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| {{Short description|Music genre originating in southern India}} | |||
| '''Carnatic music''' (also spelled '''Karnatak music''' or '''Karnatik music''', and originally called {{IAST|'''Karṇāṭaka sangīta'''<ref>Karnataka Music as Aesthetic form. (2004) by Mahamahopadhyaya Dr. R. Sathyanarayana, ISBN 8187586168 </ref> or '''Karṇāṭaka sangītam'''}} in India) is known as one of the two styles of ], the other being ]. Its classical tradition is from the ] of the Indian subcontinent, and its area roughly corresponds to the four modern states of South India: ], ], ], and ]. | |||
| {{pp-semi-indef}} | |||
| {{Use dmy dates|date=May 2019}} | |||
| {{Use Indian English|date=May 2019}} | |||
| {{Carnatic}} | |||
| {{Indian classical music}} | |||
| {{Hinduism}} | |||
| '''Carnatic music''' or '''Karnataka Sangita''' (known as {{IAST|Karnāṭaka saṃgīta}} or {{IAST|Karnāṭaka saṅgītam}} in the ]) is a system of music commonly associated with ], including the modern Indian states of ], ], ], ] and portions of east and south ] and southern ]. | |||
| The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as ''gāyaki'').<ref>{{cite journal | last = Breyer |first = Barbara | |||
| |title = Composers and Tradition in Karnatik Music | journal = Asian Music |volume = 3 |pages = 42-51 |year = 1972}}</ref> Like ], Carnatic music rests on two main elements: {{IAST|'']''}}, the ] or melodic formulæ, and {{IAST|'']''}}, the rhythmic cycles.<ref>{{cite journal | last = Breyer | first = Barbara | title = Composers and Tradition in Karnatik Music | journal = Asian Music | volume = 3 |pages = 42-51 | year = 1972}}</ref> | |||
| It is one of three main subgenres of ] that evolved from ancient Hindu texts and traditions, particularly the ].<ref>{{Cite web|url=http://www.ae.iitm.ac.in/~sriram/karpri.pdf|title=A Karnatic Music Primer|last=Sriram|first=Parthasarathy|language=en-US}}</ref> (The other two are ] and ].) The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in ''gāyaki'' (singing) style. | |||
| Although there are stylistic differences, the basic elements of {{IAST|'']''}} (the relative musical pitch), {{IAST|'']''}} (the musical sound of a single note), {{IAST|'']''}} (the mode or melodic formulae), and {{IAST|'']''}} (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung through compositions, especially the ] (or kirtanam) – a form developed between the 14th and 20th centuries by composers such as ], and the ]. Carnatic music is also usually taught and learned through compositions.<ref name=":03">{{Cite book |last=Ramaswamy |first=Vijaya |url=https://books.google.com/books?id=ALUvDwAAQBAJ&pg=PA88 |title=Historical Dictionary of the Tamils |date=2017-08-25 |publisher=] |isbn=978-1-5381-0686-0 |pages=88 |language=en |quote=In precolonial or early-modern South India, Telugu became the cultural language of the south, including the Tamil country, somewhat similar to the overwhelming dominance of French as the cultural language of modern Europe during roughly the same era. Therefore, Telugu predominates in the evolution of Carnatic music, and it is the practice to teach Telugu language in music colleges to those aspiring to become singers.}}</ref><ref name=":522">{{Cite book |url=https://books.google.com/books?id=ZOlNv8MAXIEC&dq=telugu+court+language&pg=PA269 |title=The Garland Encyclopedia of World Music |date=1998 |publisher=] |isbn=978-0-8240-4946-1 |editor-last=Arnold |editor-first=Alison |volume=5: South Asia: The Indian Subcontinent |pages=231, 232, 269 |language=en}}</ref> Telugu language predominates in the evolution of Carnatic music.<ref name=":03"/><ref name=":522"/> Most Carnatic compositions are in Telugu and Sanskrit.<ref>{{Cite book |last1=Fuller |first1=C. J. |url=https://books.google.com/books?id=r7KjBAAAQBAJ&pg=PA201 |title=Tamil Brahmans: The Making of a Middle-Class Caste |last2=Narasimhan |first2=Haripriya |date=2014-11-11 |publisher=University of Chicago Press |isbn=978-0-226-15288-2 |pages=201 |language=en |quote=Most songs were in Telugu or Sanskrit, though some were in Tamil, but even Telugu and Tamil were strongly inflected by Sanskrit.}}</ref> | |||
| ṭ | |||
| Carnatic music is usually performed by a small ensemble of musicians, consisting of a principal performer (usually a vocalist), a melodic accompaniment (usually a ]), a rhythm accompaniment (usually a ]), and a ], which acts as a ] throughout the performance. Other typical instruments used in performances may include the ], ], ], ] flute, ], and ]. The greatest concentration of Carnatic musicians is to be found in the city of ].<ref name="Britannica">Carnatic music. (2007). In Encyclopædia Britannica. Retrieved 12 April 2007, from Encyclopædia Britannica Online</ref> Various Carnatic music festivals are held throughout India and abroad, including the ], which has been considered to be one of the world's largest cultural events.<ref> {{webarchive |url=https://web.archive.org/web/20120426090237/https://indianfolklore.org/journals/index.php/Music/article/view/22/26 |date=26 April 2012 }} Written by Malathi Rangaswamy, Secretary of Music Academy</ref><ref>], p38</ref> | |||
| ==Etymology== | ==Etymology== | ||
| Carnatic music originated in ] and was named after it,<ref>{{cite book |last1=Kesavan |first1=Veluthat |title=The Buffalo Century: Vāñcheśvara Dīkṣita’s Mahiṣaśatakam: A Political Satire for All Centuries |date=2019 |quote=Because this music came from Karnataka, it eventually came to be known as "Carnatic music" throughout the country |publisher=Taylor & Francis |isbn=9781000708561 |page=5 |url=https://www.google.co.in/books/edition/The_Buffalo_Century/0V61DwAAQBAJ?hl=en&gbpv=1}}</ref><ref>{{cite book |title=Art and Architecture in Karnataka |date=1996 |page=313 |url=https://www.google.co.in/books/edition/Art_and_Architecture_in_Karnataka/S1PwmMWrj1MC?hl=en&gbpv=1&bsq=art%20and%20architecture%20in%20karnataka%20sangeeta}}</ref> known as ''Karnāṭaka Saṁgīta'' which spread through ] and ] countries where it was sumptuously nourished<ref>{{cite book |last1=Desai |first1=P. B. |title=A History of Karnataka: (From-Pre-History to Unification) |date=1970 |page=xxi-21 |url=https://archive.org/details/in.ernet.dli.2015.430132/page/n21/mode/1up?view=theater}}</ref> | |||
| ==Origin and history== | |||
| ], the ] of all knowledge, music, arts and science, with her instrument, the ''veena''.]] | |||
| Like all art forms in ], Indian classical music is believed to be a divine art form which originated from the ]s and ]s (] gods and goddesses),<ref>], p17</ref><ref name="origin"/> and is venerated as symbolic of {{IAST|''] brāhman''}}.<ref>{{cite web|url=http://www.hindu.com/seta/2005/01/13/stories/2005011300111500.htm|archive-url=https://web.archive.org/web/20050331184754/http://www.hindu.com/seta/2005/01/13/stories/2005011300111500.htm|url-status=dead|archive-date=2005-03-31|work=]|title=Sci Tech / Speaking Of Science: The music of we primates: Nada Brahmam}}</ref> Ancient treatises also describe the connection of the origin of the ]s, or notes, to the sounds of animals and birds and man's effort to simulate these sounds through a keen sense of observation and perception. The ], which is believed to have laid the foundation for Indian classical music, consists of hymns from the '']'', set to musical tunes which would be sung using three to seven musical notes during Vedic ]s.<ref name="origin"/> The ], which mainly consists of sacrificial formulae, mentions the ''veena'' as an accompaniment to vocal recitations.<ref>{{cite web |title=Veena in Yajurveda |url=http://trumpet.sdsu.edu/m151/Music_of_India1.html |url-status=dead |archive-url=https://web.archive.org/web/20061031152317/http://trumpet.sdsu.edu/M151/Music_of_India1.html |archive-date=2006-10-31 }}</ref> References to Indian classical music are made in many ancient texts, including ] like the '']'' and the '']''. The '']'' states, "''vīṇāvādana tattvajñaḥ śrutijātiviśāradaḥ tālajñaścāprayāsena mokṣamārgaṃ niyacchati"'' (The one who is well versed in '']'', one who has the knowledge of srutis and one who is adept in tala, attains liberation (]) without doubt").<ref>YjS 3.115. {{cite web|title=Yajnavalkya on Music|url=http://www.sanathanadharma.com/articles/sangeet.htm}}</ref> Contemporray Carnatic music is based on musical concepts (including '']'', '']'', and '']'') that were described in detail in several ancient works, particularly the ]'s '']'' and '']'' by ].<ref name="Singer1958">{{cite journal | last = Singer |first = M.|title = The Great Tradition in a Metropolitan Center: Madras| journal = The Journal of American Folklore| volume = 71 | issue = 281 | pages = 347–388 |year = 1958 | doi = 10.2307/538567 | jstor = 538567 | publisher = American Folklore Society}}</ref> | |||
| Owing to Persian and Islamic influences in ] from the 12th century onwards, Indian classical music began to diverge into two distinct styles — Hindustani music and Carnatic music.<ref name="Britannica"/> Commentaries and other works, such as ]'s '']'', further elaborated on the musical concepts found in Indian classical music.<ref>], p18</ref> By the 16th and 17th centuries, there was a clear demarcation between Carnatic and Hindustani music;<ref name="Subramaniam1999">{{cite journal | last = Subramaniam |first = L. | |||
| ==Origins and history== | |||
| |title = The reinvention of a tradition: Nationalism, Carnatic music and the Madras Music Academy, 1900–1947 | journal = Indian Economic & Social History Review | volume = 36 | issue = 2 | pages = 131–163 |year = 1999 | doi = 10.1177/001946469903600201|s2cid = 144368744 | |||
| ] - the 'Father of Carnatic music']] | |||
| }}</ref> Carnatic music remained relatively unaffected by Persian and Arabic influences. It was at this time that Carnatic music flourished in ], while the ] reached its greatest extent.<ref name="Ries1969">{{cite journal | last = Ries |first = R. E.|title = The Cultural Setting of South Indian Music | journal = Asian Music | volume = 1 | issue = 2 | pages = 22–31 |year = 1969 | doi = 10.2307/833909 | jstor = 833909 | publisher = University of Texas Press}}</ref> ], who is known as the "father (''pitamaha'') of Carnatic music", formulated the system that is commonly used for the teaching of Carnatic music.<ref name="origin">{{cite web|url=http://www.carnatica.net/origin.htm|title= History of Music, Origins|work=The Carnatica Group|publisher=Carnatica.net|access-date=2007-07-03}}</ref><ref>Theory of Music, Vasanthamadhavi P.183</ref> ] invented and authored the formula for the ] system of raga classification in his Sanskrit work, the ''Chaturdandi Prakasika'' (1660 AD).<ref name="Subramaniam1999"/> Govindacharya is known for expanding the melakarta system into the ] scheme – the system that is in common use today. | |||
| {{main|Origins and history of Carnatic music}} | |||
| {{See also | List of Carnatic music treatises}} | |||
| By the 16th century, Indian classical music split into two styles: Hindustani in the North and Karnataka (later called Carnatic) in the South. The term "Karnataka" music originated from the Vijayanagara Empire, historically known as the Karnataka Empire. The British later influenced the change in name to "Carnatic" music, and the term is only about 150–200 years old. | |||
| Like all art forms in ], Carnatic music is believed to have a divine origin - it is believed to have input from the ]s and ]s.<ref name="origin"/> However, it is also generally accepted that the natural origins of music were an important factor in the development of Carnatic music. <ref name="origin"/> Ancient treatises describe the connection of the origin of the ]s, or notes, to the sounds of animals and birds, and man's keen sense of observation and perception that tried simulating these sounds - after hearing and distinguishing between the different sounds that emanated from bamboo reed when air passes through its hollows, man designed the first flute. In this way, music is venerated as an aspect of the supreme ({{IAST|''nāda brāhmam''}})<ref>http://www.hindu.com/seta/2005/01/13/stories/2005011300111500.htm</ref>. Folk music is also said to have been a natural origin of Carnatic music, with many folk tunes corresponding to certain Carnatic ''ragas'' (discussed later).<ref name="origin"/> | |||
| In the 18th and 19th centuries, Carnatic music was mainly patronised by the local kings of the ], ], and the ].<ref>{{cite news|title=Royal tribute to Thanjavur rulers|url=https://www.newindianexpress.com/cities/chennai/2017/dec/27/royal-tribute-to-thanjavur-rulers-1738354.html|newspaper=The New Indian Express}}</ref> Some of the royalty of the kingdoms of Mysore and Travancore were themselves noted composers and proficient in playing musical instruments, such as the ], ], ], ], ], ], ], and ].<ref>], p54-55, p92, p162-163, p225-226</ref> Some ] proficient in music were ] (1852–1926)<ref>], p108</ref> and Veene Subbanna (1861–1939),<ref>], p128</ref> among others. | |||
| The ]s are generally accepted as the main probable source of Indian music. The ] is said to have laid the foundation for Indian music, and consists mainly of hymns of ], set to musical tunes which would be sung using three to seven musical notes during Vedic sacrifices.<ref name="origin">{{cite web|url=http://www.carnatica.net/origin.htm|title= History of Music, Origins|work=The Carnatica Group|publisher=Carnatica.net|accessdate=2007-07-03}}</ref> The ], which mainly consists of sacrificial formulae, mentions the '']'' as an accompaniment to vocal recitations during the sacrifices.<ref>{{cite web|title=Veena in Yajurveda|url=http://trumpet.sdsu.edu/m151/Music_of_India1.html}}</ref> | |||
| During the late 19th century, the city of ] (now known as Chennai) emerged as the locus for Carnatic music.<ref name="Hughes2002">{{cite journal | last = Hughes |first = S. P.|title = The 'Music Boom' in Tamil South India: gramophone, radio and the making of mass culture | journal = Historical Journal of Film, Radio and Television | volume = 22 | issue = 4 | pages = 445–473 |year = 2002 | doi = 10.1080/0143968022000012129|s2cid = 191466174}}</ref> With the dissolution of the erstwhile ] and the ] reaching its conclusion in 1947, Carnatic music went through a radical shift in patronage into an art of the masses with ticketed performances organised by private institutions called ]s. | |||
