Carnatic Music - Wikipedia, The Free Encyclopedia

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Music of India

A Lady Playing the Tanpura, ca. 1735 (Rajasthan)

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Carnatic musicFrom Wikipedia, the free encyclopedia

Carnatic music (Sanskrit:SeeTfdKarnaka sagta ,Tamil:See Tfdpaicai [1],

Telugu:Karn

akasa

gta

or str yasagta [2]) is asystem of music commonlyassociated with the southern part of the Indian subcontinent,with its area roughly confined tofour modern states of India:Andhra Pradesh, Karnataka,Kerala, and Tamil Nadu. It isone of two main sub-genres of

Indian classical music thatevolved from ancient Hindutraditions; the other sub-genre being Hindustani music, whichemerged as a distinct form because of Persian and Islamicinfluences in North India. Incontrast to Hindustani music,the main emphasis inCarnaticmusic is on vocal music; most

com positions arewritten to besung, and even when played oninstruments, they are meant to be performed in gyaki(singing) style.

Although there are stylisticdiffer ences, the basic elementsof See Tfdruti (the relativemusical pitch),See Tfdsw ara

(the musical sound of a singlenote),See Tfdrga (the modeor melodic formul), andSeeTfdtala (the rhythmic cycles)form the foundation of improvisation and compositionin both Carnatic and Hindustanimusic. Although improvisation plays an important role,Carnatic music is mainly sung
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an_classical_musichttp://en.wikipedia.org/wiki/Tamil_Naduhttp://en.wikipedia.org/wiki/Keralahttp://en.wikipedia.org/wiki/Karnatakahttp://en.wikipedia.org/wiki/Andhra_Pradeshhttp://en.wikipedia.org/wiki/Indiahttp://en.wikipedia.org/wiki/Telugu_languagehttp://en.wikipedia.org/wiki/Wikipedia:Templates_for_discussion/Log/2013_September_6#Template:Translhttp://en.wikipedia.org/wiki/Tamil_languagehttp://en.wikipedia.org/wiki/Wikipedia:Templates_for_discussion/Log/2013_September_6#Template:Translhttp://en.wikipedia.org/wiki/Sanskrithttp://en.wikipedia.org/wiki/Jana_Gana_Manahttp://en.wikipedia.org/wiki/The_Record_Music_Magazinehttp://en.wikipedia.org/wiki/Sruti_magazinehttp://en.wikipedia.org/wiki/Cleveland_Thyagaraja_Aradhanahttp://en.wikipedia.org/wiki/Tyagaraja_Aradhanahttp://en.wikipedia.org/wiki/Dover_Lane_music_festivalhttp://en.wikipedia.org/wiki/Madras_Music_Seasonhttp://en.wikipedia.org/wiki/Sangeet_Natak_Akademi_Awardhttp://en.wikipedia.org/wiki/Punjabi_Music_Awardshttp://en.wikipedia.org/wiki/Filmfare_Awardshttp://en.wikipedia.org/wiki/Goa_trancehttp://en.wikipedia.org/wiki/Jazz_in_Indiahttp://en.wikipedia.org/wiki/Indian_blueshttp://en.wikipedia.org/wiki/Raga_rockhttp://en.wikipedia.org/wiki/Bangla_rockhttp://en.wikipedia.org/wiki/Indian_rockhttp://en.wikipedia.org/wiki/Indian_pophttp://en.wikipedia.org/wiki/Filmihttp://en.wikipedia.org/wiki/Bhangra_(music)http://en.wikipedia.org/wiki/Sufi_musichttp://en.wikipedia.org/wiki/Kajrihttp://en.wikipedia.org/wiki/Chaitihttp://en.wikipedia.org/wiki/Qawwalihttp://en.wikipedia.org/wiki/Ghazalhttp://en.wikipedia.org/wiki/Dadrahttp://en.wikipedia.org/wiki/Thumrihttp://en.wikipedia.org/wiki/Indian_folk_musichttp://en.wikipedia.org/wiki/Hindustani_classical_musichttp://en.wikipedia.org/wiki/Indian_classical_musichttp://en.wikipedia.org/wiki/File:A_Lady_Playing_the_Tanpura,_ca._1735.jpghttp://en.wikipedia.org/wiki/Music_of_India


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Andaman and Nicobar Islands Andhra Pradesh Arunachal Pradesh Assam Bihar Chhattisgarh Goa Gujarat Haryana Himachal Pradesh

Kashmir, Jammu and Ladakh Jharkhand Karnataka Kerala Madhya Pradesh Maharashtra Manipur Meghalaya Mizoram Nagaland Odisha Punjab

Rajasthan Sikkim Tamil Nadu (Ancient) Tripura Uttar Pradesh Uttarakhand West Bengal (Bengali Rabindra Sangeet)

V T E (//en.wikipedia.org/w/index.php?title=Template:Indian_music&actio

through compositions, especiallythe kriti (or kirtanam) a formdeveloped between the 14thand 20th centuries bycomposers such as PurandaraDasa and the Trinity of Carnaticmusic. Carnatic music is alsousually taught and learnt throughcompositions.

