mean everywhere - in 2018, neuroscientist and Sufi-inclined fusion artist Shama Rahman became the first sitarist to perform in Antarctica .

What next for the sitar?

The modern sitar may have gone global, but the core of its sound is still firmly rooted to North India’s devotional traditions. This is always likely to be the case - the instrument’s characteristic sparkle is near-synonymous with visions of the country in the global mind, immediately conjuring up whatever essence of ‘Indianness’ is required for a film, advert, or festival tent.

But beyond this basic associative solidity, the sitar’s long-term future is anyone’s guess. Budhaditya Mukherjee, Shahid Parvez, and other classical masters continue to push forward, reaching ever-greater heights of musical and technical sophistication. Talented young artists are emerging too, such as Dhruv Bedi - Budhaditya’s student and perhaps the first sitarist born in the 1990s to receive widespread acclaim.

Dhruv, like most other modern students, learns a multi-gharana style, and listens to a huge variety of other music from around the world. While you can still categorise most young sitarists you hear as coming from a particular gharana, plenty of this is down to the design or tuning of their instrument rather than the music itself.

Stylistically, young musicians have been converging, and the great gharanas of old are beginning to merge. Will a broader repertoire enhance the sitar’s expressive power? Or can you find more strength through completely mastering one particular idiom?

Established classical artists continue to deviate too. Purbayan Chatterjee plays flamenco-jazz alongside traditional ragas, and also runs the Classicool initiative, which introduces short-form ragas to younger audiences with accompaniment from bass and drums. (You might expect Hindustani’s traditional elder statesmen to recoil in horror at such an apparent dilution of the music, but it has the backing of bansuri pioneer Pandit Hariprasad Chaurasia among others.)

Anupama Bhagwat in London

Methods of learning are changing. Shahid Parvez now teaches via Skype, and the best place to receive regular one-on-one instruction from him is at his academy in Arizona. And you can discuss the music with fellow aficionados on Reddit and other forums. So will sitarists educated outside India eventually start to reach the highest echelons? Or can the music’s heights only be summoned amidst the rituals, temples, and landscapes of its traditional habitats?

The economics of sitar manufacturing are changing rapidly too, turning outwards towards global markets. Yusuf Mulla, a hereditary sitar manufacturer from Miraj, Maharashtra, says the vast majority of his orders now come from abroad: “Just this year alone I have shipped 50-60 sitars to Russia. We are seeing a reversal. The West is adopting our culture and we are imbibing theirs. Indians mostly buy guitars now”.

Microphones and other technology have already altered the way sitarists play. And nowadays, the sound of many acoustic instruments can be electronically recreated with MIDI and sample banks, often with surprising accuracy. In some genres it will surely become common practice to dispense with human musicians altogether. So are sitarists going to be out of a job any time soon?

I don’t think so. My guess is that music improvised by living, breathing people will always have a particular power to captivate those who witness it. There is too much to the feeling of it being created right now, right here, by another human - and also to the knowledge that it may go wrong at any moment.

And even if the robots did take full control, the sounds of the sitar would be some of the last to fall. While a piano’s fixed, finite set of pitches can be recreated impressively using a few hundred sample recordings, the sitar’s ‘spaces between the notes’ contain infinite detail, bending and dissipating with precise ripples. It will take far longer for algorithms to convincingly recreate these distinctly human, singing elements (sitar MIDI hasn’t got very far yet at least).

The instrument is still fairly young in global historical terms, stretching back a few centuries at most. But it has evolved far from its roots. 'Sehtar' translates from Persian as ‘three-stringed instrument’ - only around twenty short.

Its branching futures will be shaped through the decisions of those who play it, both as individuals and collectives. Young sitarists may do well to paraphrase the words of Yasiin Bey (a.k.a. Mos Def), a rapper who has himself sampled Indian sounds: “So the next time you ask yourself where the sitar is going, ask yourself - where am I going?”

• George Howlett is a London-based musician and writer, specialising in jazz, rhythm, Indian classical, and global improvised music.

• Listen | Rising sitar star Dhruv Bedi plays Raag Bhimpalasi , filmed on location in Maharashtra:

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How to Play the Sitar

Last Updated: May 24, 2022 References

This article was co-authored by wikiHow staff writer, Kyle Hall . Kyle Hall works on the content team at wikiHow. He helps manage our team of editors and creates content for a variety of wikiHow projects. Kyle continually looks for new ways to improve the content at wikiHow and make it more helpful and enjoyable for readers. He graduated from Eckerd College in 2015, where he majored in Political Science. There are 10 references cited in this article, which can be found at the bottom of the page. This article has been viewed 26,972 times. Learn more...

The sitar is a stringed instrument that originated in India, and it’s known for producing a distinct, vibratory tone. Like the guitar, the sitar is played using a series of strings and frets that run up and down the instrument. However, there are some big differences between the two instruments, like how they’re held and how the strings are plucked. If you’re a beginner looking to learn how to play the sitar, first practice holding it properly in a cross-legged position on the floor. Then, familiarize yourself with the Indian musical scale and learn about the different strings on the instrument. Once you know how to hold a sitar and pluck the strings, you can start playing notes and learning songs!

Holding a Sitar

Tip: Sit on a pillow or blanket to make yourself more comfortable if you’d like.

• You can slightly extend your right foot out in front of you if that's more comfortable.
• Drape a cloth over your foot if you're worried about the oils from your foot damaging the body of the instrument.

• Remember to sit up straight and avoid leaning on the instrument with your arm.

• You can purchase a mizraab online or at any store that sells sitars.

Learning the Strings and Frets

• Sa is always the tonic note (the first note of a scale). For example, if a sitar is tuned to the key of C, then Sa is C.

• First string (closest to the floor): F one octave below middle C (Ma)
• Second string: C one octave below middle C (Sa)
• Third string: G (Pa)
• Fourth string: C two octaves below middle C (Sa)
• Fifth string: G one octave above the third string (Pa)
• Sixth string: C (Sa)
• Seventh string: C one octave above middle C (Sa)

• When you're first learning the sitar, it will be easier to play without the bottom strings.

• The notes for each fret changes depending on which string you're pressing against them. For example, if your sitar is tuned to the key of C, the notes for each fret on the first string in order from the first fret (the fret furthest from the body) to the last would be: Ma, Pa, Dha, Dha, Ni, Ni, Sa, Re, Ga, Ga, Ma, Ma, Pa, Dha, Ni, Ni, Sa, Re, Ga. The notes for each fret on the second, third, fourth, fifth, sixth, and seventh strings would be different.

Playing Notes

• Move all of your fingers back and forth, not just your index finger with the mizraab on it. However, only pluck the strings with the mizraab—your other fingers should just hover above the strings.

Tip: Use your middle finger to press a string against the fret whenever you’re moving back up or down the frets during a song. You’ll be able to play faster that way than if you just used your index finger.

• For example, if your sitar is tuned to the key of C and you want to play an F note, you could pluck the first string while pressing it against the first fret. In the key of C, the first fret for the first string is “Ma,” and “Ma” is the name of an F note in that key.

• You can find free sitar sheet music online. There are also popular songs featuring the sitar that you can practice, like "Love You To" and "Within You Without You" by the Beatles and "Paint it Black" by the Rolling Stones.

Expert Q&A

You might also like.

• ↑ https://www.wonderopolis.org/wonder/how-do-you-play-the-sitar
• ↑ https://www.youtube.com/watch?v=TGTj9VrIDhY&feature=youtu.be&t=98
• ↑ https://www.youtube.com/watch?v=TGTj9VrIDhY&feature=youtu.be&t=138
• ↑ https://www.youtube.com/watch?v=TGTj9VrIDhY&feature=youtu.be&t=144
• ↑ https://www.youtube.com/watch?v=TGTj9VrIDhY&feature=youtu.be&t=192
• ↑ https://www.youtube.com/watch?v=TGTj9VrIDhY&feature=youtu.be&t=32
• ↑ http://www.joerizzo.com/sitar/
• ↑ https://www.youtube.com/watch?v=tFAP0vxNoq4&feature=youtu.be&t=8
• ↑ https://www.youtube.com/watch?v=eTCW6H6fYfI&feature=youtu.be&t=55
• ↑ https://www.youtube.com/watch?v=7cZSzDnhdJQ&feature=youtu.be&t=7

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Mastering the Sitar: A Comprehensive Guide

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Welcome to our comprehensive guide on the sitar, a fascinating traditional Indian musical instrument that has captured the hearts of music enthusiasts worldwide. In this guide, we’ll explore the history, anatomy, playing techniques, and cultural significance of the sitar. We’ll also share insights on famous sitar players in India, sitar music, and sitar lessons for those who are interested in playing this enchanting instrument.

Table of Contents

Key takeaways.

• The sitar is a traditional Indian musical instrument that holds great cultural significance.
• Understanding the anatomy and strings of the sitar is essential for mastering the instrument.
• Sitar players play a crucial role in Indian music, showcasing their artistry through the intricate melodies and techniques they produce.
• The sitar has captured the hearts of music enthusiasts worldwide, becoming a bridge that connects different musical cultures and traditions.
• Whether you’re a beginner or an aspiring sitar player, this guide will inspire you to explore the mesmerizing world of sitar music and unleash your inner creativity.

Sitar: A Bridge to Musical Harmony

When it comes to traditional Indian music, the sitar is undoubtedly one of the most iconic instruments. Its unique sound and intricate melodies have mesmerized audiences for centuries, making it a beloved part of India’s rich cultural heritage.

At its core, the sitar is an instrument that connects cultures and traditions. Its unique sound has captured the hearts of music lovers all around the world, becoming a symbol of Indian music and culture. Through its evolution, the sitar has become a bridge that connects Eastern and Western music, creating harmonious musical blends that transcend borders.

Many famous musicians, both in India and abroad, have been drawn to the sitar’s captivating melodies and complex rhythms. From George Harrison’s collaboration with Pandit Ravi Shankar, to the fusion music of Shakti, the sitar has played a vital role in creating musical harmony across different genres.

From the classical ragas to modern Bollywood hits, the sitar has found a place in a wide range of music genres. Its versatility and adaptability have made it a favored instrument among composers and musicians alike, both in India and around the world.

Sitar music is characterized by its intricate melodies and improvisation techniques. The sitar player’s skillful use of the stringed instrument’s frets and drone strings create a mystical and enchanting sound. Whether played alone or accompanied by other instruments, the sitar’s unique sound stands out and captures the listener’s attention.

As a versatile instrument, the sitar has also been used in Bollywood music, adding a unique flavor to film songs and soundtracks. Its ability to evoke emotions and create a mood has made it a popular choice for many composers and music directors.

The History of the Sitar

At the heart of Indian classical music lies the sitar, a stringed instrument with a unique sound and cultural significance. The history of the sitar dates back centuries and is intertwined with the development of Indian music.

The origin of the sitar is unclear, with some theories suggesting it was developed from the Persian setar or the Indian veena. However, it is widely accepted that the modern sitar we know today evolved from the instrument known as the rudra veena, a precursor to the sitar played by the dhrupad musicians of northern India.

The sitar gained popularity during the Mughal era in the 16th century. It was during this time that the instrument was refined and its distinct features, such as the gourd resonating chamber and sympathetic strings, were developed. However, it was not until the 20th century that the sitar became a household name, largely due to the efforts of the legendary musician Pandit Ravi Shankar.

Pandit Ravi Shankar was a major force in popularizing the sitar on the global stage. He introduced the instrument to Western audiences through collaborations with musicians such as George Harrison of The Beatles and performed at iconic music festivals such as Woodstock.

Today, the sitar is an integral part of Indian music and continues to captivate audiences worldwide. Its rich history and evolving legacy serve as a testament to the enduring power of music to connect cultures and transcend time.

The Cultural Significance of the Sitar

The sitar is not just a musical instrument but also a symbol of tradition, spirituality, and artistic expression in Indian culture. It is deeply woven into the fabric of Indian society and holds immense cultural significance for the people of India.

For centuries, the sitar has been closely associated with Indian classical music and has played a vital role in the preservation and promotion of this rich musical tradition. It is widely regarded as one of the most beautiful and evocative instruments in the world.

Many Indian classical musicians believe that the sitar has the ability to evoke a range of emotions and help the listener connect with their innermost selves. Its enchanting sound has the power to transport listeners to a state of transcendence and connect them with the divine.