| References to Indian classical music are made in many ancient ], including ] like the ] and ]. The '']'' mentions "''vīṇāvādanatattvajñaḥ śrutijātiviśāradaḥ tālajñaścāprayāsena mokṣamārgaṃ niyacchati''" ("The one who is well versed in veena, one who has the knowledge of srutis and one who is adept in tala, attains salvation without doubt.")<ref>YjS 3.115. {{cite web|title=Yajnavalkya on Music|url=http://www.sanathanadharma.com/articles/sangeet.htm}}</ref> Carnatic music is based on music concepts mentioned in ]'s '']''.<ref name="natya">{{cite web|url=http://swaralaya.us/carnaticmusic.htm|title= Carnatic Music|work=Swaralaya|publisher=Carnatic music organization, Tampa Bay, Florida|accessdate=2007-07-03}}</ref>. The Natya Shastra mentions many musical concepts (including '']'' and '']'') that continue to be relevant to Carnatic music today.<ref name="origin"/> | |||
| === Carnatic music outside of South India === | |||
| Carnatic music saw revolutionary growth during the ] by the Kannada ] movement of ], ], ] and others.<ref>http://www.hinduonnet.com/2000/12/02/stories/0902070b.htm</ref> ] who is known as the ''Sangeeta Pitamaha'' meaning the father (founder) of Carnatic music, laid out the complete fundamental principles and framework for Carnatic music.<ref> Theory of Music , Vasanthamadhavi P.183</ref><ref name="origin"/>. ] is credited with the classification of ragas in the Melakarta System and wrote his most important work; ''Chaturdandi Prakasika'' (c.1635 CE) in Sanskrit. Govindacharya expanded the ] Scheme into the ] system, which is the system in common use today. | |||
| From the 18th century, South Indian immigrant communities abroad increased, especially in ] and ]. Communities such as the ]s participate in the extension of the Carnatic cultural scene abroad, thanks to their rich patronage activity.<ref>{{Cite journal |last=Aravinthon |first=Dr (Mrs) Suhanya |date=2021-06-01 |title=Roots of Carnatic Music in Sri Lanka - Artistic interrelations between Sri Lanka and South India A |url=https://zenodo.org/record/6550640 |journal=Smrti - Department of Indian Music: Annual Journal |volume=1 |issue=1 |pages=90–95 |doi=10.5281/zenodo.6550640}}</ref> Carnatic music artists therefore perform abroad among South Indian communities who request their coming, in order to enliven local community life. For a long time in Sri Lanka, Carnatic music was associated with Indian immigrants, and was often derogatorily referred to as "''thosai kade'' music" ("music from the ] shop"), in reference to the South Indians-owned restaurants and eateries that typically played this kind of music.<ref name=":0">{{Cite book |last=Daniel |first=E. Valentine |title=Charred lullabies: chapters in an anthropography of violence |date=1996 |publisher=] |isbn=978-0-691-02774-6 |series=Princeton studies in culture / power / history |location=Princeton, NJ |pages=157, 145 |oclc=34669394}}</ref> | |||
| From the 20th century, Carnatic music gained significant popularity among certain social strata of the ], who were then heavily influenced by a prominent cultural movement known as the Hindu revival.<ref name=":0" /><ref>{{Cite book |last1=O’Shea |first1=Janet |title=Choreographies of 21st century wars |last2=Morris |first2=Gay |last3=Giersdorf |first3=Jens Richard |publisher=] |year=2016 |isbn=978-0-19-020166-1 |pages=119 |language=en |chapter=From Temple to Battlefield: Bharata Natyam in the Sri Lankan Civil War |oclc=915135656}}</ref><ref name=":1">{{Cite book |last=Reed |first=Susan A. |title=Dance and the nation: performance, ritual, and politics in Sri Lanka |publisher=] |year=2010 |isbn=978-0-299-23164-4 |pages=131–132 |language=en |chapter=Dance, Ethnicity and the State |oclc=317288154}}</ref> Carnatic music was thus appropriated and highly promoted during the 1920s and 1930s as a cultural and identity marker of the ] and ] bourgeoisies,<ref name=":1" /><ref name=":2">{{Cite book |last=Jeyaratnam Wilson |first=Alfred |title=Sri Lankan Tamil nationalism: its origins and development in the nineteenth and twentieth centuries |publisher=] |year=2000 |isbn=0-7748-0759-8 |pages=36 |language=en |chapter=Language, Poetry; Culture and Tamil Nationalism |oclc=41467484}}</ref> and by extension of the ]. The place given to Carnatic music in the construction of a modern Sri Lankan Tamil identity has reached significant proportions, such as its rise in the curricula of most Jaffna colleges, where it gradually replaced from the mid-1930s the teaching of ],<ref name=":1" /> or its high esteem among the upper social classes of Colombo and Jaffna, where the learning of Carnatic music among young women is expected as a sign of good education.<ref name=":0" /><ref name=":1" /><ref name=":2" /><ref>{{Cite web |title=Tamil of Sri Lanka Facts, information, pictures {{!}} Encyclopedia.com articles about Tamil of Sri Lanka |url=http://www.encyclopedia.com/topic/Tamil_of_Sri_Lanka.aspx |access-date=2016-06-10 |website=encyclopedia.com}}</ref> Many people have travelled to India for improving their skills, and the flow of students to India from Sri Lanka or of Sri Lankan Tamil origin is constantly increasing.<ref name=":1" /><ref>{{Cite web |last=Srinivasan |first=Anil |title=Sri Lankan Tamil diaspora: The new force spreading Carnatic music and dance worldwide |url=http://scroll.in/article/769894/sri-lankan-tamil-diaspora-the-new-force-spreading-carnatic-music-and-dance-worldwide |access-date=2016-06-10 |website=Scroll.in |language=en-US}}</ref> | |||
| Even though the earlier writers Matanga, Sarangadeva and others also were from ], the music tradition was formally named ''Karnataka Sangeetha'' for the first time only in the 13th Century when the ] was founded.<ref name="name">{{cite web|url=http://www.hinduonnet.com/2000/12/02/stories/0902070b.htm|title= Fountainhead of Carnatic music|work=Online webpage of The Hindu|publisher=The Hindu|accessdate=2007-07-03}}</ref> Since the late 12th and early 13th centuries, as a result of the increasing Persian influence (and as a result of the Islamic conquest) in ], ] started evolving as a separate genre, while Carnatic music was relatively unaffected by these Arabic and Iranian influences.<ref>Carnatic music. (2007). In Encyclopedia Britannica. Retrieved April 12, 2007, from Encyclopedia Britannica Online.</ref> | |||
| A clear demarcation between Hindustani music and Carnatic music can be seen in the latter half of the 14th century, as the word "Carnatic" came to represent South Indian classical music as a separate system of music. <ref name = "origin"/> | |||
| ==Nature== | |||
| A unique development in the art of instrumental Carnatic music took shape under the patronage of the kings of the ] in the 18th through 20th centuries. The composers used to play their compositions on instruments such as the ], ], ], ], ghata, ], ], nagaswara, swarabhat. Some instruments such as ], ] and ], though uncommon to the southern region came into use and the English influence popularised the ] and ]. Even royalty of this dynasty were noted composers and proficient in playing musical instruments, solo or in concert with others.<ref name="play">Pranesh (2003), p54-55, p92, p162-163, p225-226</ref> Some famous instrumentalists were ](1852-1926)<ref name="shesh">Pranesh (2003), p108</ref>, Veena Subbanna (1861-1939),<ref name="subba">Pranesh (2003), p128</ref> ]<ref name="chow">Pranesh (2003), p214</ref>and others. | |||
| The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as ''gāyaki'').<ref name="Breyer2004">{{cite journal | last = Breyer |first = Barbara|title = Composers and Tradition in Karnatik Music | journal = Asian Music |volume = 3 |pages = 42–51 |year = 1972 | doi = 10.2307/833958 | jstor = 833958 | issue = 2 | publisher = University of Texas Press}}</ref> Like ], Carnatic music rests on two main elements: {{IAST|'']''}}, the ] or melodic formulae, and {{IAST|'']''}}, the rhythmic cycles.<ref name="Breyer2004"/> | |||
| Today, Carnatic music is presented by musicians in concerts or recordings, either vocally or through instruments. Carnatic music itself developed around musical works or compositions of phenomenal composers (see below). | |||
| ==Nature of Carnatic music== | |||
| The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as ''gāyaki'').<ref>{{cite journal | last = Breyer |first = Barbara | |||
| |title = Composers and Tradition in Karnatik Music | journal = Asian Music |volume = 3 |pages = 42-51 |year = 1972}}</ref> Like ], Carnatic music rests on two main elements: {{IAST|'']''}}, the ] or melodic formulæ, and {{IAST|'']''}}, the rhythmic cycles.<ref>{{cite journal | last = Breyer | first = Barbara | title = Composers and Tradition in Karnatik Music | journal = Asian Music | volume = 3 |pages = 42-51 | year = 1972}}</ref> | |||
| ==Important elements== | |||
| Carnatic music is practised and presented today by musicians in concerts or recordings, either vocally or through instruments. Carnatic music itself developed around musical works or compositions of phenomenal composers (see below). | |||
| ==Important elements of Carnatic music== | |||
| ===Śruti=== | ===Śruti=== | ||
| {{ |
{{Main|Śruti (music)}} | ||
| ''Śruti'' commonly refers to musical pitch.<ref>http://www.karnatik.com/glosss.shtml</ref> It is the approximate equivalent of a tonic (or less precisely a key) in Western music; it is the note from which all the others are derived. It is also used in the sense of graded pitches in an octave. While there are an infinite number of sounds falling within a scale (or raga) in Carnatic music, the number that can be distinguished by auditory perception is twenty-two (although over the years, several of them have converged). In this sense, while |
''Śruti'' commonly refers to musical pitch.<ref name="autogenerated3">{{cite web|url=http://www.karnatik.com/glosss.shtml|title=Royal Carpet: Glossary of Carnatic Terms S|work=karnatik.com}}</ref> It is the approximate equivalent of a tonic (or less precisely a key) in Western music; it is the note from which all the others are derived. It is also used in the sense of graded pitches in an ]. While there are an infinite number of sounds falling within a scale (or raga) in Carnatic music, the number that can be distinguished by auditory perception is twenty-two (although over the years, several of them have converged). In this sense, while sruti is determined by auditory perception, it is also an expression in the listener's mind.<ref>{{Cite web |url=http://www.soundofindia.com/showarticle.asp?in_article_id=952096767 |title=Sound of India |access-date=18 December 2006 |archive-url=https://web.archive.org/web/20081211064155/http://www.soundofindia.com/showarticle.asp?in_article_id=952096767 |archive-date=11 December 2008 |url-status=dead }}</ref> | ||
| === |
===Svara=== | ||
| {{ |
{{Main|Svara}} | ||
| '' |
''Svara'' refers to a type of musical sound that is a single note, which defines a relative (higher or lower) position of a note, rather than a defined frequency.<ref name="autogenerated3" /> ''Svara''s also refer to the ] of Carnatic music, which consist of seven notes, "sa-ri-ga-ma-pa-da-ni" (compare with the Hindustani '']:'' sa-''re''-ga-ma-pa-''dha''-ni or Western do-re-mi-fa-so-la-ti). These names are abbreviations of the longer names ''shadja'', ''rishabha'', ''gandhara'', ''madhyama'', ''panchama'', ''dhaivata'' and ''nishada''. Unlike other music systems, every member of the solfege (called a ]) has three variants. The exceptions are the drone notes, ''shadja'' and ''panchama'' (also known as the ] and the ]), which have only one form; and ''madhyama'' (the ]), which has two forms. A 7th century stone inscription in Kudumiyan Malai<ref>S. Santhanlingam, ''Kudumiyan Malai'', Tamil Nadu Government Archeology Department publication, 1981</ref> in ] shows vowel changes to solfege symbols with ra, ri, ru etc. to denote the higher quarter-tones. In one scale, or ], there is usually only one variant of each note present. The exceptions exist in "light" ragas, in which, for artistic effect, there may be two, one ascending (in the ''arohanam'') and another descending (in the '']m''). | ||
| ===Raga system=== | ===Raga system=== | ||
| {{ |
{{Main|Raga}} | ||
| {{See also|List of composers who created ragas}} | |||
| A ''raga'' in Carnatic music prescribes a set of rules for building a ] - very similar to the Western concept of ].<ref>http://www.karnatik.com/glossm.shtml</ref> It specifies rules for movements up (''aarohanam'') and down (''avarohanam''), the ] of which ] should figure more and which notes should be used more sparingly, which notes may be sung with '']'', which phrases should be used, phrases should be avoided, and so on. | |||
| A ''raga'' in Carnatic music prescribes a set of rules for building a ] – very similar to the Western concept of ].<ref>{{cite web|url=http://www.karnatik.com/glossm.shtml|title=Royal Carpet: Glossary of Carnatic Terms M|work=karnatik.com}}</ref> It specifies rules for movements up (''aarohanam'') and down (''avarohanam''), the ] of which ] should figure more and which notes should be used more sparingly, which notes may be sung with '']'' (ornamentation), which phrases should be used or avoided, and so on. In effect, it is a series of obligatory musical events which must be observed, either absolutely or with a particular frequency.<ref name="Nettl1974">{{cite journal | last = Nettl |first = Bruno |author-link=Bruno Nettl|title = Thoughts On Improvisation: A Comparative Approach| journal = ]|volume = LX |pages = 9–12 |year = 1974 | doi = 10.1093/mq/LX.1.1}}</ref> | |||
| In Carnatic music, the ''sampoorna ragas'' (those with all seven notes in their scales) are classified into a system called the '']'', which groups them according to the kinds of notes that they have. There are seventy-two ''melakarta ragas'', thirty six of whose madhyama (]) is sadharana (] from the tonic), the remaining thirty-six of whose madhyama (subdominant) is prati (an ] from the tonic). The ''ragas'' are grouped into sets of six, called '']s'' ("wheels", though actually segments in the conventional representation) grouped according to the ] and ] scale degrees. There is a system known as the ']'' to determine the names of ''Melakarta Raga''s. | |||
