Carnatic music

Traditional Carnatic music (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.

[6][7] Carnatic music originated in Karnataka and was named after it,[8][9] known as Karnāṭaka Saṁgīta which spread through Andhra and Tamil countries where it was sumptuously nourished.

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").

[12][20] Venkatamakhin invented and authored the formula for the melakarta system of raga classification in his Sanskrit work, the Chaturdandi Prakasika (1660 AD).

By the 16th century, Indian classical music split into two styles: Hindustani in the North and Karnataka (later called Carnatic) in the South.

[25] 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.

Communities such as the Nattukottai Chettiars participate in the extension of the Carnatic cultural scene abroad, thanks to their rich patronage activity.

[27] 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.

[27][28][29] 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,[29][30] and by extension of the Sri Lankan Tamils.

[34] 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).

A 7th century stone inscription in Kudumiyan Malai[36] in Tamil Nadu shows vowel changes to solfege symbols with ra, ri, ru etc.

A raga in Carnatic music prescribes a set of rules for building a melody – very similar to the Western concept of mode.

[46] 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.

[citation needed] Kalpanaswaram, also known as swarakalpana, consists of improvising melodic and rhythmic passages using swaras (solfa syllables).

[55] Originally developed for the veena, it consists of expanding the raga with syllables like tha, nam, thom, aa, nom, na, etc.

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.

The performance of the Sanskrit sloka, Tamil viruttam, Kannada Ugabhoga and Telugu padyamu or sisapadya forms are particularly unique.

[60] 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.

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.

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.

People whose disciple-hierarchies are often referred to are Tyagaraja, Muthuswami Dikshitar, Syama Sastri, Swathi Thirunal and Papanasam Sivan, among others.

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 accompaniments form an integral part of every composition presented, and they closely follow and augment the melodic phrases outlined by the lead singer.

A contemporary Carnatic music concert (called a kutcheri) usually lasts about three hours, and comprises a number of varied compositions.

After the varnam and/or invocatory item, the artist sings longer compositions called kirtanas (commonly referred to as kritis).

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.

With the city of Chennai (then known as Madras) emerging as the locus for Carnatic music during the 19th century,[25] its musicians founded the Tyagaraja Aradhana festival in 1846.

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 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.