Moreover, the sitar has also played a significant role in India’s cultural diplomacy, serving as a powerful tool for promoting Indian culture and values around the world. The legendary sitar player, Pandit Ravi Shankar, is a prime example of this. His collaborations with Western artists such as George Harrison and Philip Glass helped introduce the sitar and Indian classical music to a global audience, earning him worldwide acclaim and recognition.

The cultural significance of the sitar extends beyond music and into other art forms as well. In Indian literature, poetry, and painting, the sitar has been portrayed as a symbol of beauty, creativity, and spirituality. It has inspired countless artists and writers over the years and continues to be a source of inspiration to this day.

Overall, the sitar’s cultural significance is a testament to the enduring legacy of Indian classical music and the vital role that the sitar continues to play in preserving and promoting this rich musical tradition.

Understanding the Sitar: Anatomy and Strings

Let’s dive into the anatomy of the sitar, a unique and beautiful musical instrument that has captured the hearts of music lovers around the world. The sitar is a stringed instrument that originated in India and is widely used in classical, folk, and popular music genres.

The sitar has a long, hollow neck with a gourd-like resonating chamber at the base. It has two bridges, one for the sympathetic strings and the other for the main playing strings. The frets on the neck of a sitar are moveable, allowing musicians to change the tuning as needed to achieve different scales and melodies.

Traditionally, the sitar has 18-20 strings, with 6-7 main playing strings and the remaining strings serving as sympathetic strings. The main strings are plucked with a plectrum, called a “mezrab”, while the sympathetic strings vibrate in response to the main strings, creating a rich and resonant sound.

The sitar’s tuning system is unique, with the main playing strings tuned to the notes of the raga being played. The sympathetic strings are tuned to specific notes that complement the melody of the raga. The tuning process can take time and requires careful attention to achieve the desired sound.

Overall, the sitar is a complex and fascinating instrument that requires both technical skill and artistic expression to master. Whether you’re a beginner or an experienced musician, the sitar is a musical instrument that offers limitless possibilities for creative expression.

Learning to Play the Sitar: Techniques and Melodies

Playing the sitar is a fascinating experience that requires patience, discipline, and dedication. The unique style and sound of the sitar come from specific techniques and melodies that make it a beloved instrument in traditional Indian music and beyond. In this section, we’ll delve into the different aspects of learning to play the sitar, including techniques, melodies, and tips on how to get started. Whether you’re an aspiring sitar player or simply curious about this beautiful instrument, you’ll find useful information here.

Mastering the sitar requires learning specific playing techniques that are unique to this instrument. One of the most important techniques is the use of meend, which involves sliding from one note to another in a continuous motion. This technique is what creates the distinct sound of the sitar and is essential to playing Indian classical music.

Another essential technique is the use of gamak, which involves rapidly alternating between two or more notes. This technique creates a vibrato-like effect that adds texture and character to the music.

Other important techniques include pulling and bending the strings to create unique tones, using the left-hand fingernail to create percussive sounds, and using the right hand to pluck the strings with a plectrum (mizrab). All these techniques require practice and patience to master, but the results are worth the effort.

The sitar has a vast repertoire of melodies that are specific to Indian classical music. These melodies, known as ragas, are based on specific scales and evoke different moods and emotions. One of the most well-known ragas is Raga Yaman, a beautiful and popular melody that is often one of the first ragas taught to beginner sitar players.

Other popular ragas include Raga Bhairavi, Raga Darbari, and Raga Bageshri, each with their unique characteristics and emotions. In addition to Indian classical music, the sitar is also widely used in fusion music and Bollywood, creating a rich and diverse range of melodies to explore.

How to Get Started

If you’re interested in learning to play the sitar, finding a reputable teacher is essential. Look for a qualified sitar instructor who can guide you through the basics and provide you with personalized feedback and guidance. There are also several online resources, including instructional videos, books, and forums where you can connect with other sitar players and enthusiasts.

When starting out, it’s essential to invest in a quality sitar that is suitable for your skill level. Look for a sitar that is well-made, has a good sound, and is comfortable for you to play. It’s also essential to practice regularly and be patient with your progress. Learning to play the sitar takes time, but with dedication and a love for the instrument, you can master this beautiful art form.

Sitar vs. Veena: Understanding the Differences

When it comes to traditional Indian string instruments, the sitar and veena are two of the most prominent and widely recognized. While both instruments have their similarities, they also have distinct differences in terms of construction, playing styles, and musical traditions.

Construction

The sitar and veena have different body shapes, with the sitar having a long, hollow neck and a rounded wooden resonator, while the veena has a hollow body made of gourd and a long wooden neck. The sitar also has moveable frets, which allows for different tuning options, whereas the veena has fixed frets.

Playing styles

Playing the sitar involves sitting cross-legged on the floor, holding the instrument vertically, and plucking the strings with a wire plectrum worn on the finger. The player uses their other fingers to press down on the strings in different positions to create notes and melodies.

The veena is played with the instrument placed horizontally on the player’s lap. The strings are plucked with the fingers, and the player uses their other hand to press down on the frets to create different notes.

Musical traditions

While the sitar is often associated with Indian classical music, it has also gained popularity in other genres such as fusion and Bollywood music. The veena, on the other hand, is primarily used in classical music and is considered an essential instrument in Carnatic music, a style of Indian classical music that originates from South India.

Overall, while both the sitar and veena are beloved and significant instruments in Indian music, they each have their unique attributes and musical styles. Whether you prefer the hypnotic sounds of the sitar or the intricate melodies of the veena, both instruments offer a beautiful and enriching musical experience.

Famous Sitar Players in India

India has produced some of the most influential and talented sitar players in the world. From legendary maestros to contemporary artists, the sitar has been a central instrument in the development and evolution of Indian classical music.

One of the most well-known sitar players in India is  Pandit Ravi Shankar , known for his virtuosity and innovation in the field of Indian classical music. Shankar’s compositions and collaborations with Western musicians such as George Harrison and Yehudi Menuhin have helped popularize the sitar on the global stage.

Ustad Vilayat Khan  was also a prominent sitar player, known for his intricate and melodious playing style. He was a part of the Imdadkhani gharana, a musical lineage known for its focus on the sitar.

Ustad Shahid Parvez  is another renowned sitar player, known for his mesmerizing performances and improvisational skills. He has also contributed to the spread of Indian classical music through his teaching and collaborations with other musicians.

These are just a few examples of the many talented sitar players who have contributed to the rich tradition of Indian classical music. Their artistry and legacy continue to inspire and influence new generations of sitar players, ensuring the enduring popularity and relevance of this fascinating instrument.

Exploring Sitar Lessons: Where to Begin

Learning to play the sitar can be a fulfilling and rewarding experience. However, finding the right sitar teacher and instrument is crucial to your success. Here are some tips on where to begin your journey:

Find a Reputable Teacher

Look for a sitar teacher who has extensive experience in playing and teaching the instrument. You can get recommendations from music schools, music stores, or online forums. It’s essential to find a teacher who can understand your level of expertise and create a personalized learning plan tailored to your needs.

Choose the Right Instrument

Selecting the right sitar is an essential factor that can impact your learning. You can rent or purchase a sitar from music stores or online retailers. Always choose a sitar that fits your body size, playing style, and budget. You can also seek advice from your teacher or a sitar player for recommendations.

Set Realistic Expectations

Learning to play the sitar requires time, patience, and dedication. It’s essential to set realistic expectations and goals for your learning journey. It’s better to start with simple exercises and gradually move to complex techniques. Consistent practice and commitment can help you achieve your desired level of proficiency.

By following these tips, you can start your sitar lessons with confidence and enthusiasm. Remember, learning the sitar is a continuous process that requires discipline, hard work, and passion. Embrace the challenges, enjoy the process, and immerse yourself in the beauty of sitar music.

The Price of Sitar: A Buyer’s Guide

If you’re considering purchasing a sitar, it’s important to understand the factors that contribute to its price range. The cost of a sitar can vary widely depending on several key factors, including its quality, materials used, and craftsmanship.

The most basic sitars can be found for around Rs. 5,000, but high-end models can cost up to Rs. 2 lakhs or more. Generally, the more expensive sitars are made with better quality materials and have higher levels of craftsmanship, resulting in a superior sound and more durable instrument.

When purchasing a sitar, it’s essential to consider the type of wood used in its construction. The most commonly used woods are teak, tun, and mahogany, with tun being the most expensive due to its superior tonality. Other factors to consider include the quality of the strings, tuning pegs, and decorative elements such as inlay work and carving.

If you’re just starting and not ready to make a significant investment, you can opt for a lower-priced model to get a feel for the instrument. However, keep in mind that the quality of a lower-priced sitar may not be suitable for advancing past the beginner level.

If you’re unsure, it’s always wise to seek the advice of an experienced sitar player or reputable music store when making your purchase. They can help guide you towards selecting an instrument that suits your playing level, budget, and musical preferences.

Mastering the Sitar: Practice and Dedication

If you’re interested in pursuing the sitar, it’s important to understand that it requires practice and dedication to master. As with any musical instrument, the journey to proficiency takes time and effort. But the rewards that come with mastering the sitar are immeasurable.

One of the keys to success as a sitar player is consistency. Regular practice sessions are crucial to building muscle memory and honing your playing skills. We recommend dedicating at least an hour each day to practice, even if it means breaking your session into smaller increments.

It’s also important to seek guidance from a professional sitar teacher. A skilled teacher will not only provide you with technical instruction but will also guide you in developing your own style and artistic interpretation. They can also help you fine-tune your playing techniques and give you feedback on your progress.

To further enhance your sitar playing skills, we suggest attending sitar workshops and concerts. These events provide opportunities to learn from experienced sitar players and gain exposure to new techniques and playing styles. You can also meet other sitar enthusiasts and form valuable connections within the sitar community.

Finally, remember that mastering the sitar is a lifelong journey. It requires patience, discipline, and a passion for the instrument. But with dedication and consistent effort, you can achieve your goals as a sitar player and experience the joy of creating beautiful music.

Enhancing your Sitar Playing Skills: Advanced Techniques

Aspiring sitar players often start with basic techniques such as finger positioning and scale practice. But to truly master the sitar, advanced techniques should be incorporated into practice sessions. These techniques, including ornamentation, rhythm patterns, and improvisation, can help take your sitar playing skills to the next level.

Ornamentation

Ornamentation refers to the embellishments that are added to the melody of a sitar piece. These embellishments can include slides, hammer-ons, and pull-offs, and require nimble finger movement for smooth execution. Proper ornamentation can elevate a sitar performance and add depth to the music.

Rhythm Patterns

Rhythm patterns play a significant role in Indian classical music, and the sitar is no exception. Advanced sitar players incorporate complex rhythm patterns into their playing to create intricate and captivating compositions. Understanding the structure of different rhythm patterns and practicing them regularly can help improve your rhythmic sense, making your sitar playing more engaging and dynamic.

Improvisation

Improvisation is the art of ad-libbing or creating music spontaneously. Master sitar players are adept at improvising within specific ragas, giving their performances a unique touch. The ability to improvise requires a deep understanding of the sitar’s technical aspects, as well as a well-developed musical sense. Regular practice and experimentation with different melodies and rhythms can help hone your improvisational abilities.

As you progress in your sitar playing journey, it’s essential to continue challenging yourself with more complex techniques. Incorporating advanced ornamentation, rhythm patterns, and improvisation into your practice sessions can help take your sitar playing skills to the next level, allowing you to express yourself with greater depth and creativity.

The sitar holds a special place in traditional Indian music, representing not just a musical instrument but also a symbol of tradition, spirituality, and artistic expression. Its distinct sound and intricate playing techniques have inspired countless musicians and listeners throughout history, making it a truly profound and beautiful instrument.

Throughout this comprehensive guide, we have explored every facet of the sitar, including its history, anatomy, playing techniques, and cultural significance. We hope that our journey has inspired you to learn more about this enchanting instrument and its unique place in the world of music.

Whether you’re a fan of classical Indian music or modern Bollywood hits, the sitar’s beauty and versatility make it a joy to listen to. Its unique sound can transport listeners to another time and place, evoking a sense of wonder and enchantment. So sit back, relax, and let the magical sound of the sitar take you on a musical journey you’ll never forget.

Frequently Asked Questions

What is the sitar and why is it significant as a traditional indian musical instrument.

The sitar is a traditional Indian string instrument known for its distinctive sound and unique construction. It holds great cultural and musical significance in India, being closely associated with classical and folk music traditions. The sitar is revered for its ability to evoke emotion and capture the essence of Indian music.

