Carnatic music

Carnatic music is the classical music of South India, as opposed to Hindustani classical music, which is the classical music of North India.

Carnal music concert

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• karnāṭaka samgītamin the transliteration IAST system. Literally means ‘traditional music’ in Sanskrit.

Not directly related to the Indian state of Karnataka.

It is different from Hindustani music in that it emphasizes song structure, is much more theoretical, and has more strict rules. Like all Indian music, the key concepts are the raga (melodic structure), and the tāḷa (rhythmic structure).

History of Carnatic Music

The foundations of Carnatic music were possibly written at the time of Sama-vedá (400 BC). Purandara Dāsa (Kannada: ಪುರಂದರ ದಾಸ) (1484-1564) is a prominent composer of Carnatic music. He is widely known as the Pitamaha (father or grandfather) of Carnatic music after his significant contribution to it. Initially, instruments included a type of trumpet called a náda-suaram and a barrel-shaped drum kit called a tavil, which are still frequently used at weddings and ceremonies. Hindus. In the past, the composer Sri Naraiana Tirtha (1650-1745) stood out. The most respected composers of Carnatic music were Tiagarala, Muttusuami Díxitar, and Shiama Shastri.

In contrast to North India, the South was never conquered by the Mughals and therefore their music represents purer and more indigenous forms. Carnatic music remained popular with the people, and it was performed as a spiritual ritual.

The content of the songs of Carnatic music is necessarily religious, specifically Hindu, although it does not always praise, since the composer can also complain or scold the deity.

The theme of many "light" compositions today is mainly secular: the homeland, nature, food, etc.

Carnatic music remained relatively unaffected by Persian and Arabic influences. It was at this time that Carnatic music flourished in Vijayanagara, as the Vijayanagar 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 teaching Carnatic music. Venkatamakhin invented and authored the formula for the melakarta raga classification system in his Sanskrit work, the Chaturdandi Prakasika (1660 AD). Govindacharya is known for expanding the melakarta system into the Sampoorna raga scheme - the system that is in common use today. Carnatic music was mainly patronized by the local kings of the Kingdom of Mysore and Travancore in the 18 through 20 centuries. Some of the royalty of the kingdoms of Mysore and Travancore were themselves noted composers and proficient in playing musical instruments, such as the vina, vina rudra, fiddle, ghatam, flute, mridangam, Nagaswara and swarabhat. Some famous court-musicians who are proficient in music were Veene Sheshanna (1852-1926) and Veene Subbanna (1861-1939) among others. With the dissolution of the former princely states and the Indian independence movement reaching its conclusion in 1947, Carnatic music underwent a sea change from patronage into a mass art with ticketed performances organized by private institutions called Sabhas.

Theory

Solfege

The sargam, that is, the music theory, of Carnatic music is "sa-ri-ga-ma-pa-da-ni" (in contrast to the Hindustani "sa-re-ga-ma-pa-dja-ni».) The syllables are abbreviations of the nouns sádllamam, ríchabjam, gándjáram, mádjyamam, pánchamam, djáivatam and nichádam. Unlike other music systems, each solfeggio element (called a suara) can have up to three variations. The exceptions are sádllama and pánchama, which have only one form, and mádjyamam, which has two forms. In a single scale, called a raga, there is usually only one form of each suara, although in some "light" ragas, there will be two, one for when going up (the arójanam), and one for going down (the avarójanam), for artistic effect. Sometimes when one sings in a raga, a note will be sung that is neither in the arójanam nor in the avarójanam, but sounds like it should be included in the raga because of the emotion the raga evokes. That type of suara is called a aña suara. A raga can have five, six, or seven notes going up, and five, six, or seven notes going down.

Pre-composed music and improvisation

Compositions: styles and structures

Kirtanas

There is considerable variation in the style and structure of Carnatic compositions, but most follow the following three-stanza format:

1. Pálavi (the generation of people involved) It is the equivalent of a saying in Western music. It consists of two verses.
2. Anupálavi ()κ)に。 The second verse. It's also two verses.
3. Cháranam ()ंに) The final estrofa (which is the longest) that concludes the composition. Normally, the Taranam uses ideas already developed in the anupalavi. Usually three verses.

This type of song is called a kírtana (कीर्तनं). But the past describes only one form for the kírtanas. It is possible that between the anupálavi and the cháranam there is another stanza, which has no words but only music theory, called the chítasuara (चिट्टस्वरं).

Varnas

Another kind of carnatic composition is the varna, which contains, in effect, all the information needed to sing in a raga: not only the scale, but also which suaras must be emphasized, how to approach a note, classic and characteristic phrases, etc. It's like reading the Bible in a foreign language.

Contemporary singers

Contemporary singer Dr. K. J. Yesudas is a cultural ambassador for Carnatic music.