Carnatic music is usually performed by a small ensemble of musicians, consisting of a principal performevocalist), a melodic accompaniment (usually a violin), a rhythm accompaniment (usually a mridangam), atambura, which acts as a drone throughout the performance. Other typical instruments used in performainclude the ghatam, kanjira, morsing, venu flute, veena, and chitraveena. The most outstanding performathe greatest concentration of Carnatic musicians, are found in the city of Chennai.[3] Various festivals are heldthroughout India and abroad which mainly consist of Carnatic music performances, like the Madras Muwhich has been considered as one of the world's largest cultural events.[4][5]

Contents1 Origins, sources and history2 Nature of Carnatic music3 Important elements of Carnatic music

3.1 ruti3.2 Swara3.3 Raga system3.4 Tala system

4 Improvisation4.1 Raga Alapana4.2 Niraval4.3 Kalpanaswaram4.4 Tanam4.5 Ragam Tanam Pallavi4.6 Tani Avartanam[44]

5 Compositions

5.1 Varnam5.2 Kriti6 Prominent composers7 Learning Carnatic music

7.1 Notations7.1.1 Melody7.1.2 Rhythm

8 Performances of Carnatic music8.1 Instrumentation8.2 Concert content
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Carnatic music was mainly patronized by the local kings of the Kingdom of Mysore and Kingdom of Trathe 18th through 20th centuries. The royalty of the kingdoms of Mysore and Travancore were noted comand proficient in playing musical instruments, such as the veena, rudra veena, violin, ghatam, flute, mridannagaswara and swarabhat.[17] Some famous court-musicians and royalty proficient in music were Veene S(18521926)[18] and Veene Subbanna (18611939),[19] among others.

With the dissolution of the erstwhile princely states and the Indian independence movement reaching its in 1947, Carnatic music went through a radical shift in patronage into an art of the masses with ticketed performances organized by private institutions called sabhs. During the 19th century, the city of Chennaknown as Madras) emerged as the locus for Carnatic music.[20]

Nature of Carnatic musicThe main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and e played on instruments, they are meant to be performed in a singing style (known as gyaki).[21] Like Hindustanimusic, Carnatic music rests on two main elements:See Tfdrga , the modes or melodic formul, andSee Tfdtathe rhythmic cycles.[21]

Today, Carnatic music is presented by musicians in concerts or recordings, either vocally or through instCarnatic music itself developed around musical works or compositions of phenomenal composers (see b

Important elements of Carnatic musicruti

Main article: ruti (music)

ruti commonly refers to musical pitch.[22] It is the approximate equivalent of a tonic (or less precisely a keWestern music; it is the note from which all the others are derived. It is also used in the sense of graded pan octave. While there are an infinite number of sounds falling within a scale (or raga) in Carnatic music, that can be distinguished by auditory perception is twenty-two (although over the years, several of themconverged). In this sense, while sruti is determined by auditory perception, it is also an expression in themind.[23]

Swara

Main article: Swara

Swara refers to a type of musical sound that is a single note, which defines a relative (higher or lower) ponote, rather than a defined frequency.[22] Swaras also refer to the solfege of Carnatic music, which consist onotes, "sa-ri-ga-ma-pa-da-ni" (compare with the Hindustani sargam: sa-re-ga-ma-pa-dha-ni or Western do-remi-fa-so-la-ti). These names are abbreviations of the longer names shadja, rishabha, gandhara, madhyama,anchama, dhaivata andnishada. Unlike other music systems, every member of the solfege (called a sw

three variants. The exceptions are the drone notes, shadja and panchama (also known as the tonic and thedominant), which have only one form; andmadhyama (the subdominant), which has two forms. A 7th centustone inscription in Kudumiyan Malai[24] in Tamil Nadu shows vowel changes to solfege symbols with ra, ri
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to denote the higher quarter-tones. In one scale, or raga, there is usually only one variant of each note pexceptions exist in "light" ragas, in which, for artistic effect, there may be two, one ascending (in thearohanam) aanother descending (in theavarohanam).

Raga system

Main article: Raga

A raga in Carnatic music prescribes a set of rules for building a melody very similar to the Western comode.[25] It specifies rules for movements up (aarohanam) and down (avarohanam), the scale of which notesshould 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 obligatorevents which must be observed, either absolutely or with a particular frequency.[26]

In Carnatic music, the sampoorna ragas (those with all seven notes in their scales) are classified into a systcalled themelakarta, which groups them according to the kinds of notes that they have. There are seventmelakarta ragas, thirty six of whose madhyama (subdominant) is sadharana (perfect fourth from the toniremaining thirty-six of whose madhyama (subdominant) is prati (an augmented fourth from the tonic). Thragas agrouped into sets of six, calledchakras ("wheels", though actually segments in the conventional representatigrouped according to the supertonic and mediant scale degrees. There is a system known as thekatapayadiankhya to determine the names ofmelakarta 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 cate

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 beats.[citation needed ] Talas have cycles of a defined number of beats and rarely change within a song. Thespecific components, which in combinations can give rise to the variety to exist (over 108), allowing diffcompositions to have different rhythms.[27]

Carnatic music singers usually keep the beat by moving their hands up and down in specified patterns, antheir fingers simultaneously to keep time.Tala is formed with three basic parts (calledangas) which arelaghu,dhrtam, andanudhrtam, though complex talas may have other parts like plutam, guru, andkaakapaadam.There are seven basictala groups which can be formed from thelaghu, dhrtam, andanudhrtam:

Dhruva talaMatya tala[citation needed ]Rupaka talaJhampa talaTriputa talaAta talaEka tala
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Main article: Kalpanaswaram

Kalpanaswaram, also known as swarakalpana, consists of improvising melodic and rhythmic passages uwaras (solfa syllables).[39] Like niraval,[40] kalpanaswaras are sung to end on a particular swara in the raga

melody and at a specific place (idam) in the tala cycle.[41]

Kalpanaswaras have a somewhat predictable rhythmical structure;[42] the swaras are sung to end on the samam(the first beat of the rhythmical cycle).[38] The swaras can also be sung at the same speed or double the spethe melody that is being sung, though some artists sing triple-speed phrases too.[38]

Kalpanaswaram is the most elementary type of improvisation, usually taught before any other form of im

Tanam

Tanam is one of the most important forms of improvisation, and is integral to Ragam Tanam Pallavi.[43] Originallydeveloped for the veena, it consists of expanding the raga with syllables liketha, nam, thom, aa, nom, na, etc.