| In Carnatic music, the ''sampoorna ragas'' (those with all seven notes in their scales) are classified into a system called the '']'', which groups them according to the kinds of notes that they have. There are seventy-two ''melakarta ragas'', thirty six of whose madhyama (]) is shuddha (] from the tonic), the remaining thirty-six of whose madhyama (subdominant) is prati (an ] from the tonic). The ''ragas'' are grouped into sets of six, called '']s'' ("wheels", though actually segments in the conventional representation) grouped according to the ] and ] scale degrees. There is a system known as the '']'' to determine the names of ''melakarta raga''s. | |||
| ''Raga''s may be divided into two classes: ''janaka raga''s (i.e melakarta or parent ragas) and '']raga''s (descendant ragas of a particular janaka raga). ] ragas are subclassified into various categories themselves. | |||
| ''Raga''s may be divided into two classes: ''janaka raga''s (i.e. melakarta or parent ragas) and ''] raga''s (descendant ragas of a particular janaka raga). Janya ragas are themselves subclassified into various categories. | |||
| ===Tala system=== | ===Tala system=== | ||
| {{ |
{{Main|Tala (music)}} | ||
| '']'' refers to a fixed time cycle or metre, set for a particular composition, which is built from groupings of beats.{{citation needed|date=September 2012}} ''Tala''s have cycles of a defined number of beats and rarely change within a song. They have specific components, which in combinations can give rise to the variety to exist (over 108), allowing different compositions to have different rhythms.<ref>{{cite web|url=http://www.karnatik.com/glosst.shtml|title=Royal Carpet: Glossary of Carnatic Terms T|work=karnatik.com}}</ref> | |||
| Carnatic music singers usually keep the beat by moving their hands up and down in specified patterns, and using their fingers simultaneously to keep time. ''Tala'' is formed with three basic parts (called ''anga''s) which are ''laghu'', ''dhrtam'', and ''anudhrtam'', though complex talas may have other parts like ''plutam'', ''guru'', and ''kaakapaadam''. There are seven basic ''tala'' groups which can be formed from the ''laghu'', ''dhrtam'', and ''anudhrtam'': | |||
| ] refers to the beat set for a particular composition (a measure of time). Talas have cycles of a defined number of beats and rarely change within a song. They have specific components, which in combinations can give rise to the variety to exist (over 108), allowing different compositions to have different rhythms.<ref>http://www.karnatik.com/glosst.shtml</ref> | |||
| * Ata tala | |||
| Carnatic music singers usually keep the beat by moving their hands up and down in specified patterns, and using their fingers simultaneously to keep time. Tala is formed with three basic parts (called ''anga''s) which are ''laghu'', ''dhrtam'', and ''anudhrtam'', though complex talas may have other parts like ''plutam, guru and kaakapaadam''. There are seven basic ''tala'' groups which can be formed from the ''laghu'', ''dhrtam'', and ''anudhrtam'': | |||
| * Dhruva tala | |||
| * Eka tala | |||
| * Jhampa tala | |||
| * Matya tala{{citation needed|date=September 2012}} | |||
| * Rupaka tala | |||
| * Triputa tala | |||
| A ''laghu'' has five variants (called ''jaathi''s) based on the counting pattern. Five ''jaathis'' times seven tala groups gives thirty-five basic ''tala''s, although use of other ''anga''s results in a total of 108 ''tala''s. | |||
| *Dhruva tala | |||
| *Matya tala | |||
| *Rupaka tala | |||
| *Jhampa tala | |||
| *Triputa tala | |||
| *Ata tala | |||
| *Eka tala | |||
| ==Improvisation== | |||
| A laghu has five variants (called ''jaathi''s) based on the counting pattern. Five ''jaathis'' times seven tala groups gives thirty-five basic ''talas'', although use of other ''anga''s results in a total of 108 talas. | |||
| Improvisation in ''raga'' is the soul of ]<ref name="Mann1912">{{cite journal | last = MacCarthy |first = M.| title = Some Indian Conceptions of Music| journal = Proceedings of the Musical Association|volume = 38th Sess | pages = 41–65 |year = 1912 | doi=10.1093/jrma/38.1.41|url = https://zenodo.org/record/1431793}}</ref> – an essential aspect.<ref name="Kassebaum1987">{{cite journal | last = Kassebaum |first = G. R.| title = Improvisation in Alapana Performance: A Comparative View of Raga Shankarabharana | |||
| | journal = ] |volume = 19 |pages = 45–64 |year = 1987 | doi = 10.2307/767877 | jstor = 767877 | publisher = International Council for Traditional Music| s2cid=192945498 }}</ref> "''Manodharma Sangeetam''" or "''kalpana Sangeetam''" ("music of imagination") as it is known in Carnatic music, embraces several varieties of improvisation.<ref name="Kassebaum1987"/><ref>], p17</ref> | |||
| The main traditional forms of improvisation in Carnatic music consist of the following:<ref name="Higgins1973">{{cite journal | last = Higgins |first = J. B.| title = untitled | journal = Asian Music |volume = 4 | issue = 2 |pages = 27–35 |year = 1973|doi = 10.2307/833829|jstor = 833829}}</ref><ref>], pp. 219–220.</ref> | |||
| ===Improvisation=== | |||
| There are four main types of improvisation in Carnatic music, but in every type, adhering to the scale and phrases of the raga is required. | |||
| * Alapana | |||
| * Niraval | |||
| {{main|Alapana}} | |||
| * Pallavi | |||
| This is the exposition of the ] of the song that is being planned to be performed. A performer will explore the ] first by singing lower octaves then moving up to higher ones and touching various aspects of the ] while giving a hint of the song to be performed. It is a slow improvisation with no rhythm.<ref>http://www.karnatik.com/glossr.shtml</ref> | |||
| * Ragam | |||
| * Swarakalpana | |||
| * Tanam | |||
| * Tani Avartanam | |||
| ===Raga Alapana=== | |||
| {{Main|Alapana}} | |||
| An alapana, sometimes also called ragam,<ref name="Wolf1999">{{cite journal | last = Wolf |first = R.| title = untitled | journal = Asian Music |volume = 30 | issue = 1 |pages = 199–203 |year = 1999|doi = 10.2307/834271|jstor = 834271}}</ref> is the exposition of a ] or tone – a slow improvisation with no rhythm,<ref name="RoyalCarpetGlossary-R">{{cite web|url=http://www.karnatik.com/glossr.shtml|title=Royal Carpet: Glossary of Carnatic Terms R|work=karnatik.com}}</ref> where the raga acts as the basis of embellishment.<ref name="Nettl1974"/> In performing alapana, performers consider each raga as an object that has beginnings and endings and consists somehow of sequences of thought.<ref name="Nettl1974"/> | |||
| The performer will explore the ] and touch on its various nuances,<ref name="Wolf1999"/> singing in the lower octaves first, then gradually moving up to higher octaves, while giving a hint of the song to be performed.<ref name="RoyalCarpetGlossary-R"/> | |||
| Theoretically, this ought to be the easiest type of improvisation, since the rules are so few, but in fact, it takes much skill to sing a pleasing, comprehensive (in the sense of giving a "feel for the ragam") and, most importantly, original raga alapana. | Theoretically, this ought to be the easiest type of improvisation, since the rules are so few, but in fact, it takes much skill to sing a pleasing, comprehensive (in the sense of giving a "feel for the ragam") and, most importantly, original raga alapana. | ||
| ===Niraval=== | |||
| {{ |
{{Main|Niraval}} | ||
| Niraval, usually performed by the more advanced performers, consists of singing one or two lines of text of a song repeatedly, but with a series of melodic improvised elaborations.<ref name="Higgins1987">{{cite journal | last = Higgins |first = J. B. | |||
| |title = Performing Arts in India: Essays on Music, Dance, and Drama| journal = Asian Music |volume = 18 | issue = 2 |pages = 103–118 |year = 1987 | doi=10.2307/833942|jstor = 833942 | |||
| Niraval comes out of manodharma sangeetha, where the selected line is repeated within the tala timing to bring out the beauty of both the raaga, and the line or composition being rendered. | |||
| }}</ref> Although niraval consists of extempore melodic variations, generally, the original patterns of duration are maintained;<ref>], p562</ref> each word in the lines of text stay set within their original place (''idam'') in the ] cycle.<ref name="Viswanathan 1998 p232">], p232</ref> The lines are then also played at different levels of speed which can include double speed, triple speed, quadruple speed and even ] speed.<ref name="Henry2002">{{cite journal | last = Henry |first = E. O. | |||
| |title = The Rationalization of Intensity in Indian Music| journal = Ethnomusicology |volume = 46 | issue = 1 |pages = 33–35 |year = 2002 | doi = 10.2307/852807 | jstor = 852807 | publisher = Society for Ethnomusicology}}</ref> The improvised elaborations are made with a view of outlining the raga, the tempo, and the theme of the composition.{{citation needed|date=September 2012}} | |||
| ===Kalpanaswaram=== | |||
| {{Main|Kalpanaswaram}} | |||
| Kalpanaswaram, also known as swarakalpana, consists of improvising melodic and rhythmic passages using '']s'' (solfa syllables).<ref>], p219</ref> Like niraval,<ref>], p232</ref> kalpanaswaras are sung to end on a particular swara in the ] of the melody and at a specific place (''idam'') in the ] cycle.<ref>], p221</ref> | |||
| Kalpanaswaras have a somewhat predictable rhythmical structure;<ref>], p188</ref> the swaras are sung to end on the ''samam'' (the first beat of the rhythmical cycle).<ref name="Henry2002"/> The swaras can also be sung at the same speed or double the speed of the melody that is being sung, though some artists sing triple-speed phrases too.<ref name="Henry2002"/> | |||
| Kalpanaswaram is the most elementary type of improvisation, usually taught before any other form of improvisation. | |||
| ==== |
===Tanam=== | ||
| Tanam is one of the most important forms of improvisation, and is integral to Ragam Tanam Pallavi.<ref name="Palackal1998">{{cite journal | last = Palackal |first = J. J. | |||
| {{main|Kalpanaswaram}} | |||
| |title = untitled| journal = Yearbook for Traditional Music|volume = 30 | pages = 207 |year = 1998 | doi=10.2307/768616|jstor = 768616 | |||
| The most elementary type of improvisation, usually taught before any other form of improvisation. It consists of singing a pattern of notes which finishes on the beat and the note just before the beat and the note on which the song starts. The ''swara'' pattern should adhere to the original raga's swara pattern, which is called as ''aarohanam-avarohanam''. | |||
| |s2cid = 191394968 | |||
| }}</ref> Originally developed for the veena, it consists of expanding the raga with syllables like ''tha, nam, thom, aa, nom, na,'' etc. | |||
| === |
===Ragam Tanam Pallavi=== | ||
| {{Main|Ragam Tanam Pallavi}} | |||
| This form of improvisation was originally developed for the ] and consists of expanding the raga with syllables like ''tha, nam, thom, aa, nom, na,'' etc. | |||
| Ragam, Tanam, and Pallavi are the principal long form in concerts,<ref name="Palackal1998"/> and is a composite form of improvisation. As the name suggests, it consists of raga alapana, tanam, and a ] line. Set to a slow-paced ], the pallavi line is often composed by the performer. Through niraval, the performer manipulates the pallavi line in complex melodic and rhythmic ways.<ref name="Wolf1999"/> The niraval is followed by kalpanaswarams. | |||
| === |
=== Tani Avartanam === | ||
| Tani Avartanam refers to the extended solo that is played by the percussionists in a concert,<ref name="Kassebaum 2000">], 158</ref> and is usually played after the main composition in a concert.<ref name="Viswanathan 1998 p232"/> The percussionist displays the full range of his skills and rhythmic imagination during the solo, which may take from two to twenty minutes.<ref name="Kassebaum 2000"/> | |||
| {{main|Ragam Thanam Pallavi}} | |||
| This is a composite form of improvisation. As the name suggests, it consists of Raga Alapana, Thanam, and a pallavi line. The pallavi line is sung twice, and Niraval follows. After Niraval, the pallavi line is sung again, twice in normal speed, then sung once at half the speed, then twice at regular speed, then four times at twice the speed. Kalpanaswarams follow. | |||
| ==Compositions== | ==Compositions== | ||
| {{Unreferenced section|date=August 2014}} | |||
| In contrast to ] of the northern part of India, Carnatic music is taught and learned through compositions, which encode many intricate musical details, also providing scope for free improvisation. Nearly every rendition of a Carnatic music composition is different and unique as it embodies elements of the composer's vision, as well as the musician's interpretation. | In contrast to ] of the northern part of India, Carnatic music is taught and learned through compositions, which encode many intricate musical details, also providing scope for free improvisation. Nearly every rendition of a Carnatic music composition is different and unique as it embodies elements of the composer's vision, as well as the musician's interpretation. | ||
| A Carnatic composition really has two elements, one being the musical element, the other being what is conveyed in the composition. It is probably because of this fact that most Carnatic music compositions are composed for singing. In addition to the rich musical experience, each composition brings out the knowledge and personality of the composer, and hence the words are as important as the musical element itself. This poses a special challenge for the musicians because rendering this music does not involve just playing or singing the correct musical notes; the musicians are expected to understand what was conveyed by the composer in various languages, and sing musical phrases that act to create the effect that was intended by the composer in his/her composition. | A Carnatic composition really has two elements, one being the musical element, the other being what is conveyed in the composition. It is probably because of this fact that most Carnatic music compositions are composed for singing. In addition to the rich musical experience, each composition brings out the knowledge and personality of the composer, and hence the words are as important as the musical element itself. This poses a special challenge for the musicians because rendering this music does not involve just playing or singing the correct musical notes; the musicians are expected to understand what was conveyed by the composer in various languages, and sing musical phrases that act to create the effect that was intended by the composer in his/her composition. | ||
