Carnatic music, known as Karnaka sagta or Karnaka sagtam in the South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu and Telangana. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda.[1] The other subgenre is Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. 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 gyaki (singing) style.

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.[6] 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.[7][8]

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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),[9][10] and is venerated as symbolic of nda brhman.[11] 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.[10] The Yajurveda, which mainly consists of sacrificial formulae, mentions the veena as an accompaniment to vocal recitations.[12] References to Indian classical music are made in many ancient texts, including epics like the Ramayana and the Mahabharata. The Yajnavalkya Smriti states, "vvdana tattvaja rutijtivirada tlajacpraysena mokamrga 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").[13] 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.[14]

During the late 19th century, the city of Chennai (then known as Madras) emerged as the locus for Carnatic music.[23] 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 sabhs.

From the 18th century, South Indian immigrant communities abroad increased, especially in Southeast Asia and Ceylon. Communities such as the Nattukottai Chettiars participate in the extension of the Carnatic cultural scene abroad, thanks to their rich patronage activity.[24] 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 Ceylon, 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.[25]

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.[25][26][27] Carnatic music was thus appropriated and highly valued during the 1920s and 1930s as a cultural and identity marker of the Colombo and Jaffna bourgeoisies,[27][28] 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 gradual rise in the curricula of most Jaffna colleges, where it replaced from the mid-1930s the teaching of Western classical music,[27] 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.[25][27][28][29] 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.[27][30]

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 gyaki).[31] Like Hindustani music, Carnatic music rests on two main elements: rga, the modes or melodic formul, and ta, the rhythmic cycles.[31]

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).

ruti commonly refers to musical pitch.[32] 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.[33]

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.

Tala refers to a fixed time cycle or metre, set for a particular composition, which is built from groupings of beats.[citation needed] 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.[37]

The performer will explore the ragam and touch on its various nuances,[43] singing in the lower octaves first, then gradually moving up to higher octaves, while giving a hint of the song to be performed.[44]

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, 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.[45] Although niraval consists of extempore melodic variations, generally, the original patterns of duration are maintained;[46] each word in the lines of text stay set within their original place (idam) in the tala cycle.[47] The lines are then also played at different levels of speed which can include double speed, triple speed, quadruple speed and even sextuple speed.[48] The improvised elaborations are made with a view of outlining the raga, the tempo, and the theme of the composition.[citation needed]

Kalpanaswaram, also known as swarakalpana, consists of improvising melodic and rhythmic passages using swaras (solfa syllables).[49] Like niraval,[50] 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.[51]

Kalpanaswaras have a somewhat predictable rhythmical structure;[52] the swaras are sung to end on the samam (the first beat of the rhythmical cycle).[48] 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.[48]

Tanam is one of the most important forms of improvisation, and is integral to Ragam Tanam Pallavi.[53] Originally developed for the veena, it 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,[53] 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.[43] The niraval is followed by kalpanaswarams.

Tani Avartanam refers to the extended solo that is played by the percussionists in a concert,[54] and is usually played after the main composition in a concert.[47] The percussionist displays the full range of his skills and rhythmic imagination during the solo, which may take from two to twenty minutes.[54] 152ee80cbc

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