Ragam Tanam Pallavi Main article: Ragam Tanam Pallavi

Ragam, Tanam, and Pallavi are the principal long form in concerts,[43] and is a composite form of improvisatiothe name suggests, it consists of raga alapana, tanam, and a pallavi line. Set to a slow-paced tala, the paloften composed by the performer. Through niraval, the performer manipulates the pallavi line in complexand rhythmic ways.[33] The niraval is followed by kalpanaswarams.

Tani Avartanam [44]

Tani Avartanam refers to the extended solo that is played by the percussionists in a concert,[44] and is usually played after the main composition in a concert.[37] The percussionist displays the full range of his skills and rhimagination during the solo, which may take from two to twenty minutes.[44]

CompositionsIn contrast to Hindustani music of the northern part of India, Carnatic music is taught and learned througcompositions, which encode many intricate musical details, also providing scope for free improvisation. every rendition of a Carnatic music composition is different and unique as it embodies elements of the cvision, as well as the musician's interpretation.

A Carnatic composition really has two elements, one being the musical element, the other being what is the composition. It is probably because of this fact that most Carnatic music compositions are composedsinging. In addition to the rich musical experience, each composition brings out the knowledge and persothe composer, and hence the words are as important as the musical element itself. This poses a special cthe musicians because rendering this music does not involve just playing or singing the correct musical nmusicians are expected to understand what was conveyed by the composer in various languages, and sin phrases that act to create the effect that was intended by the composer in his/her composition.
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There are many types/forms of compositions.

Geethams and swarajatis (which have their own peculiar composition structures) are principally meant to basic learning exercises.

Compositions more commonly associated with Indian classical dance and Indian devotional music haveincreasingly used in the Carnatic music repertoire. The performance of the Sanskrit sloka, Tamilviruttam andTelegu padyamu or sisapadya forms are particularly unique. Though these forms consist of lyric-based vemusicians improviseraga phrases in free rhythm, like an alapana,[35] so both the sound value, and the meaningthe text, guide the musician through elaborate melodic improvisations.[45] Forms such as thedivya prabandham,thevaram andugabhoga are often performed similarly, however, these forms can also have a set melody rhythm like thedevaranama, javali, padam, thillana andthiruppugazh forms.

The most common and significant forms in Carnatic music are thevarnam and thekriti (orkirtanam).

Varnam

Main article: Varnam

Varnams are short metric pieces which encapsulate the main features and requirements of araga.[46] The featureand rules of the raga (also known as the sanchaaraas of a raga) include how each note of the raga should bestressed, the scale of the raga, and so on.[47] All varnams consist of lyrics,[48] as well as swara passages, includa pallavi, ananupallavi, muktayi swaras, a charanam, andchittaswaras.[47]

Known for their complex structure, varnams are a fundamental form in Carnatic music.[48] Varnams are practiseas vocal exercises in multiple speeds by performers of Carnatic music, to help develop voice culture, and proper pitch and control of rhythm. In Carnatic music concerts, varnams are often performed by musiciaopening item acting as a warm up for the musicians,[49] and as a means of grabbing the attention of theaudience.[47]

Kriti

Main article: Kriti

Carnatic songs (kritis) are varied in structure and style, but generally consist of three units:

1. Pallavi. This is the equivalent of a refrain in Western music, with 1 or 2 lines.2. Anupallavi. This is the second verse, also as 2 lines.3. Charana. The final (and longest) verse that wraps up the song. The Charanam usually borrows pa

the Anupallavi. There can be multiple charanas.

This kind of song is called akeerthanam or akriti. There are other possible structures for akriti, which may inaddition include swara passages namedchittaswara. Achittaswara consists only of notes, and has no wordsothers have a verse at the end of thecharana, called themadhyamakla. It is sung immediately after thecharan but at double speed.

Prominent composers
http://en.wikipedia.org/wiki/Kritihttp://en.wikipedia.org/wiki/Charanamhttp://en.wikipedia.org/wiki/Anupallavihttp://en.wikipedia.org/wiki/Refrainhttp://en.wikipedia.org/wiki/Pallavihttp://en.wikipedia.org/wiki/Kritihttp://en.wikipedia.org/wiki/Chitta_swarahttp://en.wikipedia.org/wiki/Charanamhttp://en.wikipedia.org/wiki/Anupallavihttp://en.wikipedia.org/wiki/Pallavihttp://en.wikipedia.org/wiki/Ragahttp://en.wikipedia.org/wiki/Varnamhttp://en.wikipedia.org/wiki/Kritihttp://en.wikipedia.org/wiki/Varnamhttp://en.wikipedia.org/wiki/Thiruppugazhhttp://en.wikipedia.org/wiki/Thillanahttp://en.wikipedia.org/wiki/Ugabhogahttp://en.wikipedia.org/wiki/Thevaramhttp://en.wikipedia.org/wiki/Divya_Prabandhahttp://en.wikipedia.org/wiki/Alapanahttp://en.wikipedia.org/wiki/Ragahttp://en.wikipedia.org/wiki/Verse_(popular_music)http://en.wikipedia.org/wiki/Telugu_peoplehttp://en.wikipedia.org/wiki/Viruttamhttp://en.wikipedia.org/wiki/Tamil_languagehttp://en.wikipedia.org/wiki/Shlokahttp://en.wikipedia.org/wiki/Sanskrithttp://en.wikipedia.org/wiki/Bhakthihttp://en.wikipedia.org/wiki/Indian_classical_dancehttp://en.wikipedia.org/wiki/Swarajatihttp://en.wikipedia.org/wiki/Geetham


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A portrait of Tyagarajaone of the celebratedCarnatic trinity

See also: List of Carnatic composers

There are many composers in Carnatic music. Purandara Dasa (14801564) isrenowned as the father(Pitamaha) of Carnatic music for formulating the basiclessons of, and his contributions to Carnatic music. He structured graded exercisesknown asSwaravalis and Alankaras, and at the same time, introduced the RagaMayamalavagowla as the first scale to be learnt by beginners. He also composedGitas (simple songs) for novice students.