| There are many types/forms of compositions. | |||
| There are many types/forms of compositions. ] and ] (which have their own peculiar composition structures) are principally meant to serve as basic learning exercises, and while there are many other types/forms of compositions (including Padam, Javali and ]), the most common forms are the ], and most importantly, the ] (or Keerthanam), which are discussed below. | |||
| '']s'' and '']s'' (which have their own peculiar composition structures) are principally meant to serve as basic learning exercises. | |||
| Compositions more commonly associated with ] and ] have also been increasingly used in the Carnatic music repertoire. The performance of the ] '']'', Tamil ''], Kannada ] and'' Telugu ''padyamu'' or ''sisapadya'' forms are particularly unique. Though these forms consist of lyric-based ], musicians improvise '']'' phrases in free rhythm, like an ],<ref name="Higgins1987" /> so both the sound value, and the meaning of the text, guide the musician through elaborate melodic improvisations.<ref name="Higgins1985">{{cite journal | last = Higgins |first = J. B. | |||
| |title = India| journal = Ethnomusicology|volume = 29 | issue = 1 |pages = 162–166 |year = 1985 | doi = 10.2307/852348 | jstor = 852348 | publisher = Society for Ethnomusicology}}</ref> Forms such as the '']'', '']'' and '']'' are often performed similarly, however, these forms can also have a set melody and rhythm like the ''devaranama'', ''javali'', ''padam'', '']'' and '']'' forms. | |||
| The most common and significant forms in Carnatic music are the '']'' and the '']'' (or ''kirtanam''). | |||
| ===Varnam=== | ===Varnam=== | ||
| {{ |
{{Main|Varnam}} | ||
| Varnams are short metric pieces which encapsulate the main features and requirements of a '']''.<ref>], p189</ref> The features and rules of the raga (also known as the ''sanchaaraas'' of a raga) include how each note of the raga should be stressed, the scale of the raga, and so on.<ref name="autogenerated2">{{cite web|url=http://www.karnatik.com/glossv.shtml|title=Royal Carpet: Glossary of Carnatic Terms V|work=karnatik.com}}</ref> All varnams consist of lyrics,<ref name="Bradnock 1992 p631">], p631</ref> as well as swara passages, including a '']'', an '']'', ''muktayi swaras'', a '']'', and '']''.<ref name="autogenerated2" /> | |||
| Known for their complex structure, varnams are a fundamental form in Carnatic music.<ref name="Bradnock 1992 p631"/> Varnams are practised as vocal exercises in multiple speeds by performers of Carnatic music, to help develop voice culture, and maintain proper pitch and control of rhythm. In Carnatic music concerts, varnams are often performed by musicians as the opening item – acting as a warm up for the musicians,<ref>], p68</ref> and as a means of grabbing the attention of the audience.<ref name="autogenerated2" /> | |||
| ===Kriti=== | ===Kriti=== | ||
| {{ |
{{Main|Kriti (music)}} | ||
| Carnatic songs (kritis) are varied in structure and style, but generally consist of three units: | Carnatic songs (kritis) are varied in structure and style, but generally consist of three units: | ||
| #]. This is the equivalent of a ] in Western music |
# ]. This is the equivalent of a ] in Western music, with 1 or 2 lines. | ||
| #]. |
# ]. This is the second verse, also as 2 lines. | ||
| #]. The final (and longest) verse that wraps up the song. The Charanam usually borrows patterns from the Anupallavi. There can be multiple charanas. | # ]. The final (and longest) verse that wraps up the song. The Charanam usually borrows patterns from the Anupallavi. There can be multiple charanas. | ||
| This kind of song is called a ''keerthanam'' or a '']''. There are other possible structures for a ''Kriti'', which may in addition include swara passages named ''chittaswara''. ''Chittaswara'' consists only of notes, and has no words. Still others, have a verse at the end of the ''charana'', called the ''madhyamakāla''. It is sung immediately after the ''charana'', but at double speed. | |||
| This kind of song is called a ''keerthanam'' or a '']''. There are other possible structures for a ''kriti'', which may in addition include swara passages named ''chittaswara''. A ''chittaswara'' consists only of notes, and has no words. Still others have a verse at the end of the ''charana'', called the ''madhyamakāla''. It is sung immediately after the ''charana'', but at double speed. | |||
| ===Ugaabogas=== | |||
| '']''<!--Does the Indian word have an "s" at the end or is this a plural form?--> is an integral part of Carnatic music concert where the artist elaborates the treatment of raga characteristics through lyric based freestyle ]. | |||
| It is the starting item of ''kriti''<!--Doesn't make sense.--> that Sri ] introduced in the 15th century<ref> Kannada Chapter, Medieval Indian Literature, An Anthology (1997) by Shiva Prakash H.S., edited by Ayyappapanicker, Sahitya Akademi ISBN= 8126003650 chapter= Kannada</ref> when he laid out the format for Carnatic music. Later it led to freestyle rendering of ragas without lyrics known as ''allapane''<!--What is "allapane"? It isn't discussed later. Do you mean "alapana"?--> (discussed later). | |||
| ==Prominent composers== | ==Prominent composers== | ||
| ] - one of the celebrated Carnatic trinity]] | |||
| There are many composers in Carnatic music. | |||
| {{See also | List of Carnatic composers}} | |||
| {{See also|List of Carnatic composers|List of composers who created ragas|Musicians of the Kingdom of Mysore}} | |||
| ] (1480 - 1564) is known as the father ''(Pitamaha)'' of Carnatic music due to his pioneering contributions to Carnatic music. Purandara Dasa is renowned for formulating the basic lessons of Carnatic music. He structured graded exercises known as ''Swaravalis'' and ''Alankaras'', and at the same time, introduced the '']'' ] as the first scale to be learnt by beginners. He also composed ''Gitas'' (simple songs) for novice students. Although only a fraction of his other compositions still exist, he is said to have composed around 475,000 compositions in total.<ref></ref> | |||
| There are many composers in Carnatic music. ] (1484–1564) is referred to as the ''Pitamaha'' (the father or grandfather) of Carnatic music as he formulated the basic lessons in teaching Carnatic music, and in honour of his significant contribution to Carnatic music. He structured graded exercises known as ''Swaravalis'' and ''Alankaras'', and at the same time, introduced the '']'' ] as the first scale to be learnt by beginners. He also composed ''Gitas'' (simple songs) for novice students. | |||
| <!-- Unsourced image removed: ], ] and ]]] --> | |||
| The contemporaries ] (1759? - 1847), ], (1776 - 1827) and ], (1762 - 1827) are regarded as the ] due to the quality of ]'s compositions, the varieties of compositions of ] and ]'s prolific output in composing '']s''.<ref>http://www.hindu.com/fr/2006/03/31/stories/2006033100510300.htm</ref> | |||
| The contemporaries ] (1767– 1847), ], (1776–1835) and ], (1762–1827) are regarded as the ] because of the quality of Syama Sastri's compositions, the varieties of compositions of Muthuswami Dikshitar, and Tyagaraja's prolific output in composing '']s''.<ref>{{cite web|url=http://www.hindu.com/fr/2006/03/31/stories/2006033100510300.htm|archive-url=https://web.archive.org/web/20060919223436/http://www.hindu.com/fr/2006/03/31/stories/2006033100510300.htm|url-status=dead|archive-date=2006-09-19|work=]|title=The golden era}}</ref> | |||
| Prominent composers prior to the ] include ], ], ] ], ] and ]. Other prominent composers are ], ], ], ], ], ], ], ] and ]. The compositions of these composers are rendered frequently by prominent artists of today. | |||
| Prominent composers prior to the ] include ], ], ], ], ], ], ], ], ], ], ], ] and ]. Other composers are ], ], ], ], ], ], ], ], ], ] and ]. The compositions of these composers are rendered frequently by artists of today. | |||
| Composers of Carnatic music were often inspired by religious devotion and were usually scholars proficient in one or more of the following languages ], ], ], ] and ]. They usually included a signature, called a '']'', in their compositions. For example, all songs by ] (who composed in ]) have the word ''Thyagaraja'' in them, all songs by ] (who composed in Sanskrit) have the words ''Guruguha'' in them, songs by ] (who composed in Telugu) have the words ''Syama Krishna'' in them while ], who composed in Kannada, used the signature ''Purandara Vittala''. ] used the signature ''Gopalakrishnan'' and composed in ]. Papanasam Sivan, who has been hailed as the ''Tamil ]'' of Carnatic music<ref>http://www.hindu.com/thehindu/fr/2002/01/04/stories/2002010401120600.htm</ref>, also composed in this language, as well as ]<ref>http://www.hindu.com/thehindu/fr/2002/01/04/stories/2002010401120600.htm</ref>, and used the signature ''Ramadasan''. | |||
| Composers of Carnatic music were often inspired by religious devotion and were usually scholars proficient in one or more of the languages ], ], ], ], or ]. They usually included a signature, called a '']'', in their compositions. For example, all songs by Tyāgarāja (who composed in Sanskrit and Telugu) have the word ''Tyagaraja'' in them, all songs by Muttuswāmi Dīkṣitar (who composed in Sanskrit and Maṇipravāl̥am) have the words ''Guruguha'' in them; songs by Śyāma Śāstri (who composed in Sanskrit and Telugu) have the words Ś''yāma Kr̥ṣṇa'' in them; all songs by Purandaradasa (who composed in Kannada and Sanskrit) have the words ''Purandara Vitthala''; while Gopalakrishna Bharathi (who composed in Tamil) used the signature ''Gopalakrishnan'' in his compositions. Papanasam Sivan, who has been hailed as the ''Tamil Tyagaraja'' of Carnatic music,<ref name="autogenerated1">{{cite web|url=http://www.hindu.com/thehindu/fr/2002/01/04/stories/2002010401120600.htm|archive-url=https://web.archive.org/web/20030627174438/http://www.hindu.com/thehindu/fr/2002/01/04/stories/2002010401120600.htm|url-status=dead|archive-date=2003-06-27|work=]|title=Focus on veena's exalted status}}</ref> composed in Tamil and Sanskrit,<ref name="autogenerated1" /> and used the signature ''Ramadasan'' in his compositions. | |||
| ==Learning Carnatic music== | |||
| Carnatic music is traditionally taught according to the system formulated by ]. This involves ''swaravalis'' (graded exercises), ''alankaras'' (exercises based on the seven talas), ] or simple songs, and ]. After the student has reached a certain standard, '']s'' are taught, and later, the student learns ]s. It typically takes several years of learning before a student is adept enough to perform at a concert. | |||
| ==Learning== | |||
| The learning texts and exercises are more or less uniform across all the South Indian states. The learning structure is arranged in the increasing order of the complexity. The lessons start with the learning of the ''sarali varisai'' (] set to a particular raga). | |||
| Carnatic music is traditionally taught according to the system formulated by ]. This involves ''sarali swaras'' (graded exercises), ''alankaras'' (exercises based on the seven talas), '']'' or simple songs, and ]. After the student has reached a certain standard, '']s'' are taught and later, the student learns ]s. It typically takes several years of learning before a student is adept enough to perform at a concert. | |||
| The learning texts and exercises are more or less uniform across all the South Indian states. The learning structure is arranged in increasing order of complexity. The lessons start with the learning of the ''sarali varisai'' (] set to a particular raga). | |||
| Carnatic music was traditionally taught in the ] system, where the student lived with and learnt the art from his ] (perceptor). From the late 20th century onwards, with changes in lifestyles and need for young music aspirants to simultaneously manoeuvre a parallel academic career, this system has found few takers. | |||
| Carnatic music was traditionally taught in the ] system, where the student lived with and learnt the art from his ] (perceptor). From the late 20th century onwards, with changes in lifestyles and need for young music aspirants to simultaneously pursue a parallel academic career, this system has found few takers. | |||
| Musicians often take great pride in letting people know about their ] ], or the hierarchy of disciples from some prominent ancient musician or composer, to which they belong. People whose disciple-hierarchies are often referred to are ], ], ], ], ] among others. | |||
| Musicians often take great pride in letting people know about their ] ], or the hierarchy of disciples from some prominent ancient musician or composer, to which they belong. People whose disciple-hierarchies are often referred to are ], ], ], ] and ], among others. | |||
| In modern times, it is often common for students to visit their gurus daily or weekly to learn music. Though new technology has made learning easier with the availability of quick-learn media such as learning exercises recorded on audio cassettes and CDs, these are discouraged by most gurus who emphasize that face-to-face learning is best for students. | |||
| In modern times, it is common for students to visit their gurus daily or weekly to learn music. Though new technology has made learning easier with the availability of quick-learn media such as learning exercises recorded on audio cassettes and CDs, these are discouraged by most gurus who emphasize that face-to-face learning is best for students. | |||
| ===Notations=== | ===Notations=== | ||
