Dr V. Kamakoti is currently Director , IIT Madras, his specialization being Information security and computer architecture. He is also a member of the National Security Advisory Board. Being an ardent follower of Kanchi Math, he is also the Vice President of Adi Sankara Advaita Research Centre. On the music front, Kamakoti is trained on the violin in the lineage of Parur bani.

S.L. Narasimhan (Yessel) is a passionate music archivist, compulsive music listener, discerning marketing strategist, technology solution provider, connoisseur of fine arts, Tamil theatre, literature and food. He took over the tradition of collecting music at the age of 15, and over the last 3 decades, has an enviable collection of the finest music of the work. Realising that technology is the future for all fields he got himself involved with an online sharing portal to share his music collection. Yessel is now involved in digitally documenting the diminishing forms of Carnatic music and also our ancient scriptures involving eminent scholars.

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Bala Subramanian G. (Bala) is a computer geek with a Masters in Computer science from BITS, Pilani. Passionate about music, Bala is a trained in playing mrudangam, kanjira and ghatam. Bala is more popular for his famous Your Tanpura. He currently works as Head of Engineering for a global technology solutions organisation.

With a masters degree in Sanskrit, Sudha is also a trained in Carnatic music, having learnt from Vidushi Nirmala Sundararajan and Vidwan B.M Sundaram. She teaches sanskrit and music in her spare time.

Gaanapriya Foundation is organising a 3 day workshop on Llgudi Kshetra Kritis of Sadguru Tygaraja conducted by Smt Llgudi Vijayalakshmi. An opportunity for Karntik music students (vocal and instrumental) to learn the Llgui Panccaratnam in the authentic pntharam set for concert performance.

Carnatic music is the classical music of Southern India. Thebasic form is a monophonic song with improvised variations. Thereare 72 basic scales on the octave, and a rich variety of melodicmotion. Both melodic and rhythmic structures are varied andcompelling. This is one of the world's oldest & richest musicaltraditions.

The recording lists are based on a fairly large amount of personalexperience, both of recorded music and live concerts. In thiscase, they are authoritative, in the sense that they do what theyset out to do. Alternative sources have not really been available,although others will certainly have their own opinions to add.

I do not intend any sort of comprehensive link index. Theseare just some sites I find personally useful. There are many moreCarnatic music sites now than there were in 1994 when this pageappeared. I simply do not have the spare time to make a morethorough link listing, and must concentrate instead on the contentavailable at this site.

For instrumentalists, it is their greatest challenge as well. Carnatic music is monophonic, suited therefore to verse and melody. How then does an instrumentalist deal with an audience that expects him to duplicate the pleasures of lyric-based songs?

Carnatic music is suffused with religious fervour. It has a context that is very specific to Chennai. Rasikas (aesthetes) still remember the song, Nagumomu, that Balamuralikrishna sang at the Narada Gana Sabha in 1978, or so I heard from my aunt; it stunned the audience into silence, unusual for a Chennai concert.

This means that if you are a budding musician, you will most likely try to be a vocalist unless you have a parent or family member who insists that you choose an instrument. The market, perhaps more than passion, muse or mood, drives musical choices. Ranjani and Gayatri switched from being violinists to singers. Akkarai S. Subhalakshmi, a talented violinist, is also fashioning herself as a singer.

Nobody in Carnatic music is composing for instruments. Violinist Lalgudi Jayaraman composed beautiful tillanas (or taraanas in Hindustani) but they included lyrics and have been co-opted by singers. Instrumental primacy requires the harmonic polyphonic focus of Western classical music. Should Carnatic music compositions imitate Western classical compositions just so its instrumentalists will have a bigger role as performers? And how does one even begin to compose a Carnatic symphony? Will that sound like Carnatic music?

All traditions of a culture are inter-related. Indian philosophies have focused on the individual not collective. Music is a path for an individual to seek bliss or its variants. Every element of music then immediately takes on either an individual or supportive role. This gives every swara (simplistically a note) a status and character. This explains why creating a sound by combining multiple frequencies is missing. In its place, Indian music works with microtones between swaras.

I think it's because Indian classical music is primarily a vocal musical tradition. We have some very beautiful instruments too, but if you've noticed, they all try to approximate the nuances of vocal music.

Most historians agree that the beginnings of Indian classical music go back to the Vedas, the Sama Veda in particular. To explain a bit about the Vedas, they are the world's oldest extant literature. They come in the form of four vast collections of hymns that were orally transmitted from generation to generation.

In the beginning, only three notes were used in the Sama Veda. Eventually, the number of notes increased to five and remained there for a while, before the sixth and seventh were finally added. So, the Sama Veda is what began this tradition of very disciplined and rigorous training in music, which eventually evolved into the very rich tradition of classical music we have in India today.

So, to go back to your question, Indian classical musicians have always taken their notes very seriously. The purity of the note is considered to be of the utmost importance, especially when you're practicing your music or if music is a spiritual pursuit for you.

Having said that, the tanpura is used as a background in Indian classical music, and it is usually tuned to either the 1st and the 5th or the 1st and the 4th, and played continuously in the background. This results in an inadvertent chord-like effect, but since these background notes are simply played over and over again without any deliberate thought given to them, they do not distract the musician from concentrating on the note he or she is focusing on.

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.[7] 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.[8][9]

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),[10][11] and is venerated as symbolic of nda brhman.[12] 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.[11] The Yajurveda, which mainly consists of sacrificial formulae, mentions the veena as an accompaniment to vocal recitations.[13] 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").[14] 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.[15]

During the late 19th century, the city of Chennai (then known as Madras) emerged as the locus for Carnatic music.[24] 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.[25] Carnatic music artists therefore perform abroad among South Indian communities who request their coming, in order to enliven local community life. 0852c4b9a8

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