Who invented the sitar and what is its history?

The sitar’s history can be traced back several centuries, with its roots in ancient Indian musical traditions. While it’s difficult to pinpoint a specific inventor, the sitar as we know it today was developed and popularized by legendary sitar player Pandit Ravi Shankar. His mastery and global influence played a crucial role in introducing the sitar to a wider audience.

How many strings are there on a sitar and how is it tuned?

The sitar typically has 18 to 20 strings, including playing strings and sympathetic strings. The playing strings are plucked with a plectrum (mizrab), while the sympathetic strings resonate sympathetically to create a rich, reverberating sound. The sitar is tuned to a specific system called Ravi Shankar tuning, which provides the instrument with its distinct tonal range.

What are some basic sitar playing techniques and melodies?

Sitar playing involves various techniques, including meend (gliding between notes), gamak (ornamentation), and taans (rapid note patterns). There are also several popular sitar melodies commonly used by sitar players to showcase the instrument’s versatility and expressiveness. Beginners can start with simple melodies and gradually progress to more complex compositions.

What are the differences between the sitar and the veena?

While both the sitar and the veena are prominent Indian string instruments, they have distinct characteristics. The sitar has a wooden body, a gourd resonator, and metal strings, whereas the veena has a hollow body made of wood and a long neck with frets. The playing styles and musical traditions associated with each instrument also differ, resulting in unique sounds and expressive capabilities.

Who are some famous sitar players in India?

India boasts a rich lineage of renowned sitar players who have contributed significantly to the development and popularity of the instrument. Some notable names include Ustad Vilayat Khan, Ustad Shahid Parvez, Pandit Nikhil Banerjee, and Pandit Ravi Shankar. These maestros have left an indelible mark on Indian classical music and continue to inspire future generations of sitar players.

What genres of music prominently feature the sitar?

The sitar has made its mark in various music genres, including classical, fusion, and Bollywood music. In classical music, the sitar takes center stage in traditional ragas and compositions. In fusion music, sitar players often collaborate with artists from different genres, incorporating the instrument’s unique sound into contemporary and world music. Bollywood music also frequently features the sitar, adding a touch of Indian classical flavor to popular film soundtracks.

Where can I find sitar lessons and how do I get started?

If you’re interested in learning how to play the sitar, it’s best to find a reputable sitar teacher or music school that offers sitar lessons. Look for qualified instructors who can guide you through the basics of sitar playing and help you develop proper technique. It’s also important to choose the right sitar instrument and set realistic expectations for your learning journey.

What is the cultural significance of the sitar in India?

The sitar holds immense cultural significance in India, extending beyond its musical role. It represents the rich cultural heritage of the country and symbolizes tradition, spirituality, and artistic expression. The sitar has become an iconic instrument that embodies the essence of Indian classical music and serves as a source of national pride.

How much does a sitar cost and what factors influence its price?

The price of a sitar can vary depending on several factors, including the quality of craftsmanship, materials used, and reputation of the maker. Sitars made by renowned artisans or those featuring intricate designs and high-quality materials may be more expensive. Additionally, factors such as age, condition, and rarity can also influence the price of a sitar.

What does it take to master the sitar?

Mastering the sitar requires dedication, discipline, and regular practice. It’s a journey that demands patience and a genuine love for the instrument. Becoming proficient on the sitar involves developing proper technique, exploring diverse musical styles, and continuously expanding your knowledge and repertoire. With time and effort, one can achieve mastery and experience the joy of expressing oneself through this enchanting instrument.

What advanced techniques can enhance my sitar playing skills?

Once you have a solid foundation in sitar playing, you can explore advanced techniques to further enhance your skills. This includes intricate ornamentation, such as meend, gamak, and krintan, as well as complex rhythm patterns and improvisation techniques. Learning from skilled sitar players, attending workshops, and experimenting with different styles can help you refine your artistry and unlock new possibilities on the instrument.

How does the sitar serve as a bridge between different musical cultures?

The sitar has the unique ability to connect different musical cultures and traditions. Its distinct sound and versatility have led to collaborations and fusion projects with artists from various genres and musical backgrounds. The sitar serves as a musical bridge, blending Eastern and Western influences, and creating harmonious blends that transcend cultural boundaries.

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• J Rehabil Assist Technol Eng
• v.4; Jan-Dec 2017

SITAR: a system for independent task-oriented assessment and rehabilitation

Asif hussain.

1 Department of Bioengineering, Imperial College of Science, Technology and Medicine, London, UK

2 School of Mechanical and Aerospace Engineering, Nanyang Technological University, Singapore

Sivakumar Balasubramanian

3 Department of Bioengineering, Christian Medical College, Vellore, India

Julius Klein

4 Tecnalia Research and Innovation, San Sebastian, Spain

Nathanael Jarrassé

5 CNRS, Institut des Systèmes Intelligents et de Robotique, Université Pierre et Marie Curie, Paris, France

Michael Mace

Etienne burdet, introduction.

Over recent years, task-oriented training has emerged as a dominant approach in neurorehabilitation. This article presents a novel, sensor-based system for independent task-oriented assessment and rehabilitation (SITAR) of the upper limb.

The SITAR is an ecosystem of interactive devices including a touch and force–sensitive tabletop and a set of intelligent objects enabling functional interaction. In contrast to most existing sensor-based systems, SITAR provides natural training of visuomotor coordination through collocated visual and haptic workspaces alongside multimodal feedback, facilitating learning and its transfer to real tasks. We illustrate the possibilities offered by the SITAR for sensorimotor assessment and therapy through pilot assessment and usability studies.

The pilot data from the assessment study demonstrates how the system can be used to assess different aspects of upper limb reaching, pick-and-place and sensory tactile resolution tasks. The pilot usability study indicates that patients are able to train arm-reaching movements independently using the SITAR with minimal involvement of the therapist and that they were motivated to pursue the SITAR-based therapy.

SITAR is a versatile, non-robotic tool that can be used to implement a range of therapeutic exercises and assessments for different types of patients, which is particularly well-suited for task-oriented training.

The increasing demand for intense, task-specific neurorehabilitation following neurological conditions such as stroke and spinal cord injury has stimulated extensive research into rehabilitation technology over the last two decades. 1 , 2 In particular, robotic devices have been developed to deliver a high dose of engaging repetitive therapy in a controlled manner, decrease the therapist’s workload and facilitate learning. Current evidence from clinical interventions using these rehabilitation robots generally show results comparable to intensity-matched, conventional, one-to-one training with a therapist. 3 – 5 Assuming the correct movements are being trained, the primary factor driving this recovery appears to be the intensity of voluntary practice during robotic therapy rather than any other factor such as physical assistance required. 6 , 7 Moreover, most existing robotic devices to train the upper limb (UL) tend to be bulky and expensive, raising further questions on the use of complex, motorised systems for neurorehabilitation.

Recently, simpler, non-actuated devices, equipped with sensors to measure patients’ movement or interaction, have been designed to provide performance feedback, motivation and coaching during training. 8 – 12 Research in haptics 13 , 14 and human motor control 15 , 16 has shown how visual, auditory and haptic feedback can be used to induce learning of a skill in a virtual or real dynamic environment. For example, simple force sensors (or even electromyography) can be used to infer motion control 17 and provide feedback on the required and actual performances, which can allow subjects to learn a desired task. Therefore, an appropriate therapy regime using passive devices that provide essential and engaging feedback can enhance learning of improved arm and hand use.

Such passive sensor-based systems can be used for both impairment-based training (e.g. gripAble 18 ) and task-oriented training (ToT) (e.g. AutoCITE 8 , 9 , ReJoyce 11 ). ToT views the patient as an active problem-solver, focusing rehabilitation on the acquisition of skills for performance of meaningful and relevant tasks rather than on isolated remediation of impairments. 19 , 20 ToT has proven to be beneficial for participants and is currently considered as a dominant and effective approach for training. 20 , 21

Sensor-based systems are ideal for delivering task-oriented therapy in an automated and engaging fashion. For instance, the AutoCITE system is a workstation containing various instrumented devices for training some of the tasks used in constraint-induced movement therapy. 8 The ReJoyce uses a passive manipulandum with a composite instrumented object having various functionally shaped components to allow sensing and training of gross and fine hand functions. 11 Timmermans et al. 22 reported how stroke survivors can carry out ToT by using objects on a tabletop with inertial measurement units (IMU) to record their movement. However, this system does not include force sensors, critical in assessing motor function.

In all these systems, subjects perform tasks such as reach or object manipulation at the tabletop level, while receiving visual feedback from a monitor placed in front of them. This dislocation of the visual and haptic workspaces may affect the transfer of skills learned in this virtual environment to real-world tasks. Furthermore, there is little work on using these systems for the quantitative task-oriented assessment of functional tasks. One exception to this is the ReJoyce arm and hand function test (RAHFT) 23 to quantitatively assess arm and hand function. However, the RAHFT primarily focuses on range-of-movement in different arm and hand functions and does not assess the movement quality, which is essential for skilled action. 24 – 28

To address these limitations, this article introduces a novel, sensor-based System for Independent Task-Oriented Assessment and Rehabilitation (SITAR). The SITAR consists of an ecosystem of different modular devices capable of interacting with each other to provide an engaging interface with appropriate real-world context for both training and assessment of UL. The current realisation of the SITAR is an interactive tabletop with visual display as well as touch and force sensing capabilities and a set of intelligent objects. This system provides direct interaction with collocation of visual and haptic workspaces and a rich multisensory feedback through a mixed reality environment for neurorehabilitation.

The primary aim of this study is to present the SITAR concept, the current realisation of the system, together with preliminary data demonstrating the SITAR’s capabilities for UL assessment and training. The following section introduces the SITAR concept, providing the motivation and rationale for its design and specifications. Subsequently, we describe the current realisation of the SITAR, its different components and their capabilities. Finally, preliminary data from two pilot clinical studies are presented, which demonstrate the SITAR’s functionalities for ToT and assessment of the UL.

The SITAR concept

A typical occupational therapy or assessment session may involve patients carrying out different activities of daily living on a tabletop. For example, this could involve simple reaching tasks, transferring wooden blocks from one place to another, peg removal and insertion, etc. The SITAR concept is based on the idea of instrumenting this setup to measure patients’ movement and interaction to provide feedback, gamification for active patient participation and assessment of patients' sensorimotor ability in a natural context. The SITAR concept consists of a combination of the following components:

• An interactive force–sensitive tabletop. A large proportion of our daily activities involving the UL are carried out on a tabletop. Thus, having an interactive tabletop that can sense activities performed on it (i.e. touch and placement of objects) and can provide visual and audio feedback will serve as an excellent platform for designing an engaging system for training. Note that the ability to sense interaction force at the table surface enables a sensitive and accurate characterisation of the motor behaviour; for example, the impact force of pick-and-place tasks can be a useful indicator of motor ability. 29
• An ecosystem of intelligent objects capable of both sensing and providing haptic, visual and auditory feedback directly from the object. These intelligent objects, which abstract the functional shapes and capabilities of real-world objects, can be used as separate tools or along with the interactive tabletop for training and assessing different UL tasks. They would be capable of sensing the patient’s interaction such as touch, interaction force, translational/rotational movements, and they provide appropriate multisensory visual, audio and vibratory feedback.
• Natural sensorimotor context. In most existing systems, the visual and haptic workspaces are dislocated, i.e. a patient works or interacts physically on a tabletop and receives visual and audio feedback from a computer monitor located in front of the head. In contrast, the SITAR provides collocated haptic and visual workspaces with natural sensorimotor interaction for patients to perform and train tasks, which provides a more natural context for interaction. This may potentially enhance transfer to equivalent real-world tasks.
• Modular architecture. The system would have a modular architecture that enables new tools (a new object, an additional table, etc.) to be easily integrated into the system. Moreover, each of these tools would be suitable for using them separately without the need for any of the other system components. In particular, an intelligent object can be used either with or without the tabletop or the other objects. A suitably designed game using the modular system architecture would allow a subject to simultaneously interact with multiple objects without any confusion. Moreover, the system would also allow the use of other external sensing or assistive devices that extend the SITAR’s capabilities; for example, 3D vision–based motion tracking of the UL kinematics, an arm support system, a wearable robotic device or a functional electrical stimulation system for hand assistance.

