[5] American composer and music theorist Robert Morris notes, "Melharmony therefore suggests that voice leading should be derived from the melodic and combinational structure of a mode (raga).
[8] Classical Western approach to harmony has been Triad-centric for centuries though other important tools include ostinato, contrary movements, rhythmic augmentation or diminution, imitation etc.
However, extrapolating a triad-centric approach to melodic systems like Indian Carnatic classical which have intricate rules for hundreds of modes (ragas) often creates conflicting results.
An instance of this would be the Carnatic music of India where each raga (mode) demands integrity to scale, sequence, key phrases (fragmentation), hierarchy of notes within its structure and so forth.
Illustration 2 - Hierarchy of notes: Arabhi uses a simple sequence: C D F G A C - C B A G F E D C. But B and E are employed only fleetingly in this raga, which eliminates several chord options including C-E-G (in any permutation).
They often showcase ragas[13] novel to Western audiences and often feature inventive rhythmic cadences,[14] mathematical codas and embedded sequences suggestive of melodic improvisation.
Scholarly sessions, contests, student and community music and dance events as well as skits/plays centered on the master composers also enhance the artistic and academic experience.
Since melharmony gives practical perspectives in different world music systems effortlessly, it has been increasingly used to provide educative and exciting performing experience for orchestra students in schools[26] in cities such as Madison, Houston, Middleton, Round Rock, Oregon, Sun Prairie, Sacramento, Minneapolis [27] etc.
In the New York AAWM Conference (June 2016), Morris shared recent developments on two-voice frameworks and the harmonization of Indian ragas, citing melharmony.
Papers, panel discussions and lectures presented in various conferences in Amsterdam, Houston, Orlando and other cities have highlighted diverse aspects of the concept.