The contemporaries Tyagaraja (1759? 1847), Muthuswami Dikshitar, (1776 1827) and Syama Sastri, (17621827) are regarded as the Trinity of Carnatic music because of the quality of Syama Sastri's compositions, the varieties of compositionsof Muthuswami Dikshitar, and Tyagaraja's prolific output in composingkritis.[50]

Prominent composers prior to the Trinity of Carnatic music include Arunachala Kavi,Annamacharya, Narayana Theertha, Vijaya Dasa, Bhadrachala Ramadas, SadasivaBrahmendra and Oottukkadu Venkata Kavi. Other composers are Swathi Thirunal,Gopalakrishna Bharathi, Neelakanta Sivan, Patnam Subramania Iyer, MysoreVasudevachar, Koteeswara Iyer, Muthiah Bhagavathar, Subramania Bharathiyar andPapanasam 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 proficor more of the languages Kannada, Malayalam, Sanskrit, Tamil, or Telugu. They usually included a signa mudra, in their compositions. For example, all songs by Tyagaraja (who composed in Telugu) have theTyagaraja in them, all songs by Muthuswami Dikshitar (who composed in Sanskrit) have the wordsGuruguha ithem; songs by Syama Sastri (who composed in Telugu) have the wordsSyama Krishna in them; whilePurandaradasa, who composed in Kannada, used the signature Purandara Vittala. Gopalakrishna Bharathi usthe signatureGopalakrishnan and composed in Tamil. Papanasam Sivan, who has been hailed as theTamil

Tyagaraja of Carnatic music,[51] also composed in this language, as well as Sanskrit,[51] used the signature Ramadasan.

Learning Carnatic musicCarnatic music is traditionally taught according to the system formulated by Purandara Dasa. This involvvarisa(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 typtakes 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 learningarranged in increasing order of complexity. The lessons start with the learning of the sarali varisai (solfege set to particular raga).

Carnatic music was traditionally taught in the gurukula system, where the student lived with and learnt thhis guru (perceptor). From the late 20th century onwards, with changes in lifestyles and need for young maspirants to simultaneously pursue a parallel academic career, this system has found few takers.
http://en.wikipedia.org/wiki/Guruhttp://en.wikipedia.org/wiki/Gurukulahttp://en.wikipedia.org/wiki/Solfegehttp://en.wikipedia.org/wiki/Kritihttp://en.wikipedia.org/wiki/Varnamhttp://en.wikipedia.org/wiki/Swarajatishttp://en.wikipedia.org/wiki/Geethamshttp://en.wikipedia.org/wiki/Purandara_Dasahttp://en.wikipedia.org/wiki/Sanskrithttp://en.wikipedia.org/wiki/Tyagarajahttp://en.wikipedia.org/wiki/Papanasam_Sivanhttp://en.wikipedia.org/wiki/Tamil_languagehttp://en.wikipedia.org/wiki/Gopalakrishna_Bharathihttp://en.wikipedia.org/wiki/Purandaradasahttp://en.wikipedia.org/wiki/Syama_Sastrihttp://en.wikipedia.org/wiki/Muthuswami_Dikshitarhttp://en.wikipedia.org/wiki/Telugu_languagehttp://en.wikipedia.org/wiki/Tyagarajahttp://en.wikipedia.org/wiki/Mudras_in_Indian_Musichttp://en.wikipedia.org/wiki/Telugu_languagehttp://en.wikipedia.org/wiki/Tamil_languagehttp://en.wikipedia.org/wiki/Sanskrithttp://en.wikipedia.org/wiki/Malayalamhttp://en.wikipedia.org/wiki/Kannada_languagehttp://en.wikipedia.org/wiki/Papanasam_Sivanhttp://en.wikipedia.org/wiki/Subramania_Bharathiyarhttp://en.wikipedia.org/wiki/Muthiah_Bhagavatharhttp://en.wikipedia.org/wiki/Koteeswara_Iyerhttp://en.wikipedia.org/wiki/Mysore_Vasudevacharhttp://en.wikipedia.org/wiki/Patnam_Subramania_Iyerhttp://en.wikipedia.org/wiki/Neelakanta_Sivanhttp://en.wikipedia.org/wiki/Gopalakrishna_Bharathihttp://en.wikipedia.org/wiki/Swathi_Thirunalhttp://en.wikipedia.org/wiki/Oottukkadu_Venkata_Kavihttp://en.wikipedia.org/wiki/Sadasiva_Brahmendrahttp://en.wikipedia.org/wiki/Bhadrachala_Ramadashttp://en.wikipedia.org/wiki/Vijaya_Dasahttp://en.wikipedia.org/wiki/Narayana_Teerthahttp://en.wikipedia.org/wiki/Annamacharyahttp://en.wikipedia.org/wiki/Arunachala_Kavihttp://en.wikipedia.org/wiki/Trinity_of_Carnatic_musichttp://en.wikipedia.org/wiki/Kritihttp://en.wikipedia.org/wiki/Tyagarajahttp://en.wikipedia.org/wiki/Muthuswami_Dikshitarhttp://en.wikipedia.org/wiki/Syama_Sastrihttp://en.wikipedia.org/wiki/Trinity_of_Carnatic_musichttp://en.wikipedia.org/wiki/Syama_Sastrihttp://en.wikipedia.org/wiki/Muthuswami_Dikshitarhttp://en.wikipedia.org/wiki/Tyagarajahttp://en.wikipedia.org/wiki/Mayamalavagowlahttp://en.wikipedia.org/wiki/Ragahttp://en.wikipedia.org/wiki/Purandara_Dasahttp://en.wikipedia.org/wiki/List_of_Carnatic_composershttp://en.wikipedia.org/wiki/Tyagarajahttp://en.wikipedia.org/wiki/File:Thyagaraja1.JPG


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A portrait of Muthuswamy Dikshitaone of the celebratedCarnatic trinity.