The SITAR with these different features would act as a natural, interactive and quantitative tool for training and sensing UL tasks that are relevant to the patient. It would also facilitate the development of engaging mixed reality environments for neurorehabilitation by (a) integrating different intelligent objects and (b) providing clear instructions and performance feedback to train patients with minimal supervision from a therapist.

SITAR’s components

Multimodal interactive motor assessment and training environment (mimate).

The SITAR’s interactive tabletop and intelligent objects were developed using a common platform that can (a) collect data from the different sensors in the table, objects, etc.; (b) provide some preliminary processing of sensor data (e.g. orientation estimation using IMU); (c) provide multimodal (e.g. audio, visual and vibratory) feedback and (d) communicate bi-directionally to a remote workstation (e.g. a PC). This common platform, called the MIMATE (Multimodal Interactive Motor Assessment and Training Environment), is a versatile, wireless-embedded platform for developing interactive devices for a variety of healthcare applications. It has been previously used for training, teaching and designing intelligent objects. 30 In the SITAR, the MIMATE serves as an integral part of all its components for collecting, processing and communicating data to a remote workstation, where all the information is fully processed for providing feedback to the subject. A detailed description of the MIMATE was discussed previously in the study by Hussain et al. 31 Embodiments of the SITAR can be implemented with other commercially available platforms as well; however, the MIMATE was custom-made for use in applications involving human interaction in motor control, learning and neurorehabilitation.

Interactive force and touch–sensitive tabletop

The SITAR tabletop is a toughened glass surface supported on a custom-built, aluminium, table-like structure with a 42-in. liquid crystal display television situated directly below the glass surface ( Figure 1(a) ). The glass is supported on four load cells (CZL635 Micro Load Cell (0–20 kg), Phidgets Inc.) placed on the aluminium frame at the four corners of the table. The four load cells are individually preamplified and connected to a MIMATE module, which samples the data from these sensors at 100 Hz. It then wirelessly transmits the data to the workstation. The glass surface acts similar to a force plate used in gait analysis for detecting ground reaction force and its centre-of-pressure (COP). The glass surface, along with the television underneath, thus behaves like a simple, cost-effective and large touchscreen capable of detecting a single touch and its associated force.

The SITAR concept with (a) the interactive table-top alongside some examples of intelligent objects developed including (b) iJar to train bimanual control, (c) iPen for drawing, and (d) iBox for manipulation and pick-and-place.

By measuring the load cell forces, we can determine the downward component of the total force F acting on the glass surface and the COP of this applied force ( x , y ). The total touch force F and position { x , y } can be determined from

where { f 1 , f 2 , f 3 , f 4 } are the calibrated forces measured from the load cells (after removing any offsets due to the weight of the glass plate), and X , Y are the two dimensions of the rectangle formed by the four load cells on the table frame. Following calibration, the x , y positional errors were <5 mm for weights greater than 250 g while the force error was <1 N.

Table calibration

Individual calibration of each load cell, linear calibrations of the normal force and ( x , y ) coordinates of the touch position associated with the interactive table was performed prior to its use. This was achieved using a least squares fit to data spanning a range of ‘typical interaction’ values arranged in a 4 × 4 × 4 gridded pattern with F ∈ { 1 . 96 , 3 . 92 , 5 . 87 , 7 . 85 } N , x ∈ { 65 , 369 , 673 , 977 } mm and y ∈ { 36 , 209 , 383 , 556 } mm , collected using a custom written program and passive weights. To highlight the effectiveness of the table to track force and position, an independent set of testing points was defined using a 5 × 3 × 3 grid F ∈ { 0 . 49 , 0 . 98 , 2 . 45 , 4 . 91 , 9 . 81 } N , x ∈ { 150 , 520 , 890 } mm and y ∈ { 80 , 285 , 495 } mm , and the output of the table was recorded.

Figure 2 shows the mean root mean square (RMS) error of the touch force averaged over the entire workspace with error bars indicating the average 3 standard deviation measurement error of the force during a single four-second touch. The left subplot shows the absolute errors, while the right plot shows the error as a percentage of the force specified. These plots highlight that the average RMS error increases with elevated force but at a much slower rate than the force itself. Conversely, the time-dependent error is fixed as it is predominantly due to the individual measurement noise associated with each load cell.

Table force errors against touch forces (temporally and spatially averaged) with bars showing average RMS errors (biases) and error bars indicative of the time-dependent error (i.e. as three standard deviations calculated from each four second trial averaged over all nine spatial locations). The plots show (a) the absolute errors and (b) the errors normalised by the force-level as a percentage.

Figure 3 shows the positional errors at the nine ( x , y ) locations for four F levels tested. At low touch forces, the position estimation becomes erratic. This can be seen in both the 0.49 N (50 g) and 0.98 N (100 g) plots where the positional errors (both the RMS and measurement noise) are in the centimeter range. At larger touch forces, these errors reduce to the millimeter scale as highlighted in Table 1 . Therefore, a touch threshold of 1 N (100 g) has been set, below which no touch would be registered by the system. This threshold does not affect the detection of the typical therapy objects used (see section ‘Intelligent objects’) that generally have masses of over 200 g.

Table positional errors for four different touch force values ((a) F  = 0.49 N, (b) F  = 0.98 N, (c) F  = 2.45 N and (d) F  = 4.91 N)). Target (reference) locations (red plus) are shown alongside (blue) ellipses with the centre and principal axes indicative of the mean touch location and ±3SD measurement error in the x and y directions.

Average ( F , x , y ) RMS errors and time-dependent measurement noise for different touch force values.

RMS: root mean square.

Detecting objects on the table

To enhance the functionality of the interactive table, a special algorithm has been developed permitting single-touch interaction with or without objects placed on the table surface. To achieve this, it is necessary to differentiate the sensor data from the four load cells during (and just following) object placement from (both static and dynamic) human interaction. This is possible due to the observation that during human interaction, there is always increased variability in the force data due to either movement (dynamic interaction) or physiological tremor (static interaction). Therefore, by thresholding the variance of F , in both amplitude and time, it is possible to robustly detect when any object is placed on the surface. When an object has been detected, its weight can be used for identification while its weight contribution can be compensated for, allowing additional objects to be placed on the surface and/or concurrent single-touch interaction to occur as usual. Once an object has been detected, it is added to a virtual object list so that when its removal is detected (i.e. due to a sudden drop in F ), the appropriate object can be selected and removed from the list based on this change.

Intelligent objects

The intelligent objects are a set of compact, instrumented and functionally shaped devices. They are designed to enable natural interaction and sensing during assessment and rehabilitation of common day-to-day activities such as pick-and-place, can-opening, jar manipulation, key manipulation and writing. The developed objects are abstracted from the shape and basic functionality of common everyday objects making training and assessment using these objects similar to real-world tasks. So far, five different intelligent objects have been designed and implemented, namely iCan (for grasping and opening), iJar (bimanual grasping and twisting), iKey (fine manipulation and turning), iBox (for grasping and transportation) and iPen (grasping and drawing). We have previously published the design details of some of the intelligent objects and their use for assessing sensorimotor function: 31 – 33 (a) The study by Hussain et al. 31 presents the design details of the iCan and iKey objects; (b) the study by Jarrassé et al. 32 presents preliminary design details of the iBox and its use for studying grasping strategies in healthy and hemiparetic patients and (c) the study by Hussain et al. 33 presents the use of iKey for assessing fine manipulation in patients with stroke. Here, we briefly describe three of the intelligent objects, namely iBox, iJar and iPen. The iBox is currently used as part of a UL assessment protocol using the SITAR. The iJar and iPen are currently not part of any training or assessment studies with the SITAR. However, we present their design here as they are additional objects that will become part of the SITAR ecosystem for future training and assessment studies.

is an object designed for accurately measuring and analysing grasping strategies during manipulation tasks. 32 It comes in the form of a cuboid (see Figure 1(d) ) with dimensions 108 × 70 × 40 mm and weight of ∼ 340  g. Due to its heterogeneous dimensions, the iBox can be positioned in a variety of orientations to achieve different task complexities or required grasping synergies. The use of iBox for analysing different grasping strategies has been discussed in detail by Jarrassé et al. 32 Like other intelligent objects, the iBox uses the MIMATE for data collection and measures translational accelerations, rotational velocities and orientations during manipulation, along with the distinct forces applied normally to each of its six surfaces (up to 20 N). It transmits these values either wirelessly using Bluetooth protocol or over USB to a computer, at a frequency of 100 Hz.

is a tool for measuring hand coordination during an asymmetric bimanual task similar to unscrewing the lid on a jar. It consists of a stabilising handle that measures the grasp force (up to 20 N) during a cylindrical grip and can be grasped with either hand (see Figure 1(b) ). This is connected to a second rotating handle through a torsional spring mechanism with an off-centred, bidirectional force sensor-enabling torque (or moment) to be measured during rotation. Two rotational springs are connected in series, enabling (a) bidirectional movement to be performed, (b) removal of any play in the system due to each spring pre-straining the other and (c) the changing of the torque-extension profile by adjusting both the spring constants and the amount of pre-straining. Due to size and weight constraints, the second handle does not measure grip force but does allow for both a cylindrical (medium wrap) or circular grasp shape depending on the orientation of the object within the hand. The iJar elicits different types of movement/interaction, including (a) coordinated activity from both hands, measured through the isometric grasp forces on the top and bottom parts of the object and (b) wrist movements (pronation/supination and/or flexion/extension) measured from the rotation of the top and bottom parts of the object. This measured interaction will be analysed to infer specifics about the bimanual motor behaviour. As with the iBox, a MIMATE is used for data collection and measures translational accelerations, rotational velocities and orientations during manipulation, along with values associated with the grip force and torque measurements. The dimension of the current iJar design is approximately 220 × 60 mm with a weight of ∼ 370  g.

Handwriting is an essential skill, which beyond utilitarian purposes, offers an opportunity to train the entire UL. For patients with high-level stroke, training with a writing system is a useful opportunity to exercise meaningful and challenging motor skills. The intelligent pen (iPen) was conceived to enable these training opportunities. The iPen, shaped like a thick, whiteboard marker, can measure interactive forces and inertial data during writing (see Figure 1(c) ). Three 3D printed semi-cylindrical shells (with 36-mm outer diameter, 3-mm thickness, subtending 115°) are linked to a core, each via a single-axis load cell (SMD2551-002 miniature beam load cells, Strain Measurement Devices, Bury St Edmunds, UK) to measure grip force. The core serves as the mounting point for the load cells, and by extension, the grip plates. The wire conduit atop the core provides a convenient and axially centred position of the IMU (Analog Devices ADXL345, InvenSense ITG-3200 and a Honeywell HMC5843), which is secured with a nylon screw. The writing tip uses a button-type axial compression load cell (FC22 load cell, Measurement Specialities) and a floating stylus point to measure contact force with a table or surface.

SITAR for UL assessment

SITAR is an ideal platform to carry out quantitative task-oriented assessment of the UL in a more natural manner compared to conventional modes of quantitative assessment. This section will illustrate some of the possibilities offered by the SITAR, in the context of an ongoing, multicentre, assessment study. Ethical approval for the study was granted by the Proportionate Review Sub-committee of the London Dulwich Ethics Committee (REC reference: 11/LO/1818; IRAS project ID: 88134). Here, we only present preliminary results of selected tasks to illustrate the assessment possibilities of the SITAR. Participants provided informed consent prior to beginning the experiment.

Inclusion and exclusion criteria

Patients with stroke, of age greater than 18 years, with UL impairment who are able to initiate a forward reach (grade 2 on Medical Research Council (MRC) at shoulder and elbow) and cognitively able to understand and concentrate adequately for performing the task were included in the study. On the other hand, patients with no UL deficit following stroke or with severe comorbidity including severe osteoarthritis, rheumatoid arthritis, significant UL trauma (e.g. fracture) or peripheral neuropathy were excluded from the study. People with severe neglect (star cancellation test and line bisection test) or cognitive impairment (Mini Mental State Examination) were also excluded.

Participants

We present data collected from six patients with stroke who underwent the full SITAR assessment protocol; the relevant details of these six patients can be found in Table 2 . Data were also collected from 10 healthy control subjects (age: 25.4 ± 6.46 years).

Demographics of the participating patients in the assessment and usability studies.

FMA: Fugl–Meyer assessment.