| Notation is not a new concept in Indian music. However, Carnatic music continued to be transmitted orally for centuries without being written down. The disadvantage with this system was that if one wanted to learn about a ] composed, for example, by ], it involved the difficult task of finding a person from Purandara Dasa's lineage of students. | Notation is not a new concept in Indian music. However, Carnatic music continued to be transmitted orally for centuries without being written down. The disadvantage with this system was that if one wanted to learn about a ] composed, for example, by ], it involved the difficult task of finding a person from Purandara Dasa's lineage of students. | ||
| Written notation of Carnatic music was revived in the late 17th century and early 18th century, which coincided with rule of ] in ]. Copies of Shahaji's musical manuscripts are still available at the ] in |
Written notation of Carnatic music was revived in the late 17th century and early 18th century, which coincided with rule of ] in ]. Copies of Shahaji's musical manuscripts are still available at the ] in Tanjore and they give us an idea of the music and its form. They contain snippets of ] to be used when performing the mentioned ragas. | ||
| ====Melody==== | ====Melody==== | ||
| Unlike ], Carnatic music is notated almost exclusively in ] notation using either a Roman or Indic script to represent the solfa names. Past attempts to use the ] have mostly failed. Indian music makes use of hundreds of ragas, many more than the ] in Western music. It becomes difficult to write Carnatic music using the staff notation without the use of too many ]. Furthermore, the staff notation requires that the song be played in a certain ]. The notions of key and absolute pitch are deeply rooted in Western music, whereas the Carnatic notation does not specify the key and prefers to use ]s (relative pitch) to denote notes. The singer is free to choose actual pitch of the ] note. In the more precise forms of Carnatic notation, there are symbols placed above the notes indicating how the notes should be played or sung; however, informally this practice is not followed. | Unlike classical ], Carnatic music is notated almost exclusively in ] notation using either a Roman or Indic script to represent the solfa names. Past attempts to use the ] have mostly failed. Indian music makes use of hundreds of ragas, many more than the ] in Western music. It becomes difficult to write Carnatic music using the staff notation without the use of too many ]. Furthermore, the staff notation requires that the song be played in a certain ]. The notions of key and absolute pitch are deeply rooted in Western music, whereas the Carnatic notation does not specify the key and prefers to use ]s (relative pitch) to denote notes. The singer is free to choose the actual pitch of the ] note. In the more precise forms of Carnatic notation, there are symbols placed above the notes indicating how the notes should be played or sung; however, informally this practice is not followed. | ||
| To show the length of a note, several devices are used. If the duration of note is to be doubled, the letter is either capitalized (if using Roman script) or lengthened by a ] (in Indian languages). For a duration of three, the letter is capitalized (or diacriticized) and followed by a comma. For a length of four, the letter is capitalized (or diacriticized) and then followed by a semicolon. In this way any duration can be indicated using a series of semicolons and commas. | To show the length of a note, several devices are used. If the duration of note is to be doubled, the letter is either capitalized (if using Roman script) or lengthened by a ] (in Indian languages). For a duration of three, the letter is capitalized (or diacriticized) and followed by a comma. For a length of four, the letter is capitalized (or diacriticized) and then followed by a semicolon. In this way any duration can be indicated using a series of semicolons and commas. | ||
| Line 155: | Line 200: | ||
| ====Rhythm==== | ====Rhythm==== | ||
| The notation is divided into columns, depending on the structure of the ]. The division between a ''laghu'' and a ''dhrutam'' is indicated by |
The notation is divided into columns, depending on the structure of the ]. The division between a ''laghu'' and a ''dhrutam'' is indicated by a।, called a ''ḍaṇḍā'', and so is the division between two ''dhrutams'' or a ''dhrutam'' and an ''anudhrutam''. The end of a cycle is marked by a॥, called a ''double ḍaṇḍā'', and looks like a ]. | ||
| == |
==Performance== | ||
| {{Main|Performances of Carnatic music}} | |||
| Carnatic music concerts are usually performed by a small ensemble of musicians who sit on a slightly elevated stage. Carnatic music concerts can be vocal recitals, accompanied by supporting instruments, or purely instrumental concerts, but irrespective of whether it is a vocal or purely instrumental concert, what is featured in a typical concert are compositions which form the core of this music. The lead-musician must also choose a signature octave based on his/her (vocal) range of comfort. However, it is expected that a musician maintains that same pitch once it is selected, and so to help all the performers maintain the selected pitch, the '']'' is the traditional ] instrument used in concerts. However, tamburas are increasingly being replaced by ]es, and now more commonly, the "]" | |||
| Carnatic music is usually performed by a small ensemble of musicians, who sit on an elevated stage. This usually consists of, at least, a principal performer, a melodic accompaniment, a rhythm accompaniment, and a drone.<ref name="LArmand1983">{{cite journal | last = L'Armand |first = A. K. | |||
| |title = One Hundred Years of Music in Madras: A Case Study in Secondary Urbanization| journal = Ethnomusicology |volume = 27 |pages = 411–438 |year = 1983 | doi = 10.2307/850653 | author2 = L'armand, Adrian | issue = 3 | publisher = Society for Ethnomusicology|jstor = 850653 | |||
| }}</ref> | |||
| Performances can be musical or musical-dramatic. Musical recitals are either vocal, or purely instrumental in nature, while musical-dramatic recitals refer to ].<ref name="LArmand1983"/> Regardless of what type of recital it is, what is featured are compositions which form the core of this genre of music. | |||
| In a vocal recital, a concert team may have one or more vocalists, accompanied by instrumentalists. Other instruments such as the ] and/or ] can be found to occasionally accompany a lead vocalist, but usually a vocalist is supported by a ] player (who sits on his/her left), and a few percussion players including at least a ] (who usually sits on the other side of the vocalist, facing the instrumentalist). Other percussion instruments that are also used include the ], '']'' and '']'', which also accompany the main percussion instrument and play almost in a ] fashion along with the beats. The objective of the accompanying instruments is far more than following the melody and keeping the beats. The accompaniments form an integral part of every composition | |||
| presented, and they closely follow and augment the melodic phrases outlines by the lead singer. The vocalist and the violinist take turns while elaborating or while exhibiting creativity in sections like ], ] and ]. Unlike ] concerts, where an accompanying ] player can keep beats without following the musical phrases at times, in Carnatic music, the accompaniments have to know follow intricacies of the composition since there are percussion elements such as eduppu, in several compositions. Some of the best concerts | |||
| feature a good bit of interaction with the lead musicians and the accompaniments exchanging notes, and accompanying | |||
| musicians predicting the lead singer musical phrases. | |||
| ===Instrumentation=== | |||
| {{See also|Indian musical instruments}} | {{See also|Indian musical instruments}} | ||
| The '']'' is the traditional ] instrument used in concerts. However, tanpuras are increasingly being replaced by ]es, and now more commonly, the ]. The drone itself is an integral part of performances and furnishes stability – the equivalent of ] in Western music.<ref name="Rosenthal1931">{{cite journal | last = Rosenthal|first = E.|title = Tyagaraja: A Great South Indian Composer| journal = Musical Quarterly |volume = XVII |pages = 14–24 |year = 1931 | doi = 10.1093/mq/XVII.1.14}}</ref> | |||
| In a vocal recital, a concert team may have one or more vocalists as the principal performer(s). Instruments, such as the ] and/or ] flute, can be occasionally found as an accompaniment, but usually, a vocalist is supported by a violin player (who sits on his/her left). The rhythm accompanist is usually a ] player (who sits on the other side, facing the violin player). However, other percussion instruments such as the ], ] and ] frequently also accompany the main percussion instrument and play in an almost ] fashion along with the beats. | |||
| ===Content=== | |||
| A contemporary Carnatic concert (called a ''kutcheri'') usually lasts about three hours, and usually comprises a number of varied compositions. Carnatic songs are composed in a particular '']'', which means that they do not deviate from the notes in the '']''. Each composition is set with specific notes and beats, but performers improvise extensively. Improvisation occurs in the melody of the composition as well as in using the notes to expound the beauty of the '']''. | |||
| The objective of the accompanying instruments is far more than following the melody and keeping the beats. The accompaniments form an integral part of every composition presented, and they closely follow and augment the melodic phrases outlined by the lead singer. The vocalist and the violinist take turns while elaborating or while exhibiting creativity in sections like ], ] and ]. | |||
| Concerts usually begin with a '']'' or an invocatory item which will act as the opening piece. The '']'' is composed with an emphasis on '']s'' of the raga, but will also have lyrics, the ''saahityam''. It is lively and fast to get the audience's attention. An invocatory item, may alternatively, follow the ''varnam''. | |||
| Unlike ] concerts, where an accompanying ] player can keep beats without following the musical phrases at times, in Carnatic music, the accompanists have to follow the intricacies of the composition since there are percussion elements such as eduppu in several compositions. | |||
| After the '']'' and/or invocatory item, the artist sings longer compositions called ''kirtanas'' (commonly referred to as '']''s). Each ] sticks to one specific ''raga'', although some are composed with more than one raga; these are known as ''ragamalika'' (a garland of ''ragas''). | |||
| Some concerts feature a good bit of interaction with the lead musicians and accompanists exchanging notes, and accompanying musicians predicting the lead musician's musical phrases. | |||
| After singing the opening '']'', usually, the performer sings the '']'' of the '']'' to the beat. The performer must improvise a string of '']s'' in any octave according to the rules of the raga and return to beginning of the cycle of beats smoothly, joining the '']s'' with a phrase selected from the '']''. The violin performs these alternately with the main performer. In very long strings of '']'', the performers must calculate their notes accurately to ensure that they stick to the '']'', have no awkward pauses and lapses in the beat of the song, and create a complex pattern of notes that an experienced audience can follow. | |||
| ===Contemporary concert content=== | |||
| Performers then begin the main compositions with a section called '']'' exploring the '']''. In this, they use the sounds ''aa, ri, na, ta'', etc. instead of '']'' to slowly elaborate the notes and flow of the raga. This begins slowly and builds to a crescendo, and finally establishes a complicated exposition of the '']'' that shows the performer's skill. All of this is done without any rhythmic accompaniment, or beat. Then the melodic accompaniment (violin or veena), expounds the '']''. Experienced listeners can identify many ragas after they hear just a few notes. With the '']'' thus established, the song begins, usually with lyrics. In this, the accompaniment (usually violin, sometimes veena) performs along with the main performer and the percussion (such as a ]). In the next stage of the song, they may sing '']'' or ''kalpanaswaram'' again. | |||
| A contemporary Carnatic music concert (called a ''kutcheri'') usually lasts about three hours, and comprises a number of varied compositions. Carnatic songs are composed in a particular '']'', which means that they do not deviate from the notes in the ''raga''. Each composition is set with specific notes and beats, but performers improvise extensively. Improvisation occurs in the melody of the composition as well as in using the notes to expound the beauty of the ''raga''. | |||
| Concerts usually begin with a '']'' or an invocatory item which will act as the opening piece. The ''varnam'' is composed with an emphasis on '']s'' of the raga, but will also have lyrics, the ''saahityam''. It is lively and fast to get the audience's attention. An invocatory item may usually follow the ''varnam''. | |||
| In most concerts, the main item will at least have a section at the end of the item, for the percussion to perform solo (called the ''tani avartanam''). The percussion performers perform complex patterns of rhythm and display their skill. If multiple percussion instruments are employed, they engage in a rhythmic dialogue until the main performer picks up the melody once again. Some experienced artists may follow the main piece with a '']'' mid-concert, if they do not use it as the main item. | |||
| After the ''varnam'' and/or invocatory item, the artist sings longer compositions called ''kirtanas'' (commonly referred to as '']''s). Each kriti sticks to one specific ''raga'', although some are composed with more than one raga; these are known as ''ragamalika'' (a garland of ''ragas''). | |||
| Following the main composition, the concert continues with shorter and lighter songs. Some of the types of songs performed towards the end of the concerts are '']s'' and ''thukkadas'' - bits of popular ''kriti''s or compositions requested by the audience. Every concert that is the last of the day ends with a ''mangalam'', a thankful prayer and conclusion to the musical event. | |||