Musicians often take great pride in letting people know about their Guru Parampara, or the hierarchy of from some prominent ancient musician or composer, to which they belong. People whose disciple-hieraroften referred to are Tyagaraja, Muthuswami Dikshitar, Syama Sastri, Swathi Thirunal and Papanasam Samong others.

In modern times, it is common for students to visit their gurus daily or weekly to learn music. Though newtechnology has made learning easier with the availability of quick-learn media such as learning exerciseson audio cassettes and CDs, these are discouraged by most gurus who emphasize that face-to-face learnfor students.

Notations

Notation is not a new concept in Indian music. However, Carnatic music continuedto be transmitted orally for centuries without being written down. The disadvantagewith 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 PurandaraDasa's lineage of students.

Written notation of Carnatic music was revived in the late 17th century and early18th century, which coincided with rule of Shahaji II in Tanjore. Copies of Shahaji'smusical manuscripts are still available at the Saraswati Mahal Library in Tanjore andthey give us an idea of the music and its form. They contain snippets of solfege to beused when performing the mentioned ragas.

Melody

Unlike classical Western music, Carnatic music is notated almost exclusively in tonicsol-fa notation using either a Roman or Indic script to represent the solfa names. Pastattempts 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 becomesdifficult to write Carnatic music using the staff notation without the use of too many accidentals. Furthermstaff notation requires that the song be played in a certain key. The notions of key and absolute pitch arerooted in Western music, whereas the Carnatic notation does not specify the key and prefers to use scal(relative pitch) to denote notes. The singer is free to choose the actual pitch of the tonic note. In the morforms of Carnatic notation, there are symbols placed above the notes indicating how the notes should besung; 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 lettercapitalized (if using Roman script) or lengthened by a diacritic (in Indian languages). For a duration of thletter is capitalized (or diacriticized) and followed by a comma. For a length of four, the letter is capitalizdiacriticized) and then followed by a semicolon. In this way any duration can be indicated using a series semicolons and commas.

However, a simpler notation has evolved which does not use semicolons and capitalization, but rather inextensions of notes using a corresponding number of commas. Thus,S quadrupled in length would be denote"S,,,".

Rhythm
http://en.wikipedia.org/wiki/Diacritichttp://en.wikipedia.org/wiki/Tonic_(music)http://en.wikipedia.org/wiki/Scale_degreehttp://en.wikipedia.org/wiki/Key_(music)http://en.wikipedia.org/wiki/Accidental_(music)http://en.wikipedia.org/wiki/Musical_modehttp://en.wikipedia.org/wiki/Staff_notationhttp://en.wikipedia.org/wiki/Tonic_sol-fahttp://en.wikipedia.org/wiki/Classical_musichttp://en.wikipedia.org/wiki/Solfegehttp://en.wikipedia.org/wiki/Tanjorehttp://en.wikipedia.org/wiki/Saraswati_Mahal_Libraryhttp://en.wikipedia.org/wiki/Tanjorehttp://en.wikipedia.org/wiki/Shahaji_IIhttp://en.wikipedia.org/wiki/Purandara_Dasahttp://en.wikipedia.org/wiki/Kritihttp://en.wikipedia.org/wiki/Papanasam_Sivanhttp://en.wikipedia.org/wiki/Swathi_Thirunalhttp://en.wikipedia.org/wiki/Syama_Sastrihttp://en.wikipedia.org/wiki/Muthuswami_Dikshitarhttp://en.wikipedia.org/wiki/Tyagarajahttp://en.wikipedia.org/wiki/Paramparahttp://en.wikipedia.org/wiki/Guruhttp://en.wikipedia.org/wiki/Muthuswamy_Dikshitarhttp://en.wikipedia.org/wiki/File:Dikshitar.png


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The notation is divided into columns, depending on the structure of theta . The division between alaghu and dhrutam is indicated by a, called aa, and so is the division between twodhrutams or adhrutam and ananudhrutam. The end of a cycle is marked by a, called adoublea, and looks like a caesura.

Performances of Carnatic music Main article: Performances of Carnatic music

Carnatic music is usually performed by a small ensemble of musicians, who sit on an elevated stage. Thiconsists of, at least, a principal performer, a melodic accompaniment, a rhythm accompaniment, and a d[52]

Instrumentation

This usually consists of, at least, a principal performer, a melodic accompaniment, a rhythm accompanimdrone.[52]

Thetambura is the traditional drone instrument used in concerts. However, tamburas are increasingly bei

replaced by ruti boxes, and now more commonly, the electronictambura. The drone itself is an integral part performances and furnishes stability the equivalent of harmony in Western music.[53]

Performances can be musical or musical-dramatic. Musical recitals are either vocal, or purely instrumentwhile musical-dramatic recitals refer to Harikatha.[52] But irrespective of what type of recital it is, what is feaare compositions which form the core of this genre of music.