Participants were seated on a chair fitted with a back support in front of the SITAR table. The participant’s feet were flat on the floor, with the hips and knees flexed at approximately 90°. We present three important sensorimotor abilities assessed through this protocol: workspace estimate, pick-and-place and tactile resolution. The following subsections present the details of how these abilities were assessed along with the preliminary results from patients with stroke and healthy subjects.

Workspace estimate

For capturing the workspace of participants, they are seated in front of the SITAR table and are asked to reach as far as possible in five different directions, at 0°, 45°, 90°, 135° and 180° (with 90° representing the forward direction). In each trial, the subject starts from the resting position (bee-hive shown in Figure 4(a) ) on the tabletop and tries to reach the maximum distance possible along the green patch of grass displayed. Three trials are recorded in each direction, with or without trunk restraint, to assess the difference between compensatory and non-compensatory range of motion, respectively.

Workspace assessment: (a) Visuals of the Bee game presenting five movement options away from the body. Subjects were asked to reach as far as possible on the displayed green paths. (b) Polar plots show a typical decrease in range of motion with functional impairment.

Figure 4 shows the normalised reaching distance of two representative participants with stroke (subject-1: age = 60 years, Fugl–Meyer assessment (FMA) = 10; subject-2: age = 52 years, FMA = 42). Here, the normalised reaching distance is defined as displacement from the start (bee-hive) to the final position (farthest touch point on the grass patch from the bee-hive) in each direction divided by the length of the completely stretched arm. The arm length was measured from acromion to the tip of digitus medius. The results show differences in the average range of motion for different directions within the control population and the two chronic stroke survivors. Control participants had the highest average range of motion while within the two stroke participants presented, the participant with higher FMA had a larger workspace compared to the severely impaired participant.

Pick and place

To assess ‘pick and placing’ of objects, subjects are seated in front of the table (without trunk restraint) and asked to reach for the iBox placed by the therapist. The iBox is initially positioned at 80% of the participant’s workspace as calculated during the workspace estimate assessment (without trunk restraint) described in the previous section. Subjects are asked to reach for the iBox, grasp it and then transfer it to the target location ( Figure 5 ). The target is set away from the body’s midline at an angle of 45°, i.e. if the left arm is to be evaluated, the target position is located on the 135° direction as shown in Figure 5 .

Pick-and-place task: (a) Schematic overview of the pick-and-place task alongside illustrative results showing (a) grasping time and (b) peak force of two stroke-affected patients (P3, P4) compared to healthy control subjects (c) (The red plus signs in the boxplots are the outliers in the data that fall beyond the boxplot’s whiskers).

The results of two preliminary metrics for the assessment of the performance of two representative participants with stroke (subject-3: age = 54 years, FMA = 35; subject-4: age = 52 years, FMA = 42) are shown in Figure 5 . This figure shows that the grasping time , defined as the time between the first contact with the iBox and the time when it is lifted off the table, increases with impairment. Similarly, the peak force applied on the iBox during its transport to the target location also changes as a result of impairment.

Tactile resolution

The sensory assessment of tactile resolution uses the AsTex® clinical tool for quick and accurate quantification of sensory impairment. 34 The AsTex® is a rectangular plastic board to measure edge detection capabilities, with parallel vertical ridges and grooves that logarithmically reduce in width and are printed on a specific test area laterally across the board. The errors that can occur due to changes in force applied by the index finger on the board or the velocity with which the finger is moved 35 were overcome by placing the AsTex® board on the SITAR table, which can sense the touch force and position on the AsTex® board. To assess the tactile resolution, participants placed their index finger on the rough end of the AsTex® board, which was slid slowly along the board by a therapist until the point where the surface started to feel smooth to the subject. 34 The therapist had feedback of the force applied by the finger, which ensured a relatively constant force was maintained during the assessment ( Figure 6 ). The position where patients perceive the board to be smooth provides a measure of their tactile resolution capability. Using the AsTex® board with the SITAR allows automatic logging of all the associate force and position information during the assessment.

Assessment of tactile resolution: (a) By placing the AsTex® board on the interactive table, one can control the force and measure the position; (b) shows where representative stroke survivors (P5, P6) and healthy control subjects (C) stop when they feel a smooth surface, which corresponds to their tactile resolution (The red plus signs in the boxplots are the outliers in the data that fall beyond the boxplot’s whiskers).

Figure 6 shows the results of the tactile resolution assessed with two representative stroke survivors (subject-5: age = 35 years, FMA = 23 and subject-6: age = 66 years, FMA = 21). Subjects were asked to wear a blindfold, and a therapist guided their index finger across the marked indentations from coarse to fine grooves while ensuring a nearly constant force level (by keeping track of on-screen visual feedback of the force). The process was repeated three times with the results indicating a decrease in tactile resolution against impairment, with healthy controls having the highest tactile resolution. The current protocol used only the rough-to-smooth direction for the finger to slide. It is possible that the results of the reverse direction (smooth to rough) might be different and could be assessed in future studies.

SITAR for upper-extremity therapy

Apart from being an assessment tool, the SITAR also allows one to implement interactive, engaging, task-oriented UL therapy. This section describes a pilot usability study based on two therapeutic games illustrated in Figure 7 for training arm movements and memory.

Screenshots of two therapeutic games that have been developed for the SITAR system, namely (a) the heap game and (b) the memory game.

Usability study

A pilot evaluation of the usability of the SITAR with the two aforementioned adaptive therapy games for independent UL rehabilitation was tested at the Rehabilitation Institute of Christian Medical College (CMC) Vellore, India. This pilot clinical trial, approved by the Institutional Review Board of CMC Vellore (meeting held on 3 March 2015; IRB number: 9382), was conducted on patients with UL paresis resulting from stroke or brain injury.

Inclusion and exclusion criteria and participants

The inclusion criteria were the ability to (a) initiate a forward reach, (b) understand the therapy task and games and (c) give informed consent. Patients with no UL deficit or with comorbidity including severe osteoarthritis, rheumatoid arthritis, significant UL trauma (e.g. fracture, peripheral neuropathy), severe neglect or cognitive impairment were excluded from the study. The study recruited five patients with UL impairments to participate in the week-long pilot usability study with biographical information described in Table 2 .

Intervention

Five patients underwent therapy for about 20–30 min per session with the SITAR for five therapy sessions on consecutive days except Sundays. The first session (lasting approximately 30 min) was used to accustom the patient with the therapy setup, the SITAR and the games. Following this, the patients played the games by themselves without the constant presence of the therapist or the engineer in the room. A caregiver was allowed to stay with patients who required their presence. However, the caregiver was instructed not to interfere with the training. On each session, the patient played at least six trials of the heap game (HG) and four trials of memory game (MG). Additional trials of these games were included in a session if the patient completed these games before 20 minutes and requested more game time. Patients took small breaks in between each game trial. During the sessions, if the patient required any assistance during the therapy session, they could call for a therapist or an engineer present in the adjacent room.

At the end of the study, patients filled in a questionnaire as shown in Table 3 regarding their experience using the SITAR while playing therapy games. A five-point Likert scale was used to rate different aspects of their experiences with the system. The questions were verbally translated for patients who did not have English literacy; the translations were planned to be carried out by either the participating therapist or the engineers conducting the study. Furthermore, the engineer kept a record of the number of times patients asked for assistance, along with reasons behind the call for assistance. After the completion of the study, two clinicians were also contacted to review and provide feedback about the system, based on video recordings of the therapy sessions from the five patients. It must be noted that the primary aim of this pilot study was to evaluate system usability, therefore, data related to therapy efficacy were not collected.

Questionnaire and patient responses in the range {#x02212;2, −1, 0, 1, 2}.

SITAR: system for independent task-oriented assessment and rehabilitation.

The HG is an adaptive computerised version of the classic ‘Pick-up sticks’ game. It is commonly used as a therapy game, especially for children with hemiplegia, hemiparesis or cognitive/behavioural disorders. The game presents a heap of pencils lying on top of each other, and the task for the patient is to clear all pencils sequentially in one minute. The pencils can be cleared one-by-one by touching the topmost pencil in the heap (shown in Figure 7(a) ). The primary aim of this game is to encourage and train patients to reach out and touch the SITAR tabletop at different points in the workspace with the paretic limb. Additionally, playing the game requires good visual perception to identify the topmost pencil, and this cognitive ability will also be trained while playing the HG.

Motor recovery generally increases with training intensity. 36 , 37 To engage a patient in training intensively, the therapeutic game should be challenging but achievable. 38 Therefore, the difficulty of a rehabilitative game should adapt to the motor condition of each subject. In the HG, this is done by modifying the number of pencils to be cleared and the distribution of the pencils in the workspace for the next game trial according to the performance in previous trials. The number of pencils for the ( j + 1 ) th trial, n ( j + 1 ) is adapted using

where [ · ] is the nearest integer function; α , which indicates continued success, is 1 if the last three trials were successful and 0 otherwise; β indicates failure and is 1 if the last trial j was a failure and 0 otherwise; r ( j ) is the rate of pencil clearance in trial j ; r o ( j ) the minimum possible rate to succeed; γ > 0 is a scaling factor; n c ( j ) the number of pencils cleared; and T ( j ) is the total time taken to clear the pencils in trial j . The multiplication factor ( r ( j ) - r 0 ( j ) ) provides fast adaptation, when there is a large mismatch between the game difficulty and the patient’s capability.

The workspace, formed of discrete points described in polar coordinates { ( r θ ( j ) , θ ( j ) ) } , is adapted pointwise according to the following:

where s θ ( j ) is the number of successful touches and u θ ( j ) the number of uncleared pencils close to the direction θ .

Memory game

The MG illustrated in Figure 7(b) was implemented to explore the possibility of using SITAR for cognitive training alongside arm rehabilitation. This game presents patients with pairs of distinct pictures placed at random locations in a rectangular grid. At the start of the game, the patient is shown the entire grid of pictures, for a small duration proportional to the size of the grid ( T = 5 × No . ofrowsseconds ) , to allow the patient to remember the locations of the pictures or pairs in the grid. After this initial exposure, every picture is covered, and the patient is asked to identify the image pairs by touching on a specific grid cell. When a patient touches one of the covered cells, the image in that cell is revealed. If the next touched cell exhibits the same image, then this image pair stays revealed for the rest of the game; otherwise, both images are covered once again. The game continues until all the image pairs are correctly identified.

The difficulty of the game increases with the number of image pairs to be identified. This number n is modified on a trial-by-trial basis depending on the performance history of the patient on the previous trials:

where the performance μ ( j ) of a patient in trial j depends on the number of exposures to the different images and the time required to clear the images:

where μ ( j ) is the patient’s performance score in the jth trial, e ( j ) is the total number of exposures of the different images and e m ( j ) = 2 n ( j ) is the minimum number of exposures required to complete the game in the jth trial. Similarly, T ( j ) is the total time (in seconds) taken to complete the game and T m ( j ) = 2 n ( j ) is the minimum amount of time required to complete the game in the jth trial. If the subject clears all the images with the minimum number of exposures (i.e. e ( j ) = e m ( j ) ), then the score is the maximum possible value, else the score decreases depending on the values of e ( j ) and T ( j ). The time factor in the exponent is used to penalise slow movements during game play.

Usability study results

The usability of the SITAR and the two therapy games was analysed using (a) the patients’ response on the questionnaire, (b) the record of the assistance requested by patients during the SITAR therapy and (c) the adaptation of the two therapy games to the patients’ performance. The summary of patient responses on the questionnaire in Table 3 shows a positive median score over the five patients for all questions. Four of the five patients had English literacy and were able to respond to the questionnaire without any assistance; for one of the patients, SB verbally translated the questionnaire in Hindi, which he can fluently read, write and speak.

In general, patients were satisfied with the SITAR training and found it easy to use the system. They also indicated an interest in using SITAR as part of their regular therapy sessions and also in recommending it to other patients with similar sensorimotor problems. Informal discussion with the patients indicated that they would like to have many more games than just the two games tested as part of this study. The lower score in MG relative to HG is probably due to the larger cognitive requirements of this game.

All patients but P11 required only intermittent assistance from the engineer over the course of the therapy. The engineer was with the patients to instruct them during the first session. In the following sessions, presence of the engineer was required only intermittently. The most common reasons for the engineer to intervene during a therapy session were to change the game played by the patient or to motivate him to play (or sometimes due to a technical issue, e.g. a faulty load cell in the SITAR system).