| After singing the opening ''kriti'', usually, the performer sings the '']'' of the ''raga'' to the beat. The performer must improvise a string of ''swaras'' in any octave according to the rules of the raga and return to beginning of the cycle of beats smoothly, joining the ''swaras'' with a phrase selected from the ''kriti''. The violin performs these alternately with the main performer. In very long strings of ''swara'', the performers must calculate their notes accurately to ensure that they stick to the ''raga'', have no awkward pauses or lapses in the beat of the song, and create a complex pattern of notes that a knowledgeable audience can follow. | |||
| Performers then begin the main compositions with a section called '']'' exploring the ''raga''. In this, they use the sounds ''aa, ri, na, ta'', etc. instead of ''swaras'' to slowly elaborate the notes and flow of the raga. This begins slowly and builds to a crescendo, and finally establishes a complicated exposition of the ''raga'' that shows the performer's skill. All of this is done without any rhythmic accompaniment, or beat. Then the melodic accompaniment (violin or veena), expounds the ''raga''. Experienced listeners can identify many ragas after they hear just a few notes. With the ''raga'' thus established, the song begins, usually with lyrics. In this, the accompaniment (usually violin, sometimes veena) performs along with the main performer and the percussion (such as a ]). In the next stage of the song, they may sing '']'' or ''kalpanaswaram'' again. | |||
| In most concerts, the main item will at least have a section at the end of the item, for the percussion to perform solo (called the ''tani avartanam''). The percussion artists perform complex patterns of rhythm and display their skill. If multiple percussion instruments are employed, they engage in a rhythmic dialogue until the main performer picks up the melody once again. Some experienced artists may follow the main piece with a '']'' mid-concert, if they do not use it as the main item. | |||
| Following the main composition, the concert continues with shorter and lighter songs. Some of the types of songs performed towards the end of the concerts are '']s'' and ''thukkadas'' – bits of popular ''kriti''s or compositions requested by the audience. Every concert that is the last of the day ends with a ''mangalam'', a thankful prayer and conclusion to the musical event. | |||
| ===Audience=== | ===Audience=== | ||
| The audience of a typical concert |
The audience of a typical concert will have some understanding of Carnatic music. It is also typical to see the audience tapping out the ''tala'' in sync with the artist's performance. As and when the artist exhibits creativity, the audience acknowledge it by clapping their hands. With experienced artists, towards the middle of the concert, requests start flowing in. The artist usually sings the requests, and it helps in exhibiting the artist's broad knowledge of the several thousand ]s that are in existence. | ||
| === |
===Festivals=== | ||
| {{ |
{{Main|List of Indian classical music festivals|Madras Music Season}} | ||
| Every December, the city of ] in India has its six week-long ], which has been described as the world's largest cultural event.<ref>{{cite web | |||
| |url=http://www.hindu.com/2005/02/03/stories/2005020301281000.htm | |||
| |title=Musical Musings | |||
| |publisher=The Hindu | |||
| |accessdate=2007-01-13 | |||
| }}</ref> The Music Season was started in 1927, to mark the opening of the ]. It used to be a traditional month-long Carnatic music festival, but since then it has also diversified into ] and ], as well as non-Carnatic art forms. | |||
| Various ] featuring Carnatic music performances are held in India, and throughout the world. | |||
| ===Artists=== | |||
| {{underconstruction}} | |||
| Carnatic artists often have to have had several years of intense training, and practice, before being qualified as a musician that may perform on stage. | |||
| With the city of ] (then known as ]) emerging as the locus for Carnatic music during the 19th century,<ref name="Hughes2002"/> its musicians founded the ] festival in 1846. The Aradhana festival is an annual death-anniversary celebration of the prolific Carnatic music composer, ]. Held in the city of ], thousands of musicians attend the festival to perform his compositions. Since its inception, other festivals were started in a similar manner throughout India and abroad, such as the ] in the Indian city of ], and the Aradhana in the US city of ]. | |||
| The most popular and prominent Carnatic musicians are considered the most versatile and effective performers. They have often been a disciple to at least one legendary artist, or have learnt under such a disciple. | |||
| The city of Chennai also holds a six-week-long grand "]", which has been described as the world's largest cultural event.<ref>{{cite news|url=http://www.hindu.com/2005/02/03/stories/2005020301281000.htm|archive-url=https://web.archive.org/web/20050207150555/http://www.hindu.com/2005/02/03/stories/2005020301281000.htm|url-status=dead|archive-date=2005-02-07|title=Musical Musings|access-date=2007-01-13|location=Chennai, India|newspaper=]|date=2005-02-03}}</ref> The Music Season was started in 1927, to mark the opening of the ]. It used to be a traditional month-long Carnatic music festival, but since then it has also diversified into ] and ], as well as non-Carnatic art forms. Some concert organisers also feature their own Carnatic music festivals during the season. Thousands of performances are held by hundreds of musicians across various venues in the city. | |||
| {{See also|List of prominent Carnatic artists}} | |||
| The ] is an annual conference of Carnatic music, held in February every year, which has lectures and demonstrations in the morning, and performances in the afternoons and evenings. | |||
| ==See also== | ==See also== | ||
| *] | |||
| {{Portal|India|Music}} | |||
| *] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| ==Notes== | ==Notes== | ||
| {{notelist}} | |||
| <div class="references-small" style="-moz-column-count: 2; column-count: 2;"> | |||
| <references /> | |||
| </div> | |||
| ==References== | ==References== | ||
| {{Reflist}} | |||
| * Pranesh, Meera Rajaram (2003), Musical Composers during Wodeyar Dynasty (1638-1947 A.D.), Vee Emm Publications, Bangalore | |||
| * Kassebaum, Gayatri Rajapur. 'Karnatak raga' (2000). In {{cite book|title=The Garland Encyclopedia of World Music|last=Arnold|first=Alison|publisher=Taylor & Francis|location=] & ]|ref=Arnold2000}} | |||
| * {{cite book|title=Romance of the Raga|last=Moorthy|first=Vijaya|year=2001|publisher=Abhinav Publications|location=]|ref=Moorthy2001}} | |||
| * Nettl, B. (2009). In {{cite book|title=Musical Improvisation: Art, Education, and Society|last=Solis|first=Gabriel|author2=Nettl, Bruno|year=2009|publisher=]|ref=SolisNettl2009}} | |||
| * {{cite book|title=Musical Composers during Wodeyar Dynasty (1638–1947 A.D.)|last=Pranesh|first=Meera Rajaram|year=2003|publisher=Vee Emm Publications|location=]|ref=Pranesh2003}} | |||
| * {{cite book|title=The Harvard Dictionary of Music|last=Randel|first=Don Michael|year=2003|publisher=Harvard University Press|location=United States|ref=Randel2003}} | |||
| * Viswanathan, T. & Cormack, Jody (1998). In {{cite book|title=In the Course of Performance: Studies in the World of Musical Improvisation|last=Nettl|first=Bruno|author-link=Bruno Nettl|author2=Russell, Melinda|publisher=]|location=] & ]|ref=NettlRussell1998|isbn=0-226-57411-3|date=15 December 1998|url-access=registration|url=https://archive.org/details/incourseofperfor0000unse}} | |||
| ==Bibliography== | |||
| * {{cite book |title=The Music and Musical Instruments of southern India and the Deccan |author=Charles Russel Day |others=William Gibb (lllus.) |publisher=Novello, Ewer & Co., London - |year=1891 |url=https://archive.org/stream/musicmusicalinst00dayc#page/n7/mode/2up }} | |||
| * {{cite encyclopedia | encyclopedia=Encyclopædia Britannica | edition=15 | year=2005 | article=}} | |||
| * {{cite book | author= Panchapakesa Iyer, A. S.| title= Gānāmruta Varna Mālikā| publisher=Gānāmruta Prachuram | year=2003 }} | |||
| ==External links== | ==External links== | ||
| {{Wikiquote}} | |||
| * . Portal on Carnatic music. It has links to almost all the Carnatic sites in existence as well as a reference library and page of lists for ragas, compositions and lyrics. | |||
| {{Commons category}} | |||
| * carnatic music downloads, lessons, free compositions | |||
| * . An innovative portal on Carnatic music. It has a great deal of information. | |||
| * . This site is perhaps one of the oldest sites with information on Carnatic music and also other styles of Indian classical music and dance. It also carries information on 'Madras Music Season'. | |||
| *Published by World Music Central | |||
| *Published by World Music Central | |||
| * A great deal of information on Carnatic music and more. | |||
| * | |||
| {{Indian Music}} | |||
| ==Bibliography== | |||
| {{Melakarta ragas}} | |||
| *{{cite encyclopedia | ency=Encyclopædia Britannica | edition=15 | year=2005 | article=}} | |||
| {{Janya}} | |||
| *{{cite book | author= Panchapakesa Iyer, A. S.| title= Gānāmrutha Varna Mālikā| publisher=Gānāmrutha Prachuram | year=2003 | id= }} | |||
| {{Violin family}} | |||
| {{Karnataka topics}} | |||
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| {{Authority control}} | |||
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Latest revision as of 08:15, 22 December 2024
Music genre originating in southern India
| Carnatic music |
|---|
 Tanjavur-style tambura |
| Concepts |
| Compositions |
| Instruments |
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| Indian classical music |
|---|
 |
| Concepts |
Carnatic music or Karnataka Sangita (known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the Dravidian languages) is a system of music commonly associated with South India, including the modern Indian states of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu and portions of east and south Telangana and southern Odisha.
It is one of three main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. (The other two are Hindustani music and Odissi music.) The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style.
Although there are stylistic differences, the basic elements of śruti (the relative musical pitch), svara (the musical sound of a single note), rāga (the mode or melodic formulae), and tala (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung through compositions, especially the kriti (or kirtanam) – a form developed between the 14th and 20th centuries by composers such as Purandara Dasa, and the Trinity of Carnatic music. Carnatic music is also usually taught and learned through compositions. Telugu language predominates in the evolution of Carnatic music. Most Carnatic compositions are in Telugu and Sanskrit. ṭ Carnatic music is usually performed by a small ensemble of musicians, consisting of a principal performer (usually a vocalist), a melodic accompaniment (usually a violin), a rhythm accompaniment (usually a mridangam), and a tambura, which acts as a drone throughout the performance. Other typical instruments used in performances may include the ghatam, kanjira, morsing, venu flute, veena, and chitraveena. The greatest concentration of Carnatic musicians is to be found in the city of Chennai. Various Carnatic music festivals are held throughout India and abroad, including the Madras Music Season, which has been considered to be one of the world's largest cultural events.
Etymology
Carnatic music originated in Karnataka and was named after it, known as Karnāṭaka Saṁgīta which spread through Andhra and Tamil countries where it was sumptuously nourished
Origin and history
Like all art forms in Indian culture, Indian classical music is believed to be a divine art form which originated from the devas and devis (Hindu gods and goddesses), and is venerated as symbolic of nāda brāhman. Ancient treatises also describe the connection of the origin of the svaras, or notes, to the sounds of animals and birds and man's effort to simulate these sounds through a keen sense of observation and perception. The Samaveda, which is believed to have laid the foundation for Indian classical music, consists of hymns from the Rigveda, set to musical tunes which would be sung using three to seven musical notes during Vedic yajnas. The Yajurveda, which mainly consists of sacrificial formulae, mentions the veena as an accompaniment to vocal recitations. References to Indian classical music are made in many ancient texts, including epics like the Ramayana and the Mahabharata. The Yajnavalkya Smriti states, "vīṇāvādana tattvajñaḥ śrutijātiviśāradaḥ tālajñaścāprayāsena mokṣamārgaṃ niyacchati" (The one who is well versed in veena, one who has the knowledge of srutis and one who is adept in tala, attains liberation (moksha) without doubt"). Contemporray Carnatic music is based on musical concepts (including svara, raga, and tala) that were described in detail in several ancient works, particularly the Bharata's Natya Shastra and Cilappatikaram by Ilango Adigal.
Owing to Persian and Islamic influences in North India from the 12th century onwards, Indian classical music began to diverge into two distinct styles — Hindustani music and Carnatic music. Commentaries and other works, such as Sharngadeva's Sangita Ratnakara, further elaborated on the musical concepts found in Indian classical music. By the 16th and 17th centuries, there was a clear demarcation between Carnatic and Hindustani music; Carnatic music remained relatively unaffected by Persian and Arabic influences. It was at this time that Carnatic music flourished in Vijayanagara, while the Vijayanagara Empire reached its greatest extent. Purandara Dasa, who is known as the "father (pitamaha) of Carnatic music", formulated the system that is commonly used for the teaching of Carnatic music. Venkatamakhin invented and authored the formula for the melakarta system of raga classification in his Sanskrit work, the Chaturdandi Prakasika (1660 AD). Govindacharya is known for expanding the melakarta system into the sampurna raga scheme – the system that is in common use today.