In a vocal recital, a concert team may have one or more vocalists as the principal performer(s). Instrumethe Saraswati veena and/or venu flute, can be occasionally found as a rhythmic accompaniment, but usuavocalist is supported by a violin player (who sits on his/her left). The rhythm accompanist is usually a mr

player (who sits on the other side, facing the violin player). However, other percussion instruments suchghatam, kanjira and morsing frequently also accompany the main percussion instrument and play in an alcontrapuntal fashion along with the beats. The objective of the accompanying instruments is far more thathe melody and keeping the beats. The accompaniments form an integral part of every composition presthey closely follow and augment the melodic phrases outlined by the lead singer. The vocalist and the vioturns while elaborating or while exhibiting creativity in sections like raga, niraval and kalpanaswaram. UnHindustani music concerts, where an accompanying tabla player can keep beats without following the m phrases at times, in Carnatic music, the accompanists have to follow the intricacies of the composition sare percussion elements such as eduppu in several compositions. Some concerts feature a good bit of inwith the lead musicians and accompanists exchanging notes, and accompanying musicians predicting the

singer's musical phrases.See also: Indian musical instruments

Concert content

A contemporary Carnatic music concert (called akutcheri) usually lasts about three hours, and comprises anumber of varied compositions. Carnatic songs are composed in a particularraga, which means that they do ndeviate from the notes in theraga. Each composition is set with specific notes and beats, but performers im
http://en.wikipedia.org/wiki/Ragahttp://en.wikipedia.org/wiki/Ragahttp://en.wikipedia.org/wiki/Indian_musical_instrumentshttp://en.wikipedia.org/wiki/Tablahttp://en.wikipedia.org/wiki/Hindustani_musichttp://en.wikipedia.org/wiki/Kalpanaswaramhttp://en.wikipedia.org/wiki/Niravalhttp://en.wikipedia.org/wiki/Ragahttp://en.wikipedia.org/wiki/Contrapuntalhttp://en.wikipedia.org/wiki/Morsinghttp://en.wikipedia.org/wiki/Kanjirahttp://en.wikipedia.org/wiki/Ghatamhttp://en.wikipedia.org/wiki/Mridangamhttp://en.wikipedia.org/wiki/Venuhttp://en.wikipedia.org/wiki/Saraswati_veenahttp://en.wikipedia.org/wiki/Harikathahttp://en.wikipedia.org/wiki/Harmonyhttp://en.wikipedia.org/wiki/Electronic_tanpurahttp://en.wikipedia.org/wiki/Sruti_boxhttp://en.wikipedia.org/wiki/Drone_(music)http://en.wikipedia.org/wiki/Tanpura_(instrument)http://en.wikipedia.org/wiki/Performances_of_Carnatic_musichttp://en.wikipedia.org/wiki/Caesurahttp://en.wikipedia.org/wiki/Tala_(music)


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extensively. Improvisation occurs in the melody of the composition as well as in using the notes to expou beauty of theraga.

Concerts usually begin with avarnam or an invocatory item which will act as the opening piece. Thevarnam iscomposed with an emphasis on swaras of the raga, but will also have lyrics, the saahityam. It is lively and fast tget the audience's attention. An invocatory item may usually follow thevarnam.

After thevarnam and/or invocatory item, the artist sings longer compositions calledkirtanas (commonly referreto askritis). Each kriti sticks to one specificraga, although some are composed with more than one raga; thare known asragamalika (a garland ofragas).

After singing the openingkriti, usually, the performer sings thekalpanaswaram of theraga to the beat. The performer must improvise a string of swaras in any octave according to the rules of the raga and return to beof the cycle of beats smoothly, joining the swaras with a phrase selected from thekriti. The violin performs thealternately with the main performer. In very long strings of swara, the performers must calculate their notesaccurately to ensure that they stick to theraga, have no awkward pauses or lapses in the beat of the song, acreate a complex pattern of notes that a knowledgeable audience can follow.

Performers then begin the main compositions with a section calledraga alapana exploring theraga. In this, theyuse the soundsaa, ri, na, ta, etc. instead of swaras to slowly elaborate the notes and flow of the raga. This slowly and builds to a crescendo, and finally establishes a complicated exposition of theraga that shows the performer's skill. All of this is done without any rhythmic accompaniment, or beat. Then the melodicaccompaniment (violin or veena), expounds theraga. Experienced listeners can identify many ragas after theust a few notes. With theraga thus established, the song begins, usually with lyrics. In this, the accompani(usually violin, sometimes veena) performs along with the main performer and the percussion (such as amridangam). In the next stage of the song, they may singniraval orkalpanaswaram again.

In most concerts, the main item will at least have a section at the end of the item, for the percussion to pe(called thetani avartanam). The percussion artists perform complex patterns of rhythm and display their multiple percussion instruments are employed, they engage in a rhythmic dialogue until the main performthe melody once again. Some experienced artists may follow the main piece with aragam 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 performed towards the end of the concerts aretillanas andthukkadas bits of popularkritis or compositionsrequested by the audience. Every concert that is the last of the day ends with amangalam, a thankful prayer anconclusion to the musical event.

Audience

The audience of a typical concert has a reasonable understanding of Carnatic music. It is also typical to audience tapping out thetala in sync with the artist's performance. As and when the artist exhibits creativitaudience acknowledge it by clapping their hands. With experienced artists, towards the middle of the corequests start flowing in. The artist usually sings the requests, and it helps in exhibiting the artist's broad kof the several thousand kritis that are in existence.