Table 4 summarises the assistance provided by the engineer to the five patients. The engineer was with the patient on the first therapy session to teach them how to play the games and to point out possible mistakes in their movements (e.g. resting their arm on the SITAR table). It must be noted that even when the engineer (AD) was in the therapy room with the patient, she did not have to constantly interact with the patient. P5 had relatively severe cognitive problems and had difficulty focusing without the presence of a caregiver or the engineer. For patient P4, the engineer was present along with the caregiver for the first three sessions because the patient had minor balance problems while in a seated position. The engineer ensured that the patient was in a good posture during training. This patient, however, did not require any other help from the engineer to use the system for training. Overall, assistance was required by patients because of minor technical issues with the table and the patients occasionally resting their arm on the table. A few times patients had called for help to change the game because they felt tired of playing MG. Some patients experienced fatigue when playing this game at the end of their therapy session, as the MG is cognitively more challenging than the HG.

Summary of the assistance requested by five patients during their therapy sessions.

AP: always present; E (encouragement and motivation): This is for the purpose of encouraging and motivating the patient to play and do well in the therapy games; GC (game change): This is when a patient wanted to skip a particular game and move on to the next game. The request for a game change could be because they were bored with the current game or the difficulty level has become too high due to fatigue etc.; TE (technical error): including issues with the calibration or with the patient resting his/her forearm on the table-top.

The two games adapted well to the abilities of each of the five patients who participated in the study. In HG, the workspace estimates starting from a default value of ( r i = 40 cm ) converged to a particular value over the course of therapy for the radial distance in all directions. This is shown through two representative examples in Figure 8 . MG required higher cognitive skills than HG, such as good working and visuospatial memory, which may also explain the lower satisfaction expressed by the patients with this game relative to HG.

Illustrative results showing the adaptation of the workspace over the course of a trial for two different patients (P7, P8) while playing the heap game.

The performance of a patient in MG was evaluated by the number of exposures taken to find a pair of images correctly; this performance was a measure of their visuospatial and working memory. When a patient completes a trial, the number of image pairs that were cleared in one, two, or more exposures can be determined. This is graphically represented in Figure 9(b) which shows the performance and progress of two representative subjects in the MG over the course of the study. All the games started with two pairs of images, with patient P10 (left plot) advancing to ultimately play a game with 21 image pairs, while patient P9 was playing the game with seven pairs by the end of his/her therapy sessions. In the stack plot shown, the colours represent the number of exposures, and their height indicates the number of image pairs that were identified with that many exposures. For example, in the sixth trial of MG for patient P10, there were eight pairs of images to be identified, out of which the patient identified three with a single exposure, four with two exposures and one with three exposures.

Illustrative results showing the performance of two patients (P9, P10) while they played the memory game. In general, as patients progress, the game becomes more challenging.

Innovative task-oriented rehabilitation

Three primary factors make the SITAR unique compared to the existing sensor-based systems for neurorehabilitation, 8 , 9 , 11 , 12 namely the interactive tabletop, the collocation of visual and haptic workspaces and the modular components capable of sensing and reacting to a patient’s interaction.

The interactive tabletop can sense the position and force of a touch and is capable of providing visual and audio feedback. Apart from providing a workspace for carrying out different UL tasks, its sensing and feedback capabilities can make the patient’s interaction engaging and game-like. The usefulness of such an interactive tabletop for neurorehabilitation has prompted some of the recent commercial developments such as the ReTouch (RehabTronics Inc.) and the Myro (Tyromotion Ltd), with the latter developed based on the interactive table described in this article. The table can be used in conjunction with other devices such as a mobile arm support or a device that can help opening the hand, so that a larger proportion of patients can use it for training.

The second important feature is the collocation of the visual and haptic workspaces. This is an important feature for enabling natural interaction during training and its possible transfer to real-world tasks. Most existing sensor-based systems 8 , 9 , 11 and robotic systems 1 , 2 present an interface with dislocated visual and haptic workspaces. Patients interact and train with objects at the level of a tabletop while they receive visual feedback from a computer monitor that is placed in front of them. When training with the SITAR table or the intelligent objects, a patient’s visual attention remains in and around the workspace where they are physically interacting.

The third important feature of the SITAR is its fully modular architecture, which allows its different components to act with some level of autonomy when sensing and reacting to a patient’s interaction. This feature makes the system very versatile, enabling the different SITAR components to be used either separately or together and, thus, gives a clinician the freedom to implement different types of therapeutic programs. For example, a simple impairment-based therapy program for training grip strength can be implemented using just the iBox, which can also provide autonomous feedback to make the training interesting for the patients. Moreover, from a technical point of view, when two or more SITAR components are used together, they act as independent sources of information about a patient’s interaction with the system; these multiple sources can be fused to obtain more accurate information. For instance, short-duration arm reaching movements between two successive touches on the SITAR table can be reconstructed using information from an IMU worn on a subject’s wrist and the touch position data from the SITAR table. Whenever a subject touches the SITAR table, a zero-velocity update 39 can be carried out by incorporating the position information from the table to recalibrate the IMU and thus minimise integration drift. This design approach makes SITAR an ideal tool for quantifying natural interaction of a patient with the system.

The versatile architecture and the possibility of varied form factors make the SITAR an excellent candidate for both clinic- and home-based deployment and to train a variety of patients. A full set of components (the large SITAR table and all intelligent objects) would be ideal for a hospital-based setup. On the other hand, a smaller SITAR table, along with one or two selected objects can be used at patients’ homes. The SITAR would also be suitable for use with children although some of the objects would need to be miniaturised.

The current SITAR can be extended in the following ways. The current interactive table only detects the COP of the touch; thus, multi-touches cannot be detected directly. Besides using technology that supports multi-touch, similar to Tyromotion’s Myro, it is, however, possible to use the force-sensing capabilities of some of the intelligent objects to solve the ambiguity of multi-touches in an economic way. Furthermore, 3D vision technologies such as the Kinect and IMU can be used to monitor arm movements which do not interact with an object or the table, alongside compensatory arm movements, thus, greatly complementing the current system.

Clinical feasibility

The SITAR can be used for the assessment of a patient’s sensorimotor impairments and also one’s ability to perform complex sensorimotor tasks related to activities of daily living. Some of the previous work with the iKey 33 and the iBox 32 demonstrated how assessment protocols can be implemented, with the different SITAR components used individually. In this article, we presented preliminary data on the use of SITAR for the assessment of workspace with the interactive tabletop, pick-and-place of objects (with the iBox) and tactile assessment (with the AsTex® board), further illustrating some of the possibilities of SITAR as an assessment tool. The SITAR can be used to implement simple, quick and useful measures of sensorimotor ability, as was illustrated by the workspace estimate. It can be used to analyse complex sensorimotor tasks by breaking them down into simpler and specific sub-tasks, as was demonstrated by the pick-and-place task. Appropriate external tools can be easily interfaced with the SITAR to quantify existing measures of sensorimotor performance, as was illustrated with the AsTex® board. Other possible extensions include the use of the SITAR table for quantifying traditional box and block tests 40 or the Action Research Arm Test (ARAT), 41 by placing the specific test objects on the table, thus complementing the scores provided by the therapist with accurate quantitative (e.g. force and task timing) data. The SITAR provides a rich framework for supporting interactive strategies for neurorehabilitation of the UL. To optimally develop some of its features, we are currently focusing on extracting useful information from the large amounts of data generated by the system and identify information with maximum clinical relevance.

Gamification of therapy is an important requirement for engaging patients in training, as higher motivation can help deliver increased dosage of movement training to promote recovery. The results of the pilot usability study showed that patients enjoyed playing the two adaptive rehabilitation games implemented on the SITAR, as was reflected in their responses to the questionnaire. Patients were able to use the SITAR with only little supervision or help over the course of the study. The record of the assistance required by the patients during therapy indicates that in general the assistance required decreased with the therapy sessions as patients learned to use the system better. Apart from a technical issue with the SITAR table, there were no major issues that hindered patients from using the system on their own. However, there are two important aspects of independent training that the current system does not address sufficiently: (a) The current system falls significantly short in its ability for social interaction to encourage and coach patients. This was an issue with one of the patients in the usability study, who required the therapist in one of the sessions to keep him/her engaged and motivated to train; (b) The absence of a therapist can lead to patients using undesirable compensatory strategies to play the therapy games, which can have deleterious long-term effects. The implementation of these aspects will require further work and will be addressed in our future activities with the SITAR.

The two games tested illustrate how the SITAR can be used to train arm-reaching movements along with other cognitive abilities such as visual perception and visuospatial memory. However, based on feedback from patients and clinicians, we are currently working on developing a larger set of games to ensure longer engagement of patients during this therapy. Furthermore, tasks involving some of the intelligent objects in the assessment study can be used for implementing both impairment-based training (e.g. training with the iBox for improving grip strength control) or ToT of activities of daily living. In this context, the use of a mobile arm support and a device to assist hand opening/closing will enable lower baseline patients to engage with the SITAR system. In addition to training UL tasks, it is also important to monitor and discourage compensatory trunk movements, which were observed in patients participating in the usability study. Trunk restraints during training have been found to have a moderate effect in reducing sensorimotor impairments of the upper extremity as measured by the FMA 42 and thus would be a useful addition to the SITAR system. We note that the data presented here are merely to illustrate the system capabilities and do not represent a complete study.

This article introduced the SITAR – a novel concept for an interactive UL workstation for task-oriented neurorehabilitation. It presented the details of the current realisation of the SITAR, along with preliminary data demonstrating the capability of the system for assessment and rehabilitation in a naturalistic context. The SITAR is a versatile tool that can be used to implement a range of therapeutic exercises for different types of patients.

Declaration of conflicting interests

The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This research was supported by the European Commission grants EU-FP7 HUMOUR (ICT 231554), CONTEST (ITN 317488), EU-H2020 COGIMON (ICT 644727), COST ACTION TD1006 European Network on Robotics for NeuroRehabilitation and by a UK-UKIERI grant between Imperial and CMC Vellore.

Contributorship

AH, SB, NR, JK, NJ, MM and EB designed the SITAR. The assessment study was conceived and carried out by AH, SB, SG and EB. The rehabilitation usability study was conceived and carried out by SB and AD. The manuscript was written by AH, SB, AD, MM and EB, with all authors reading and approving the final manuscript. AH and SB contributed equally to this study.

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A sitar is a plucked string instrument common to classical Indian music, particularly in the Hindustani (northern Indian) classical traditions. Mechanically, the sitar is a fairly complicated musical instrument. It bears sympathetic strings. These are strings which are tuned, but not plucked, and instead vibrate and hum when the strings nearby are played. The sitar also has movable frets and over 20 strings!

The sitar is tuned to a classical raga, or scale, and is played with a pick called a mezrab. It gained popularity in the western world when Beatle George Harrison learned to play from master Ravi Shankar and incorporated the instrument into several Beatles songs , though it has existed for centuries in traditional Indian melodies.

Origins of the Instrument and How It's Played

Developed as early as the 7th century, the instrument we modernly know as the sitar may have derived from the Hindustani musical instrument the veena, adjusted for the Mughal rulership of India in the 16th through 18th century. Traditionally used in concerts for royalty and special religious ceremonies, the sitar remains a large part of Indian culture today. 

The sitar is typically played by balancing the instrument between the player's opposite foot and knee. For instance, a left-handed player might hold it against his right foot and stretch it over his left knee. This allows for the hands, which will tune the frets and strum strings, to move freely without having to bear the weight of the instrument — which can be quite heavy.

The player then uses the mezrab, a metallic pick, to pluck individual strings, adjusting tone with a thumb (which remains on the fretboard). Although more adept players can employ some techniques to give the performance flair, many of the frets are already preset to play microtonal notes, allowing the seamless and flowing transition between notes the sitar is most known for. 

Role of Sitar in Raga and World Music

It wasn't until the rapid globalization of music in the 1950s that the sitar truly went global. As early as the 1950s, rock artists like Ravi Shankar began using the instrument on world tours to give a bit of flair to their music, sparking a newfound interest in this popular Indian instrument.

This led to the 1960s short-lived fad of using sitars in Western pop music. The Beatles famously used a sitar on their hit songs "Norwegian Wood (This Bird Has Flown)," "Within You Without You," and "Love You To" in the late 60s. The Rolling Stones used one on "Paint it Black." 

The psychedelic rock community especially liked the Middle-Eastern melodies the sitar could produce. The Doors famously used mostly Indian scales in their albums, often using other instruments, along with the sitar to provide a groovy, enchanting backing track to their brand of trippy rock.