By the 16th century, Indian classical music split into two styles: Hindustani in the North and Karnataka (later called Carnatic) in the South. The term "Karnataka" music originated from the Vijayanagara Empire, historically known as the Karnataka Empire. The British later influenced the change in name to "Carnatic" music, and the term is only about 150–200 years old.
In the 18th and 19th centuries, Carnatic music was mainly patronised by the local kings of the Kingdom of Mysore, Kingdom of Travancore, and the Maratha rulers of Tanjore. Some of the royalty of the kingdoms of Mysore and Travancore were themselves noted composers and proficient in playing musical instruments, such as the veena, rudra veena, violin, ghatam, venu, mridangam, nadaswaram, and swarabat. Some famous court-musicians proficient in music were Veene Sheshanna (1852–1926) and Veene Subbanna (1861–1939), among others.
During the late 19th century, the city of Madras (now known as Chennai) emerged as the locus for Carnatic music. With the dissolution of the erstwhile princely states and the Indian independence movement reaching its conclusion in 1947, Carnatic music went through a radical shift in patronage into an art of the masses with ticketed performances organised by private institutions called sabhās.
Carnatic music outside of South India
From the 18th century, South Indian immigrant communities abroad increased, especially in Southeast Asia and Sri Lanka. Communities such as the Nattukottai Chettiars participate in the extension of the Carnatic cultural scene abroad, thanks to their rich patronage activity. Carnatic music artists therefore perform abroad among South Indian communities who request their coming, in order to enliven local community life. For a long time in Sri Lanka, Carnatic music was associated with Indian immigrants, and was often derogatorily referred to as "thosai kade music" ("music from the dosa shop"), in reference to the South Indians-owned restaurants and eateries that typically played this kind of music.
From the 20th century, Carnatic music gained significant popularity among certain social strata of the Sri Lankan population, who were then heavily influenced by a prominent cultural movement known as the Hindu revival. Carnatic music was thus appropriated and highly promoted during the 1920s and 1930s as a cultural and identity marker of the Colombo and Jaffna bourgeoisies, and by extension of the Sri Lankan Tamils. The place given to Carnatic music in the construction of a modern Sri Lankan Tamil identity has reached significant proportions, such as its rise in the curricula of most Jaffna colleges, where it gradually replaced from the mid-1930s the teaching of Western classical music, or its high esteem among the upper social classes of Colombo and Jaffna, where the learning of Carnatic music among young women is expected as a sign of good education. Many people have travelled to India for improving their skills, and the flow of students to India from Sri Lanka or of Sri Lankan Tamil origin is constantly increasing.
Nature
The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as gāyaki). Like Hindustani music, Carnatic music rests on two main elements: rāga, the modes or melodic formulae, and tāḷa, the rhythmic cycles.
Today, Carnatic music is presented by musicians in concerts or recordings, either vocally or through instruments. Carnatic music itself developed around musical works or compositions of phenomenal composers (see below).
Important elements
Śruti
Main article: Śruti (music)Śruti commonly refers to musical pitch. It is the approximate equivalent of a tonic (or less precisely a key) in Western music; it is the note from which all the others are derived. It is also used in the sense of graded pitches in an octave. While there are an infinite number of sounds falling within a scale (or raga) in Carnatic music, the number that can be distinguished by auditory perception is twenty-two (although over the years, several of them have converged). In this sense, while sruti is determined by auditory perception, it is also an expression in the listener's mind.
Svara
Main article: SvaraSvara refers to a type of musical sound that is a single note, which defines a relative (higher or lower) position of a note, rather than a defined frequency. Svaras also refer to the solfege of Carnatic music, which consist of seven notes, "sa-ri-ga-ma-pa-da-ni" (compare with the Hindustani sargam: sa-re-ga-ma-pa-dha-ni or Western do-re-mi-fa-so-la-ti). These names are abbreviations of the longer names shadja, rishabha, gandhara, madhyama, panchama, dhaivata and nishada. Unlike other music systems, every member of the solfege (called a swara) has three variants. The exceptions are the drone notes, shadja and panchama (also known as the tonic and the dominant), which have only one form; and madhyama (the subdominant), which has two forms. A 7th century stone inscription in Kudumiyan Malai in Tamil Nadu shows vowel changes to solfege symbols with ra, ri, ru etc. to denote the higher quarter-tones. In one scale, or raga, there is usually only one variant of each note present. The exceptions exist in "light" ragas, in which, for artistic effect, there may be two, one ascending (in the arohanam) and another descending (in the avarohanam).
Raga system
Main article: Raga See also: List of composers who created ragasA raga in Carnatic music prescribes a set of rules for building a melody – very similar to the Western concept of mode. It specifies rules for movements up (aarohanam) and down (avarohanam), the scale of which notes should figure more and which notes should be used more sparingly, which notes may be sung with gamaka (ornamentation), which phrases should be used or avoided, and so on. In effect, it is a series of obligatory musical events which must be observed, either absolutely or with a particular frequency.
In Carnatic music, the sampoorna ragas (those with all seven notes in their scales) are classified into a system called the melakarta, which groups them according to the kinds of notes that they have. There are seventy-two melakarta ragas, thirty six of whose madhyama (subdominant) is shuddha (perfect fourth from the tonic), the remaining thirty-six of whose madhyama (subdominant) is prati (an augmented fourth from the tonic). The ragas are grouped into sets of six, called chakras ("wheels", though actually segments in the conventional representation) grouped according to the supertonic and mediant scale degrees. There is a system known as the katapayadi sankhya to determine the names of melakarta ragas.
Ragas may be divided into two classes: janaka ragas (i.e. melakarta or parent ragas) and janya ragas (descendant ragas of a particular janaka raga). Janya ragas are themselves subclassified into various categories.
Tala system
Main article: Tala (music)Tala refers to a fixed time cycle or metre, set for a particular composition, which is built from groupings of beats. Talas have cycles of a defined number of beats and rarely change within a song. They have specific components, which in combinations can give rise to the variety to exist (over 108), allowing different compositions to have different rhythms.
Carnatic music singers usually keep the beat by moving their hands up and down in specified patterns, and using their fingers simultaneously to keep time. Tala is formed with three basic parts (called angas) which are laghu, dhrtam, and anudhrtam, though complex talas may have other parts like plutam, guru, and kaakapaadam. There are seven basic tala groups which can be formed from the laghu, dhrtam, and anudhrtam:
- Ata tala
- Dhruva tala
- Eka tala
- Jhampa tala
- Matya tala
- Rupaka tala
- Triputa tala
A laghu has five variants (called jaathis) based on the counting pattern. Five jaathis times seven tala groups gives thirty-five basic talas, although use of other angas results in a total of 108 talas.
Improvisation
Improvisation in raga is the soul of Indian classical music – an essential aspect. "Manodharma Sangeetam" or "kalpana Sangeetam" ("music of imagination") as it is known in Carnatic music, embraces several varieties of improvisation.
The main traditional forms of improvisation in Carnatic music consist of the following:
- Alapana
- Niraval
- Pallavi
- Ragam
- Swarakalpana
- Tanam
- Tani Avartanam
Raga Alapana
Main article: AlapanaAn alapana, sometimes also called ragam, is the exposition of a raga or tone – a slow improvisation with no rhythm, where the raga acts as the basis of embellishment. In performing alapana, performers consider each raga as an object that has beginnings and endings and consists somehow of sequences of thought.
The performer will explore the ragam and touch on its various nuances, singing in the lower octaves first, then gradually moving up to higher octaves, while giving a hint of the song to be performed.
Theoretically, this ought to be the easiest type of improvisation, since the rules are so few, but in fact, it takes much skill to sing a pleasing, comprehensive (in the sense of giving a "feel for the ragam") and, most importantly, original raga alapana.
Niraval
Main article: NiravalNiraval, usually performed by the more advanced performers, consists of singing one or two lines of text of a song repeatedly, but with a series of melodic improvised elaborations. Although niraval consists of extempore melodic variations, generally, the original patterns of duration are maintained; each word in the lines of text stay set within their original place (idam) in the tala cycle. The lines are then also played at different levels of speed which can include double speed, triple speed, quadruple speed and even sextuple speed. The improvised elaborations are made with a view of outlining the raga, the tempo, and the theme of the composition.
Kalpanaswaram
Main article: KalpanaswaramKalpanaswaram, also known as swarakalpana, consists of improvising melodic and rhythmic passages using swaras (solfa syllables). Like niraval, kalpanaswaras are sung to end on a particular swara in the raga of the melody and at a specific place (idam) in the tala cycle.
Kalpanaswaras have a somewhat predictable rhythmical structure; the swaras are sung to end on the samam (the first beat of the rhythmical cycle). The swaras can also be sung at the same speed or double the speed of the melody that is being sung, though some artists sing triple-speed phrases too.
Kalpanaswaram is the most elementary type of improvisation, usually taught before any other form of improvisation.
Tanam
Tanam is one of the most important forms of improvisation, and is integral to Ragam Tanam Pallavi. Originally developed for the veena, it consists of expanding the raga with syllables like tha, nam, thom, aa, nom, na, etc.
Ragam Tanam Pallavi
Main article: Ragam Tanam PallaviRagam, Tanam, and Pallavi are the principal long form in concerts, and is a composite form of improvisation. As the name suggests, it consists of raga alapana, tanam, and a pallavi line. Set to a slow-paced tala, the pallavi line is often composed by the performer. Through niraval, the performer manipulates the pallavi line in complex melodic and rhythmic ways. The niraval is followed by kalpanaswarams.
Tani Avartanam
Tani Avartanam refers to the extended solo that is played by the percussionists in a concert, and is usually played after the main composition in a concert. The percussionist displays the full range of his skills and rhythmic imagination during the solo, which may take from two to twenty minutes.
Compositions
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In contrast to Hindustani music of the northern part of India, Carnatic music is taught and learned through compositions, which encode many intricate musical details, also providing scope for free improvisation. Nearly every rendition of a Carnatic music composition is different and unique as it embodies elements of the composer's vision, as well as the musician's interpretation.
A Carnatic composition really has two elements, one being the musical element, the other being what is conveyed in the composition. It is probably because of this fact that most Carnatic music compositions are composed for singing. In addition to the rich musical experience, each composition brings out the knowledge and personality of the composer, and hence the words are as important as the musical element itself. This poses a special challenge for the musicians because rendering this music does not involve just playing or singing the correct musical notes; the musicians are expected to understand what was conveyed by the composer in various languages, and sing musical phrases that act to create the effect that was intended by the composer in his/her composition.
There are many types/forms of compositions.
Geethams and swarajatis (which have their own peculiar composition structures) are principally meant to serve as basic learning exercises.
Compositions more commonly associated with Indian classical dance and Indian devotional music have also been increasingly used in the Carnatic music repertoire. The performance of the Sanskrit sloka, Tamil viruttam, Kannada Ugabhoga and Telugu padyamu or sisapadya forms are particularly unique. Though these forms consist of lyric-based verses, musicians improvise raga phrases in free rhythm, like an alapana, so both the sound value, and the meaning of the text, guide the musician through elaborate melodic improvisations. Forms such as the divya prabandham, thevaram and ugabhoga are often performed similarly, however, these forms can also have a set melody and rhythm like the devaranama, javali, padam, thillana and thiruppugazh forms.
The most common and significant forms in Carnatic music are the varnam and the kriti (or kirtanam).
Varnam
Main article: VarnamVarnams are short metric pieces which encapsulate the main features and requirements of a raga. The features and rules of the raga (also known as the sanchaaraas of a raga) include how each note of the raga should be stressed, the scale of the raga, and so on. All varnams consist of lyrics, as well as swara passages, including a pallavi, an anupallavi, muktayi swaras, a charanam, and chittaswaras.
Known for their complex structure, varnams are a fundamental form in Carnatic music. Varnams are practised as vocal exercises in multiple speeds by performers of Carnatic music, to help develop voice culture, and maintain proper pitch and control of rhythm. In Carnatic music concerts, varnams are often performed by musicians as the opening item – acting as a warm up for the musicians, and as a means of grabbing the attention of the audience.
Kriti
Main article: Kriti (music)Carnatic songs (kritis) are varied in structure and style, but generally consist of three units:
- Pallavi. This is the equivalent of a refrain in Western music, with 1 or 2 lines.
- Anupallavi. This is the second verse, also as 2 lines.
- Charana. The final (and longest) verse that wraps up the song. The Charanam usually borrows patterns from the Anupallavi. There can be multiple charanas.
This kind of song is called a keerthanam or a kriti. There are other possible structures for a kriti, which may in addition include swara passages named chittaswara. A chittaswara consists only of notes, and has no words. Still others have a verse at the end of the charana, called the madhyamakāla. It is sung immediately after the charana, but at double speed.
Prominent composers
See also: List of Carnatic composers, List of composers who created ragas, and Musicians of the Kingdom of MysoreThere are many composers in Carnatic music. Purandara Dasa (1484–1564) is referred to as the Pitamaha (the father or grandfather) of Carnatic music as he formulated the basic lessons in teaching Carnatic music, and in honour of his significant contribution to Carnatic music. He structured graded exercises known as Swaravalis and Alankaras, and at the same time, introduced the Raga Mayamalavagowla as the first scale to be learnt by beginners. He also composed Gitas (simple songs) for novice students.