Modern performances
http://en.wikipedia.org/wiki/Kritihttp://en.wikipedia.org/wiki/Tillanahttp://en.wikipedia.org/wiki/Ragam_Thanam_Pallavihttp://en.wikipedia.org/wiki/Niravalhttp://en.wikipedia.org/wiki/Mridangamhttp://en.wikipedia.org/wiki/Ragahttp://en.wikipedia.org/wiki/Ragahttp://en.wikipedia.org/wiki/Ragahttp://en.wikipedia.org/wiki/Swarashttp://en.wikipedia.org/wiki/Ragahttp://en.wikipedia.org/wiki/Alapanahttp://en.wikipedia.org/wiki/Ragahttp://en.wikipedia.org/wiki/Swarahttp://en.wikipedia.org/wiki/Kritihttp://en.wikipedia.org/wiki/Swarahttp://en.wikipedia.org/wiki/Swarahttp://en.wikipedia.org/wiki/Ragahttp://en.wikipedia.org/wiki/Kalpanaswaramhttp://en.wikipedia.org/wiki/Kritihttp://en.wikipedia.org/wiki/Kritihttp://en.wikipedia.org/wiki/Kritihttp://en.wikipedia.org/wiki/Varnamhttp://en.wikipedia.org/wiki/Swarahttp://en.wikipedia.org/wiki/Varnamhttp://en.wikipedia.org/wiki/Varnamhttp://en.wikipedia.org/wiki/Raga


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Main article: Madras Music Season

Every December, the city of Chennai in India has its six week-long Music Season, which has been descworld's largest cultural event.[54] The Music Season was started in 1927, to mark the opening of the MadraAcademy. It used to be a traditional month-long Carnatic music festival, but since then it has also diversidance and drama, as well as non-Carnatic art forms.

Artists

Main article: List of prominent Carnatic artists

Carnatic music artists often have to have had several years of intense training and practice before being qmusicians who can perform on stage.

Therapeutic EffectResearch shows that children receiving Carnatic classical musical training were in advantage for phonolo

awareness (PA) and verbal working memory (VWM) along with enhanced pitch perception abilities. It wfound that the children who had undergone longer duration of training showed better performance in the[5Post-operative patients can ease their pain and reduce their dependence on pain-killers by listening to Ofamous Ragas of Carnatic music, Anandha Bhairavi.[56]

See alsoList of Carnatic composersList of Carnatic musicians

List of Carnatic instrumentalists

Notes

1. ^ Rajagopal, Geetha (2009). Music rituals in the temples of South India, Volume 1(http://books.google.co.uk/books?id=SgVPAQAAIAAJ&q=pannisai&dq=pannisai&hl=en&sa=X&ei=fG2NUamsAaWX1AXg2YEg&ved=0CwAQ). D. K. Printworld. p. 111-112. ISBN 978-81-246-0538-7.

2. ^ http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/music-by-meter-sans-sensitivity/article2052370.ece

3. ^ a b Carnatic music. (2007). In Encyclopedia Britannica. Retrieved April 12, 2007, from Encyclopedia BOnline

4. ^ The Music Academy (https://indianfolklore.org/journals/index.php/Music/article/view/22/26) Written bRangaswamy, Secretary of Music Academy

5. ^ Nettl (2005), p386. ^ Moorthy (2001), p177. ^ a b c "History of Music, Origins" (http://www.carnatica.net/origin.htm).The Carnatica Group. Carnatica.net.

Retrieved 2007-07-03.8. ^ The Hindu : Sci Tech / Speaking Of Science : The music of we primates: Nada Brahmam

(http://www.hindu.com/seta/2005/01/13/stories/2005011300111500.htm)
http://www.hindu.com/seta/2005/01/13/stories/2005011300111500.htmhttp://www.carnatica.net/origin.htmhttps://indianfolklore.org/journals/index.php/Music/article/view/22/26http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/music-by-meter-sans-sensitivity/article2052370.ecehttp://en.wikipedia.org/wiki/Special:BookSources/978-81-246-0538-7http://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://books.google.co.uk/books?id=SgVPAQAAIAAJ&q=pannisai&dq=pannisai&hl=en&sa=X&ei=fG2NUamsAaWX1AXg2YEg&ved=0CDUQ6AEwAQhttp://en.wikipedia.org/wiki/List_of_Carnatic_instrumentalistshttp://en.wikipedia.org/wiki/List_of_Carnatic_musicianshttp://en.wikipedia.org/wiki/List_of_Carnatic_composershttp://en.wikipedia.org/wiki/List_of_prominent_Carnatic_artistshttp://en.wikipedia.org/wiki/Dramahttp://en.wikipedia.org/wiki/Dancehttp://en.wikipedia.org/wiki/Madras_Music_Academyhttp://en.wikipedia.org/wiki/Madras_Music_Seasonhttp://en.wikipedia.org/wiki/Chennaihttp://en.wikipedia.org/wiki/Madras_Music_Season


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9. ^ "Veena in Yajurveda" (http://trumpet.sdsu.edu/m151/Music_of_India1.html).10. ^ http://www.tamilnation.org TamilNation]11. ^ YjS 3.115. "Yajnavalkya on Music" (http://www.sanathanadharma.com/articles/sangeet.htm).12. ^ Singer, M. (1958). "The Great Tradition in a Metropolitan Center: Madras".The Journal of American Folklo

(American Folklore Society)71 (281): 347388. doi:10.2307/538567 (http://dx.doi.org/10.2307%2F53856JSTOR 538567 (http://www.jstor.org/stable/538567).

13. ^ Moorthy (2001), p1814. ^ a b Subramaniam, L. (1999). "The reinvention of a tradition: Nationalism, Carnatic music and the Madr

Academy, 19001947". Indian Economic & Social History Review 36 (2): 131163.doi:10.1177/001946469903600201 (http://dx.doi.org/10.1177%2F001946469903600201).15. ^ Ries, R. E. (1969). "The Cultural Setting of South Indian Music". Asian Music (University of Texas Press)1 (2

2231. doi:10.2307/833909 (http://dx.doi.org/10.2307%2F833909). JSTOR 833909(http://www.jstor.org/stable/833909).