Today, electronic musicians, pop artists, world music ensembles, and even YouTube-famous guitarists use the sitar to evoke Middle Eastern melodies in their performance. 

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Shooting star experiment.

Engineers at NASA’s Marshall Space Flight Center test a model of the Shooting Star Experiment (SSE), designed to develop and demonstrate the technology required to focus the sun’s energy and use it for inexpensive space propulsion research. Image Credit: NASA/NASA/Emmett L. Given

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Simple and Fun Fizzy Stars Science Experiment

Shared by Mary Catherine 4 Comments

These fizzy stars make a super fun option when it comes to science activities for preschoolers, or any age for that matter! The bubbling stars science experiment is perfect for a preschool space theme or even just because.

Are you following my Preschool Science Pinterest board ?

Related: Glowing Galaxy Water Bin Space Activity

Science has always been well-loved around here, both at home and in the classroom.

This simple and fun science experiment was no different. The kitchen was filled with “oooooh!” and “aaaaah!” aplenty as the kiddos explored fizzy stars.

Read below for tips on how you can set it up for your kids too!

Table of Contents

Fizzy Stars

This star activity is incredibly simple, but the kids get a LOT out of it. If you truly want it to be a science experiment, be sure to weave in the scientific method.

This involves making observations, asking questions, coming up with a hypothesis, experimenting, recording the results, and sharing or discussing what’s been discovered.

While that sounds like a lot typed out like that, it really isn’t. You can definitely make it appropriate for young children, especially since their natural curiosity will only enhance the process.

Related: Starry Night Glitter Art for Kids

Star Experiment Materials

You likely have the bones of this fizzy stars activity in your kitchen or classroom right now.

If you don’t have some of our little additions, that’s okay! Just start with the basics and add on what you can. I may get commissions for purchases made through links in this post.

• Baking soda
• Star cookie cutters
• Gold liquid watercolors (optional)

We used gold and silver glitter, but you can choose whatever color you’d prefer. Or leave it out all together if you’re not a big fan of glitter.

Sequins or tiny star-shaped glitter would also be fun to add to the stars, in my opinion!

You’re also going to want a pan or bin to contain all the starry science fun.

Fizzy Stars Directions

Grab all of your materials and set up the star science. The children can definitely help with that!

Start off by placing the star cookie cutters in a dish or a bin. We added in a moon cookie cutter, too, since we were going for a starry night sky.

We used a small glass dish because there were just a few kids. You’ll want to use something larger with more kids.

Then spoon baking soda into the cookie cutters. Try to keep most of it inside the stars if possible.

Related: Coffee Filter Planets Space Craft

If you’re using glitter, add some to the baking soda, and then the fizzy stars are ready for your little scientists.

Place out a large bowl of vinegar, along with some kid-friendly eye droppers. You can also put the vinegar in squeeze bottles if that’s easier for your students.

The children can use the droppers or bottles to add vinegar to the baking soda stars. Mine had such fun watching the fizzing and bubbly reaction that ensued!

Related: Twinkle, Twinkle, Little Star Printable Sequencing Cards

The bubbles ended up making the glitter look like it was shimmering and sparkling, just like stars in the night sky.

After a bit, we decided to add some beautiful gold liquid watercolor to the vinegar. The kids were interested to see if it would color the reaction and look more star-like.

Related: Twinkle, Twinkle, Little Star Sensory Bottle

It didn’t end up working out like that, but we did discover something interesting. With the addition of the watercolors, the reaction was even foamier than before! This led to more oooohing and aaahing over the fizzy stars!

Would your children/students enjoy this fizzy stars experiment?

More Star Science Experiments

If your students enjoyed the fizzy stars, they’ll probably get a kick out of these star science activities:

• Melting Ice Stars from Science Sparks
• How to Make Crystal Stars from One Little Project
• Magic Toothpick Stars from The STEM Laboratory

Done-For-You Preschool Resources

Let Preschool Teacher 101 make your teaching life easier with fully fleshed out lesson plans, math activities, literacy plans, and even more.

Click on the images below for more information about each resource. Be sure to check out the membership options while you’re there.

Originally published August 2015.

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February 23, 2021 at 1:09 pm

How much baking soda is needed?

February 23, 2021 at 1:31 pm

Hi Annette! We didn’t measure the baking soda – we just added however much we felt like pouring into the cookie cutters. Maybe a tablespoon per cookie cutter. And we had extra on-hand to add to the mixtures once the original fizzing died down.

December 1, 2022 at 3:45 pm

Appreciate the themed take on a classic activity. I was running out of star activities with my two year old. I know it’s a little bit of an old post, but thought I’d throw out another option in lieu of vinegar – koolaid packets contain citric acid which will cause the same fizzy reaction and has the added bonus of being colorful and scented. Just mix the packet with about a tablespoon of water and use it instead. We love using those, so I always have a stash in the science and sensory bin!

December 1, 2022 at 5:45 pm

YES, we love doing that with our fizzing activities, too! Jell-O and Kool-Aid powders add even more sensory input. And you’re spot-on about the citric acid in the Kool-Aid packets! Thanks for the suggestion, Chris! 🙂

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Los Angeles Angels | Angels experiment with Jo Adell in center field

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Los Angeles Angels

Adell has shown dramatic improvement this season in right field, and now the angels want to see if he can handle center. manager ron washington says he plans to play him there about twice a week for the rest of the season..

Manager Ron Washington put Jo Adell in center field on Friday night, moving Mickey Moniak over to right field.

“Since we lost Mike, we’re gonna just open it up and see what guys can do,” Washington said. “We already know Moniak can run around out there. We want to see if Jo can run around out there. The way he’s been playing right field, we just want to see what he’s what he can do, to give us options. My intention is to try to get them out there twice a week.”

Adell’s defense in right has been significantly improved, to the point that Washington said he’s been playing “Gold Glove right field.” Adell had started 13 games in center before Friday.

Trout has been the Angels’ presumptive center fielder for more than a decade, but for much of the past four seasons he’s been injured. Although General Manager Perry Minasian said he is confident in Trout’s ability to return next season, he said it was too early to talk about what position he’d play.

The Angels could move him to a corner or even to full-time DH. In either case, they’d need to know what their options are for playing center.

Moniak has shown that he can handle center field defensively, but he hasn’t shown an ability to produce against lefties. He also slumped against righties up until improving over the last six weeks .

Adell has now proven he can play right, but his performance at the plate has been inconsistent. He started strong, went into a slump for a couple of months, and has recently shown more encouraging signs since he abandoned his leg kick.

In addition to the Angels’ defensive experiment with Adell, Washington tried something new in the batting order, moving catcher Logan O’Hoppe into the No. 3 spot. He dropped Taylor Ward to fifth.

Washington had been reluctant to put his young hitters into prime lineup spots because he didn’t want them to change their approach.

“Just trying to figure out down the stretch here if he can,” Washington said. “I know I told you earlier in the year you probably won’t see it. But here it is. We just want to again look and see, the way he’s swinging the bat, look and see if he can handle it. That’s all. Just give us another option, because when he becomes the player that we think he’s gonna become, he’s gonna be somewhere in there.”

SAD ANNIVERSARY

Friday was the 45th anniversary of the day legendary New York Yankees catcher Thurman Munson died in a plane crash. The next day, the player who took his position on the field was a rookie named Jerry Narron.

Narron is now the Angels’ catching coach.

Narron said on Friday that he still remembers those events “like it was yesterday.”

When the Yankees took the field for that first game without Munson, Narron remained in the dugout to leave the spot behind the plate vacant. Narron was standing next to Manager Yogi Berra as the fans delivered a long standing ovation in Munson’s honor.

“The ovation went 15 or 16 minutes,” Narron said. “Yogi said ‘If you don’t get out there, we’re never going to get this game started.’”

Narron had been in camp with the Yankees for a few years before finally making his debut earlier in the 1979 season, so he got to know Munson well.

“In ninth grade, I put his baseball card in my wallet,” Narron said. “I told him ‘I used to carry your baseball card,’ and he hit me on the top of the head like a big brother would and he said, ‘If you ever tell anybody that I’m going to kick your butt.’ That’s what kind of guy he was. He’d get on anybody, in a good way. And he’d help anybody he could. He was the captain.”

Third baseman Anthony Rendon (back stiffness) was set to hit in the cage on Friday. Washington said “hopefully” Rendon will be activated as soon as he’s eligible, on Tuesday in New York. …

On the day the Angels officially moved first-round draft pick Christian Moore up to Double-A, Washington said the video he watched from Moore’s two games at Class-A showed him the second baseman was ready for a promotion. “From what I’ve seen down at Inland (Empire), he’s a little man among boys,” Washington said. “He should be. He just came out of a big time college (Tennessee) playing in big time games, and he goes down there and plays against 17-, 18-, 19-year-olds. He just looks like he’s ready to go somewhere else and get a challenge.” Moore had six hits in 11 at-bats, with two doubles and a homer.

Mets (LHP David Peterson, 5-1, 3.52 ERA) at Angels (RHP José Soriano, 6-7, 3.69 ERA), Saturday, 6:38 p.m., Bally Sports West, 830 AM

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Cold War experiment 'gone wrong' as US state Georgia 'moments from nuclear disaster'

Residents of Savannah, Georgia, could potentially be under threat from an undetonated nuclear bomb that lies in the murky depths of a nearby river after being dropped by a US Air Force plane

• 13:32, 31 JUL 2024

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Just off the coast of Georgia , an unexploded nuclear bomb lurks at the bottom of the water.

The 7,000-pound undetonated explosive was deposited at the mouth of the Savannah River off near to Tybee Island, during a “Cold War simulation” according to NPR. On February 5, 1958, a B-47 collided with another US military Air Force jet, causing the B-47 to let the bomb loose.

Over sixty years later, the warhead has never been found. While the Air Force claims the bomb if left undisturbed poses little threat to the area, bomb-enthusiasts and people of a generally nervous disposition aren’t so sure.

READ MORE: Idyllic 'Bikini Island' was turned into ‘radioactive hellscape’ with 'mutated' legacy

There's lots of quality news coming out of the US .

After the incident in 1958, the US Navy searched unsuccessfully for over two months. “Assistant Secretary of Defence W.J. Howard concluded that despite our best efforts, the possibility of an accidental nuclear explosion still existed,” a declassified report read from the time.

Their line on it these days is “let sleeping dogs lie”.

“An intact explosive would pose a serious explosion hazard to personnel and the environment if disturbed by a recovery attempt,” they wrote in a 2001 report.

However, some nosy locals are still on the lookout for the device, including retired Air Force pilot Derek Duke. In 2004, the veteran carried out a search in shallow water off the coast of Savannah, Georgia, and discovered “high radiation” in the waters.

Government officials investigated, but to everyone’s relief they concluded radiation readings were “normal” for the naturally occurring minerals in the area.

But Duke was right to have a gander – according to the Savannah Morning News if the bomb managed to get outfitted with a plutonium trigger and detonate, thermal radiation would rip up the environment in a 10-mile radius.

That would mean up to 200,000 US citizens would be affected by the blast, including the entire Georgia city of Savannah, with a population of 148,000.

And the argument that atomic bombs “can’t explode underwater” is a redundant one. In 1946 the US tested an atomic bomb at the Bikini Atoll, charmingly suspending it with pigs and rats.

After it went off under the waves, the explosion killed nearly all the animals and the area is still irradiated to this day. This was part of a 12-year period from 1946 to 1958, where the idyllic coastline was battered by wave after wave of nuclear explosions, courtesy of the US.

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"We Want Players To Experiment": Avowed Developers Explain How Combat Is All Up To You

Avowed confirms fan-favorite feature after all, 10 best early weapons to get in fallout: london.

• Avowed has reportedly been delayed to 2025 due to an overcrowded Xbox Game Pass schedule in late 2024.
• Although the delay is disappointing, an early 2025 release might be to the benefit of developer Obsidian.
• The delay could help Avowed stand out and succeed while adding extra time for polish without last-minute crunch.

The upcoming Xbox exclusive Avowed has seemingly been delayed from a 2024 release window to 2025, but as unfortunate as the postponement might seem, this is one scenario where the delay could be especially helpful. As the next RPG from acclaimed developer Obsidian Entertainment, Avowed returns to the unique fantasy world of the Pillars of Eternity games and shakes things up with a new story and first-person perspective. It seems like an obvious choice for fans of titles like The Elder Scrolls 5: Skyrim and Obsidian's Fallout: New Vegas , making it a potentially strong addition to the Xbox catalog.