The contemporaries Tyagaraja (1767– 1847), Muthuswami Dikshitar, (1776–1835) and Syama Sastri, (1762–1827) are regarded as the Trinity of Carnatic music because of the quality of Syama Sastri's compositions, the varieties of compositions of Muthuswami Dikshitar, and Tyagaraja's prolific output in composing kritis.
Prominent composers prior to the Trinity of Carnatic music include Sripadaraja, Vyasatirtha, Kanakadasa, Vadiraja Tirtha, Arunachala Kavi, Annamacharya, Narayana Theertha, Vijaya Dasa, Jagannatha Dasa, Gopala Dasa, Bhadrachala Ramadas, Sadasiva Brahmendra and Oottukkadu Venkata Kavi. Other composers are Swathi Thirunal, Gopalakrishna Bharathi, Neelakanta Sivan, Patnam Subramania Iyer, Mysore Vasudevachar, Koteeswara Iyer, Muthiah Bhagavathar, Subramania Bharathiyar, Kalyani Varadarajan, M. Balamuralikrishna and Papanasam Sivan. The compositions of these composers are rendered frequently by artists of today.
Composers of Carnatic music were often inspired by religious devotion and were usually scholars proficient in one or more of the languages Kannada, Malayalam, Sanskrit, Tamil, or Telugu. They usually included a signature, called a mudra, in their compositions. For example, all songs by Tyāgarāja (who composed in Sanskrit and Telugu) have the word Tyagaraja in them, all songs by Muttuswāmi Dīkṣitar (who composed in Sanskrit and Maṇipravāl̥am) have the words Guruguha in them; songs by Śyāma Śāstri (who composed in Sanskrit and Telugu) have the words Śyāma Kr̥ṣṇa in them; all songs by Purandaradasa (who composed in Kannada and Sanskrit) have the words Purandara Vitthala; while Gopalakrishna Bharathi (who composed in Tamil) used the signature Gopalakrishnan in his compositions. Papanasam Sivan, who has been hailed as the Tamil Tyagaraja of Carnatic music, composed in Tamil and Sanskrit, and used the signature Ramadasan in his compositions.
Learning
Carnatic music is traditionally taught according to the system formulated by Purandara Dasa. This involves sarali swaras (graded exercises), alankaras (exercises based on the seven talas), geetams or simple songs, and Swarajatis. After the student has reached a certain standard, varnams are taught and later, the student learns kritis. It typically takes several years of learning before a student is adept enough to perform at a concert.
The learning texts and exercises are more or less uniform across all the South Indian states. The learning structure is arranged in increasing order of complexity. The lessons start with the learning of the sarali varisai (solfege set to a particular raga).
Carnatic music was traditionally taught in the gurukula system, where the student lived with and learnt the art from his guru (perceptor). From the late 20th century onwards, with changes in lifestyles and need for young music aspirants to simultaneously pursue a parallel academic career, this system has found few takers.
Musicians often take great pride in letting people know about their Guru Parampara, or the hierarchy of disciples from some prominent ancient musician or composer, to which they belong. People whose disciple-hierarchies are often referred to are Tyagaraja, Muthuswami Dikshitar, Syama Sastri, Swathi Thirunal and Papanasam Sivan, among others.
In modern times, it is common for students to visit their gurus daily or weekly to learn music. Though new technology has made learning easier with the availability of quick-learn media such as learning exercises recorded on audio cassettes and CDs, these are discouraged by most gurus who emphasize that face-to-face learning is best for students.
Notations
Notation is not a new concept in Indian music. However, Carnatic music continued to be transmitted orally for centuries without being written down. The disadvantage with this system was that if one wanted to learn about a kriti composed, for example, by Purandara Dasa, it involved the difficult task of finding a person from Purandara Dasa's lineage of students.
Written notation of Carnatic music was revived in the late 17th century and early 18th century, which coincided with rule of Shahaji II in Tanjore. Copies of Shahaji's musical manuscripts are still available at the Saraswati Mahal Library in Tanjore and they give us an idea of the music and its form. They contain snippets of solfege to be used when performing the mentioned ragas.
Melody
Unlike classical Western music, Carnatic music is notated almost exclusively in tonic sol-fa notation using either a Roman or Indic script to represent the solfa names. Past attempts to use the staff notation have mostly failed. Indian music makes use of hundreds of ragas, many more than the church modes in Western music. It becomes difficult to write Carnatic music using the staff notation without the use of too many accidentals. Furthermore, the staff notation requires that the song be played in a certain key. The notions of key and absolute pitch are deeply rooted in Western music, whereas the Carnatic notation does not specify the key and prefers to use scale degrees (relative pitch) to denote notes. The singer is free to choose the actual pitch of the tonic note. In the more precise forms of Carnatic notation, there are symbols placed above the notes indicating how the notes should be played or sung; however, informally this practice is not followed.
To show the length of a note, several devices are used. If the duration of note is to be doubled, the letter is either capitalized (if using Roman script) or lengthened by a diacritic (in Indian languages). For a duration of three, the letter is capitalized (or diacriticized) and followed by a comma. For a length of four, the letter is capitalized (or diacriticized) and then followed by a semicolon. In this way any duration can be indicated using a series of semicolons and commas.
However, a simpler notation has evolved which does not use semicolons and capitalization, but rather indicates all extensions of notes using a corresponding number of commas. Thus, Sā quadrupled in length would be denoted as "S,,,".
Rhythm
The notation is divided into columns, depending on the structure of the tāḷaṃ. The division between a laghu and a dhrutam is indicated by a।, called a ḍaṇḍā, and so is the division between two dhrutams or a dhrutam and an anudhrutam. The end of a cycle is marked by a॥, called a double ḍaṇḍā, and looks like a caesura.
Performance
Main article: Performances of Carnatic musicCarnatic music is usually performed by a small ensemble of musicians, who sit on an elevated stage. This usually consists of, at least, a principal performer, a melodic accompaniment, a rhythm accompaniment, and a drone.
Performances can be musical or musical-dramatic. Musical recitals are either vocal, or purely instrumental in nature, while musical-dramatic recitals refer to Harikatha. Regardless of what type of recital it is, what is featured are compositions which form the core of this genre of music.
Instrumentation
See also: Indian musical instrumentsThe tanpura is the traditional drone instrument used in concerts. However, tanpuras are increasingly being replaced by śruti boxes, and now more commonly, the electronic tanpura. The drone itself is an integral part of performances and furnishes stability – the equivalent of harmony in Western music.
In a vocal recital, a concert team may have one or more vocalists as the principal performer(s). Instruments, such as the Saraswati veena and/or venu flute, can be occasionally found as an accompaniment, but usually, a vocalist is supported by a violin player (who sits on his/her left). The rhythm accompanist is usually a mridangam player (who sits on the other side, facing the violin player). However, other percussion instruments such as the ghatam, kanjira and morsing frequently also accompany the main percussion instrument and play in an almost contrapuntal fashion along with the beats.
The objective of the accompanying instruments is far more than following the melody and keeping the beats. The accompaniments form an integral part of every composition presented, and they closely follow and augment the melodic phrases outlined by the lead singer. The vocalist and the violinist take turns while elaborating or while exhibiting creativity in sections like raga, niraval and kalpanaswaram.
Unlike Hindustani music concerts, where an accompanying tabla player can keep beats without following the musical phrases at times, in Carnatic music, the accompanists have to follow the intricacies of the composition since there are percussion elements such as eduppu in several compositions.
Some concerts feature a good bit of interaction with the lead musicians and accompanists exchanging notes, and accompanying musicians predicting the lead musician's musical phrases.
Contemporary concert content
A contemporary Carnatic music concert (called a kutcheri) usually lasts about three hours, and comprises a number of varied compositions. Carnatic songs are composed in a particular raga, which means that they do not deviate from the notes in the raga. Each composition is set with specific notes and beats, but performers improvise extensively. Improvisation occurs in the melody of the composition as well as in using the notes to expound the beauty of the raga.
Concerts usually begin with a varnam or an invocatory item which will act as the opening piece. The varnam is composed with an emphasis on swaras of the raga, but will also have lyrics, the saahityam. It is lively and fast to get the audience's attention. An invocatory item may usually follow the varnam.
After the varnam and/or invocatory item, the artist sings longer compositions called kirtanas (commonly referred to as kritis). Each kriti sticks to one specific raga, although some are composed with more than one raga; these are known as ragamalika (a garland of ragas).
After singing the opening kriti, usually, the performer sings the kalpanaswaram of the raga to the beat. The performer must improvise a string of swaras in any octave according to the rules of the raga and return to beginning of the cycle of beats smoothly, joining the swaras with a phrase selected from the kriti. The violin performs these alternately with the main performer. In very long strings of swara, the performers must calculate their notes accurately to ensure that they stick to the raga, have no awkward pauses or lapses in the beat of the song, and create a complex pattern of notes that a knowledgeable audience can follow.
Performers then begin the main compositions with a section called raga alapana exploring the raga. In this, they use the sounds aa, ri, na, ta, etc. instead of swaras to slowly elaborate the notes and flow of the raga. This begins slowly and builds to a crescendo, and finally establishes a complicated exposition of the raga that shows the performer's skill. All of this is done without any rhythmic accompaniment, or beat. Then the melodic accompaniment (violin or veena), expounds the raga. Experienced listeners can identify many ragas after they hear just a few notes. With the raga thus established, the song begins, usually with lyrics. In this, the accompaniment (usually violin, sometimes veena) performs along with the main performer and the percussion (such as a mridangam). In the next stage of the song, they may sing niraval or kalpanaswaram again.
In most concerts, the main item will at least have a section at the end of the item, for the percussion to perform solo (called the tani avartanam). The percussion artists perform complex patterns of rhythm and display their skill. If multiple percussion instruments are employed, they engage in a rhythmic dialogue until the main performer picks up the melody once again. Some experienced artists may follow the main piece with a ragam thanam pallavi mid-concert, if they do not use it as the main item.
Following the main composition, the concert continues with shorter and lighter songs. Some of the types of songs performed towards the end of the concerts are tillanas and thukkadas – bits of popular kritis or compositions requested by the audience. Every concert that is the last of the day ends with a mangalam, a thankful prayer and conclusion to the musical event.
Audience
The audience of a typical concert will have some understanding of Carnatic music. It is also typical to see the audience tapping out the tala in sync with the artist's performance. As and when the artist exhibits creativity, the audience acknowledge it by clapping their hands. With experienced artists, towards the middle of the concert, requests start flowing in. The artist usually sings the requests, and it helps in exhibiting the artist's broad knowledge of the several thousand kritis that are in existence.
Festivals
Main articles: List of Indian classical music festivals and Madras Music SeasonVarious music festivals featuring Carnatic music performances are held in India, and throughout the world.
With the city of Chennai (then known as Madras) emerging as the locus for Carnatic music during the 19th century, its musicians founded the Tyagaraja Aradhana festival in 1846. The Aradhana festival is an annual death-anniversary celebration of the prolific Carnatic music composer, Tyagaraja. Held in the city of Thiruvayaru, thousands of musicians attend the festival to perform his compositions. Since its inception, other festivals were started in a similar manner throughout India and abroad, such as the Chembai Sangeetholsavam in the Indian city of Guruvayur, and the Aradhana in the US city of Cleveland.
The city of Chennai also holds a six-week-long grand "Music Season", which has been described as the world's largest cultural event. The Music Season was started in 1927, to mark the opening of the Madras Music Academy. It used to be a traditional month-long Carnatic music festival, but since then it has also diversified into dance and drama, as well as non-Carnatic art forms. Some concert organisers also feature their own Carnatic music festivals during the season. Thousands of performances are held by hundreds of musicians across various venues in the city.
The Karnataka Ganakala Parishat is an annual conference of Carnatic music, held in February every year, which has lectures and demonstrations in the morning, and performances in the afternoons and evenings.
See also
- List of Carnatic composers
- List of composers who created ragas
- List of Carnatic singers
- List of Carnatic instrumentalists
- Trinity of Carnatic music
Notes
References
- Sriram, Parthasarathy. "A Karnatic Music Primer" (PDF).
- ^ Ramaswamy, Vijaya (25 August 2017). Historical Dictionary of the Tamils. Rowman & Littlefield. p. 88. ISBN 978-1-5381-0686-0.
In precolonial or early-modern South India, Telugu became the cultural language of the south, including the Tamil country, somewhat similar to the overwhelming dominance of French as the cultural language of modern Europe during roughly the same era. Therefore, Telugu predominates in the evolution of Carnatic music, and it is the practice to teach Telugu language in music colleges to those aspiring to become singers.
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Most songs were in Telugu or Sanskrit, though some were in Tamil, but even Telugu and Tamil were strongly inflected by Sanskrit.
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Because this music came from Karnataka, it eventually came to be known as "Carnatic music" throughout the country
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Bibliography
- Charles Russel Day (1891). The Music and Musical Instruments of southern India and the Deccan. William Gibb (lllus.). Novello, Ewer & Co., London -.
- "". Encyclopædia Britannica (15 ed.). 2005.
- Panchapakesa Iyer, A. S. (2003). Gānāmruta Varna Mālikā. Gānāmruta Prachuram.
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