16. ^ Theory of Music , Vasanthamadhavi P.18317. ^ Pranesh (2003), p54-55, p92, p162-163, p225-22618. ^ Pranesh (2003), p10819. ^ Pranesh (2003), p12820. ^ Hughes, S. P. (2002). "The 'Music Boom' in Tamil South India: gramophone, radio and the making of

culture". Historical Journal of Film, Radio and Television 22 (4): 445473. doi:10.1080/0143968022000012(http://dx.doi.org/10.1080%2F0143968022000012129).

21. ^ a b Breyer, Barbara (1972). "Composers and Tradition in Karnatik Music". Asian Music (University of TexasPress)3 (2): 4251. doi:10.2307/833958 (http://dx.doi.org/10.2307%2F833958). JSTOR 833958(http://www.jstor.org/stable/833958).

22. ^ a b Royal Carpet: Glossary of Carnatic Terms (http://www.karnatik.com/glosss.shtml)23. ^ Sound of India (http://www.soundofindia.com/showarticle.asp?in_article_id=952096767)24. ^ S. Santhanlingam, Kudumiyan Malai, Tamil Nadu Government Archeology Department publication, 198125. ^ Royal Carpet: Glossary of Carnatic Terms M (http://www.karnatik.com/glossm.shtml)26. ^ a b c Nettl, Bruno (1974). "Thoughts On Improvisation: A Comparative Approach". Musical Quarterly LX: 91

doi:10.1093/mq/LX.1.1 (http://dx.doi.org/10.1093%2Fmq%2FLX.1.1).27. ^ Royal Carpet: Glossary of Carnatic Terms T (http://www.karnatik.com/glosst.shtml)28. ^ MacCarthy, M. (1912). "Some Indian Conceptions of Music". Proceedings of the Musical Association. 38th

Sess: 4165.29. ^ a b Kassebaum, G. R. (1987). "Improvisation in Alapana Performance: A Comparative View of Raga

Shankarabharana".Yearbook for Traditional Music (International Council for Traditional Music)19: 4564.doi:10.2307/767877 (http://dx.doi.org/10.2307%2F767877). JSTOR 767877 (http://www.jstor.org/stabl

30. ^ Kassebaum (2000), p1731. ^ Higgins, J. B. (1973). "untitled". Asian Music 4 (2): 2735.32. ^ Viswanathan & Cormack (1998), pp. 219220.33. ^ a b c Wolf, R. (1999). "untitled". Asian Music 30 (1): 199203.34. ^ a b Royal Carpet: Glossary of Carnatic Terms R (http://www.karnatik.com/glossr.shtml)

35. ^ a b Higgins, J. B. (1987). "Performing Arts in India: Essays on Music, Dance, and Drama". Asian Music 18 (2)103118.

36. ^ Randel (2003), p56237. ^ a b Viswanathan & Cormack (1998), p23238. ^ a b c Henry, E. O. (2002). "The Rationalization of Intensity in Indian Music". Ethnomusicology (Society for

Ethnomusicology)46 (1): 3335. doi:10.2307/852807 (http://dx.doi.org/10.2307%2F852807). JSTOR 85(http://www.jstor.org/stable/852807).

39. ^ Viswanathan & Cormack (1998), p21940. ^ Viswanathan & Cormack (1998), p23241. ^ Viswanathan & Cormack (1998), p22142. ^ Solis & Nettl (2009), p188
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doi:10.2307/852348 (http://dx.doi.org/10.2307%2F852348). JSTOR 852348 (http://www.jstor.org/stabl46. ^ Nettl (2005), p18947. ^ a b c Royal Carpet: Glossary of Carnatic Terms V (http://www.karnatik.com/glossv.shtml)48. ^ a b Bradnock (1992), p63149. ^ Gupta (2006), p6850. ^ The Hindu : Friday Review Chennai / Tribute : The golden era

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Secondary Urbanization" (http://jstor.org/stable/850653). Ethnomusicology (Society for Ethnomusicology)27 (3)411438. doi:10.2307/850653 (http://dx.doi.org/10.2307%2F850653).

53. ^ Rosenthal, E. (1931). "Tyagaraja: A Great South Indian Composer". Musical Quarterly XVII: 1424.doi:10.1093/mq/XVII.1.14 (http://dx.doi.org/10.1093%2Fmq%2FXVII.1.14).

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55. ^ "Phonological Awareness and Verbal Working Memory Skills in Children with Music Training". KIIT CEngineering, Gurgaon. Missing or empty|url= (help)

56. ^ "Music to the ears for post-operative patients" (http://articles.timesofindia.indiatimes.com/2012-09-19/coimbatore/33951997_1_carnatic-music-classical-music-raga).

ReferencesKassebaum, Gayatri Rajapur. Karnatak raga (2000). In Arnold, Alison.The Garland Encyclopedia oWorld Music. New York & London: Taylor & Francis.Moorthy, Vijaya (2001). Romance of the Raga. New Delhi: Abhinav Publications. Nettl, B. (2009). In Solis, Gabriel; Nettl, Bruno (2009). Musical Improvisation: Art, Education, andSociety. University of Illinois Press.Pranesh, Meera Rajaram (2003). Musical Composers during Wodeyar Dynasty (16381947 A.D.Bangalore: Vee Emm Publications.Randel, Don Michael (2003).The Harvard Dictionary of Music. United States of America: HarvardUniversity Press.Viswanathan, T. & Cormack, Jody (1998). In Nettl, Bruno; Russell, Melinda. In the Course of Performance: Studies in the World of Musical Improvisation. Chicago & London: University of ChPress. ISBN 0-226-57411-3.

External linksCarnatic music (http://www.dmoz.org/Arts/Music/Styles/C/Classical_Indian/Carnatic/) at the OpeDirectory ProjectCarnatic video Hindola Ragam & Pallavi (http://www.youtube.com/watch?v=fAZ_2JxG44c)

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Carnatic Music - Wikipedia, The Free Encyclopedia