Avowed was first revealed during the Xbox Games Showcase in 2020, marking Obsidian's first new AAA project since being acquired by Microsoft in 2018. More gameplay footage didn't show up until almost three years later, eventually showing off an attempt at a robust first-person spellcasting system and a healthy mix of firearms and more medieval weapons. Obsidian's covered the storytelling side of things more thoroughly since, making a point of its branching system of choices and the rich lore of the Living Lands setting while giving no indication that the game might be delayed.

Avowed's game director Carrie Patel and art director Matthew Hansen explain how the combat and skill system was built for every type of playstyle.

Avowed Might Be Delayed Because Of Xbox Game Pass

Xbox game pass's late 2024 schedule is crowded.

The reports of Avowed 's delay come courtesy of The Verge , with news buried within a broader article on Microsoft shared on Twitter by Wario64 . According to the summary, Avowed is actually "in good shape ," with the reason for the delays lying in the crowded status of the Xbox Game Pass slate in late 2024 . Attracting people to the subscription service and the games that it provides access to is a cornerstone of the current Xbox business model, so a change in release plans for the sake of Game Pass scheduling isn't all that surprising as a concept.

Assuming that Avowed was likely to release in November (an official post from Obsidian seemingly leaked a November 12 release date for Avowed in June), it's easy to see where it might have been lost among some other titles. October sees the debut of Call of Duty: Black Ops 6 as a day one Xbox Game Pass release , a huge step for the service. November is already occupied by Microsoft Flight Simulator and the recently delayed S.T.A.L.K.E.R. 2: Heart of Chornobyl , which could have been the straw that broke the camel's back for Avowed.

Although the date for Indiana Jones and the Great Circle hasn't yet been confirmed, a November or December holiday release on Xbox Game Pass seems viable, tossing another competitor into the mix.

The Avowed Delay Could Be Good For Everyone

Avowed needs a chance to breathe.

From a consumer standpoint, it's a somewhat frustrating reason for a delay, but it might be good for more than just Microsoft's bank account. Avowed doesn't have the backing of an IP like The Elder Scrolls behind it, and it could be fighting an uphill battle to prove successful for Obsidian. Letting it launch at a time where people are more likely to try it out on Xbox Game Pass could help it find its footing , hopefully giving Obsidian better leverage to keep producing interesting RPGs.

Role-playing fans who like to see the bigger picture are in luck as Obsidian Entertainment confirms that Avowed will sport a beloved camera feature.

The health of Obsidian as a studio feels more important than ever after the unceremonious closure of several Microsoft subsidiary studios early in 2024, which saw the developers behind some acclaimed titles shuttered. It's been a volatile time for the gaming industry, and anything that might help avoid layoffs seems like a good thing. Even if the game would have been ready by November, it should also give Obsidian a bit of extra time for polish without last-minute crunch , something that the studio never got when making the masterful but often broken Fallout: New Vegas .

There's no official word from Microsoft on the reported Avowed delay yet, but assuming the information is accurate, it seems reasonable to expect something soon. There should still be plenty to play over the holiday season, and even outside of Xbox Game Pass, an early 2025 launch could work for Avowed in the way that an early 2024 launch worked for games like Dragon's Dogma 2. Delays are never fun, but Avowed could very well come out at the other end with a better shot at success.

Sources: The Verge , Wario64/Twitter

Avowed is an upcoming RPG release from Obsidian Entertainment, the creative minds behind Fallout: New Vegas and The Outer Worlds. Avowed will reportedly take place in the same universe as Pillars of Eternity.

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Love is Blind: Mexico: Which couples got engaged in episode 2?

Love is Blind: Mexico premiered on Thursday, August 1, 2024. The popular Love is Blind franchise transported the experiment to Mexico, granting eligible singles the opportunity to find love.

Following the usual format, contestants interacted with each other through separate pods without being able to see what the other person looked like. The experiment tested if love could transcend physical attraction and truly be blind. Hosted by Omar and Lucy Chaparro, Love is Blind: Mexico promised to grant singles their shot at love.

In episode 2, titled Love, and Betrayal? two pairs decided to take their relationships to the next phase. Couples Karen and Fernando, as well as Leti and Saul, solidified their connections and got engaged.

However, their journeys were not without hardships. They overcame every hurdle that came their way, leading to their blissful union .

Love is Blind: Mexico episode 2 saw two couples exchange engagement rings

1) karen and fernando.

Twenty-seven-year-old Fernando Hernandez entered the experiment with an open mind. He believed it was okay to want to "connect with more than one person." After his connection with Rocio failed to materialize he started exploring other options.

He immediately bonded with 27-year-old Karen Torales who preferred to judge a person by their "inner beauty" rather than outer appearance. She revealed she had an 11-year-old daughter and explained how important she was to her, impressing Fernando.

"It doesn't bother me that Karen has a daughter. It shows how much love she can give. You can hear it when she talks about her," said Fernando.

Since she didn't know much about him, Karen appeared unsure about Fernando and was more drawn towards Love is Blind: Mexico castmate Saul.

However, she grew closer to Fernando once she confided in him about her past relationship. She revealed she was unaware of her ex-partner's orientation and was blindsided by him.

In response, Fernando opened up about his relationship with his abusive father. He revealed he had not contacted him ever since he betrayed his mother. These deep confessions brought the two of them closer to each other.

In another sitting, they discussed their thoughts on intimacy. They were happy to notice that their ideas did not clash and that they both valued the physical aspect of a relationship as much as they did the emotional one.

Karen was pleasantly surprised when Fernando expressed no concern over her experimental approach to intimacy.

"As long as it's clear that I'm her partner and she loves me, it wouldn't be a problem," said Fernando.

Karen rejected Saul solely because he hesitated to accept her for who she was. During another meeting, Karen professed her feelings to Fernando by stating that she wanted to climb a volcano in Costa Rica with him, where they would click a picture to showcase the height they reached as a couple.

Meanwhile, Fernando proposed with three sweaters, one for him and Karen, and another for Karen's daughter. Karen was touched by how thoughtful he was. Later in the episode, the couple met each other for the first time and got engaged .

"I was already in love with you for who you are on the inside, and now I love you who you are on the outside," said Fernando.

2) Leti and Saul

Thirty-five-year-old single father Saul developed a strong connection with Karen during the episode, but once their ideologies regarding intimacy clashed, Karen ended the relationship.

Saul unexpectedly bonded with 35-year-old Leti Floresmeyer, who revealed she struggled to develop connections because of her ADHD. After being single for four years, she felt ready to meet a compatible partner. Her first impression of Saul was that he was a "good dad," who valued family over everything else.

"I could see myself with him. I felt something," confessed Leti.

However, Saul discovered that Leti hesitated to talk about physical intimacy. She was worried about what could potentially happen during the honeymoon. Saul reassured her that he prioritized intellectual compatibility over everything else.

Eventually, Leti found the courage to open up. The Love is Blind: Mexico cast member found herself falling for Saul as they discussed their common interests and future plans.

Due to her ADHD, she sometimes struggled to keep up with him and the topics they talked about.

"My ADHD had made relationships difficult. We jump around in conversations from topic to topic, and it's very hard for us to explain ourselves and make plans," said Leti.

However, Leti succeeded in overlooking her reservations and accepting Saul's proposal . They were thrilled to see each other during their first meeting. The Love is Blind: Mexico couple embraced each other after exchanging engagement rings.

Episodes 1-4 of Love is Blind: Mexico are streaming only on Netflix.

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Gina kirschenheiter says shannon beador’s relationship with alcohol is a ‘social experiment’ after dui: ‘i am here to support her’.

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Gina Kirschenheiter has Shannon Beador’s back. 

The sober “Real Housewives of Orange County” star, 40, tells Page Six’s “Virtual Reali-Tea” podcast that she is holding space for castmate Beador, 60, as the latter navigates a new relationship with alcohol in the wake of her headline-making DUI. 

“I think that everybody’s relationship with alcohol is their own,” Kirschenheiter explains, calling Beador’s a “social experiment” as the “RHOC” vet figures out her future with drinking. 

“Shannon at least being able to look at it is a good thing. Now if she’s in this space where she’s like, ‘Look guys, I’m willing to accept that my relationship with alcohol was not good. Right now I’m in a space where I want to see if I can responsibly, socially drink,’” the real estate agent elaborates. “That’s her right to do that.”

As previously reported, Beador was arrested after crashing her vehicle into a residential building in Newport Beach, Calif., while intoxicated in September 2023.

Beador has said on the reality show that she now only allows herself two alcoholic beverages per outing following the incident. 

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This change came after she chose to prioritize her well-being by  spending time at “a behavioral wellness place with an alcohol component in it.”

In the “RHOC” Season 18 premiere, Kirschenheiter expressed her belief that Beador should have entered rehab — but she feels differently today. 

“It’s her journey and I am not about pressuring people [to stop drinking] because that doesn’t work,” she says. “She really has to figure that out for herself and I am here to support her through it.”

Kirschenheiter, for her part, eventually gave up drinking after her own DUI arrest in 2019. 

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“My relationship with alcohol and my journey with alcohol doesn’t affect [Beador’s],” the “Orange Country” podcast host emphasizes. 

“This is just me being here — whether I drank or didn’t drink — as a friend and a person of support for her. I’m not putting anything I did or the way I did it on her because it’s different for everybody.”

Kirschenheiter and Beador clashed throughout the majority of last year’s “RHOC” Season 17 but made amends when cameras picked back up for the latest installment. 

Kirschenheiter says she had a change of heart when Beador took “accountability” for the DUI and for previously casting judgment on her brush with the law in hurtful comments made throughout several seasons. 

“There were moments this season where I did feel like I doubted [Beador’s personal growth] and I did check her,” she tells “Virtual Reali-Tea.”

“And I think that she allowed me to do that. We’re in a really good space because she understands that it’s all coming out of love.”

“The Real Housewives of Orange County” airs Thursdays at 9 p.m. ET on Bravo. 

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An Escalating War in the Middle East

Tensions are on a knife edge after israel carried out a strike on the hezbollah leader allegedly behind an attack in the golan heights..

Hosted by Sabrina Tavernise

Featuring Ben Hubbard

Produced by Rachelle Bonja and Sydney Harper

With Shannon M. Lin and Will Reid

Edited by Lexie Diao and Patricia Willens

Original music by Dan Powell and Sophia Lanman

Engineered by Chris Wood

Listen and follow The Daily Apple Podcasts | Spotify | Amazon Music | YouTube

Warning: This episode contains audio of war.

Over the past few days, the simmering feud between Israel and the Lebanese militia Hezbollah, has reached a critical moment.

Ben Hubbard, the Istanbul bureau chief for The New York Times, explains why the latest tit-for-tat attacks are different and why getting them to stop could be so tough.

On today’s episode

Ben Hubbard , the Istanbul bureau chief for The New York Times.

Background reading

Israel says it killed a Hezbollah commander , Fuad Shukr, in an airstrike near Beirut.

The Israeli military blamed Mr. Shukr for an assault on Saturday that killed 12 children and teenagers in the Israeli-controlled Golan Heights.

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The Daily is made by Rachel Quester, Lynsea Garrison, Clare Toeniskoetter, Paige Cowett, Michael Simon Johnson, Brad Fisher, Chris Wood, Jessica Cheung, Stella Tan, Alexandra Leigh Young, Lisa Chow, Eric Krupke, Marc Georges, Luke Vander Ploeg, M.J. Davis Lin, Dan Powell, Sydney Harper, Michael Benoist, Liz O. Baylen, Asthaa Chaturvedi, Rachelle Bonja, Diana Nguyen, Marion Lozano, Corey Schreppel, Rob Szypko, Elisheba Ittoop, Mooj Zadie, Patricia Willens, Rowan Niemisto, Jody Becker, Rikki Novetsky, Nina Feldman, Will Reid, Carlos Prieto, Ben Calhoun, Susan Lee, Lexie Diao, Mary Wilson, Alex Stern, Sophia Lanman, Shannon Lin, Diane Wong, Devon Taylor, Alyssa Moxley, Olivia Natt, Daniel Ramirez and Brendan Klinkenberg.

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Ben Hubbard is the Istanbul bureau chief, covering Turkey and the surrounding region. More about Ben Hubbard

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