Carnatic music is a system of music commonly associated with the southern part of the Indian subcontinent, with its area roughly confined to four modern states of India: Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu. It is one of two main sub-genres of Indian classical music that evolved from ancient Hindu traditions; the other sub-genre being Hindustani music, which emerged as a distinct form due to Persian and Islamic influences in North India. In contrast to Hindustani music, 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 gāyaki (singing) style.

Although there are stylistic differences, the basic elements of śruti (the relative musical pitch), swara (the musical sound of a single note), rāga (the mode or melodic formulæ), and tala (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung through compositions, especially the kriti (or kirtanam), a form developed between the 16th and 20th centuries by prominent composers such as Purandara Dasa and the Trinity of Carnatic music.

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, veena & flute. The most outstanding performances, and the greatest concentration of Carnatic musicians, are found in the city of Chennai. In particular, the six week-long Music Season held in Chennai every December, has been described as the world's largest cultural event.

Origins and history of Carnatic music

Like all art forms in Indian culture, Carnatic music is believed to have a divine origin. It originated from the Devas and Devis (Hindu Gods and Goddesses),and is venerated as symbolic of nāda brāhman. Ancient treatises describe the connection of the origin of the swaras, 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 Sama Veda, 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. The Yajur-Veda, which mainly consists of sacrificial formulae, mentions the veena as an accompaniment to vocal recitations.References to Indian classical music are made in many ancient texts, including epics like the Ramayana and Mahabharata. The Yajnavalkya Smriti mentions 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 salvation without doubt"). Carnatic music is based as it is today on musical concepts (including swara, raga, and tala) that were described in detail in several ancient works, particularly the Silappadhikaram, and Bharata's Natya Shastra.

Owing to Persian and Islamic influences in North India from the 12th century onwards, Hindustani music and Carnatic music styles diverged. By the 16th and 17th centuries, there was a clear demarcation between Carnatic and Hindustani music.[10]. It was at this time that Carnatic music flourished in Thanjavur, while 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 the teaching of Carnatic music. Venkatamakhin invented and authored the formula for the melakarta system of raga classification 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 Kingdom of Travancore in the 18th through 20th centuries. The royalty of the kingdoms of Mysore and Travancore were noted composers and proficient in playing musical instruments, such as the veena, rudra veena, violin, ghatam, flute, mridangam, nagaswara and swarabhat.Some famous court-musicians and royalty proficient in music were Veena Sheshanna (1852-1926) and Veena Subbanna (1861-1939), among others.

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 organized by private institutions called sabhas. During the 19th century, Madras emerged as the locus for Carnatic music.Nature of Carnatic music.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 gāyaki). Like Hindustani music, Carnatic music rests on two main elements: rāga, the modes or melodic formulæ, and tāḷa, the rhythmic cycles.

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 .

Important elements of Carnatic music

Śruti (music)

Śruti commonly refers to musical pitch.[18] 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.

Swara

Swara refers to a type of musical sound that is a single note, which defines a relative (higher or lower) position of a note, rather than a defined frequency.Swaras 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). These names are abbreviations of the longer names shadja, rishabha, gandhara, madhyama, panchama, dhaivata and nishada. Unlike other music systems, every member of the solfege (called a swara) has three variants. The exceptions are the drone notes, shadja and panchama (also known as the tonic and the dominant), which have only one form; and madhyama (the subdominant), which has two forms. A 7th century stone inscription in Kudumiyan Malai in Tamil Nadu shows vowel changes to solfege symbols with ra, ri, ru etc. to denote the higher quarter-tones. In one scale, or raga, there is usually only one variant of each note present. The exceptions exist in "light" ragas, in which, for artistic effect, there may be two, one ascending (in the arohanam) and another descending (in the avarohanam).

Raga

A raga in Carnatic music prescribes a set of rules for building a melody - very similar to the Western concept of mode. It specifies rules for movements up (aarohanam) and down (avarohanam), the scale of which notes should figure more and which notes should be used more sparingly, which notes may be sung with gamaka, which phrases should be used or avoided, and so on. In effect, it is a series of obligatory musical events which must be observed, either absolutely or with a particular frequency.

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 sadharana (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.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 categories.

Tala (music)

Tala refers to the beat set for a particular composition (a measure of time). 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.

Carnatic music singers usually keep the beat by moving their hands up and down in specified patterns, and using their fingers simultaneously to keep time. Tala is formed with three basic parts (called angas) which are laghu, dhrtam, and anudhrtam, though complex talas may have other parts like plutam, guru, and kaakapaadam. There are seven basic tala groups which can be formed from the laghu, dhrtam, and anudhrtam:

* Dhruva tala
* Matya tala
* Rupaka tala
* Jhampa tala
* Triputa tala
* Ata tala
* Eka tala

A laghu has five variants (called jaathis) based on the counting pattern. Five jaathis times seven tala groups gives thirty-five basic talas, although use of other angas results in a total of 108 talas.

Improvisation

Improvisation in raga is the soul of Indian classical music - an essential aspect. "Manodharma sangeetham" or "kalpana sangeetham" ("music of imagination") as it is known in Carnatic music, embraces several varieties of improvisation. The main traditional forms of improvisation in Carnatic music consist of alapana, niraval, kalpanaswaram, ragam thanam pallavi, and thani avarthanam.

Alapana

An alapana, sometimes also called ragam, is the exposition of a raga or tone - a slow improvisation with no rhythm,Where the raga acts as the basis of embellishment. In performing alapana, performers consider each raga as an object that has beginnings and endings and consists somehow of sequences of thought.The performer will explore the ragam and touch on its various nuances, singing in the lower octaves first, then gradually moving up to higher octaves, while giving a hint of the song to be performed.

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

Niraval, usually performed by the more advanced performers, consists of singing one or two lines of a song repeatedly, but with a series of melodic improvised elaborations. The lines are then also played at different levels of speed which can include double speed, triple speed, quadruple speed and even sextuple speed.

Kalpanaswaram

Kalpanaswaram, also known as swarakalpana, consists of improvising melodic and rhythmic passages using swaras (solfa syllables).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.Generally, the swaras are sung to end on the samam (the first beat of the rhythmical cycle), and can 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.Kalpanaswaram is the most elementary type of improvisation, usually taught before any other form of improvisation.

Tanam

Tanam is one of the most important forms of improvisation, and is integral to Ragam Tanam Pallavi. Originally developed for the veena, it consists of expanding the raga with syllables like tha, nam, thom, aa, nom, na, etc.

Ragam Tanam Pallavi

Ragam Tanam Pallavi is the principal long form in concerts, 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.The niraval is followed by kalpanaswarams.

Compositions

In contrast to Hindustani music of the northern part of India, Carnatic music is taught and learned through compositions, which encode many intricate musical details, also providing scope for free improvisation. 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.

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

There are many types/forms of compositions.

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

Compositions more commonly associated with Indian classical dance and Indian devotional music have also been increasingly used in the Carnatic music repertoire. The performance of the Sanskrit sloka, Tamil viruttam and Telegu padyamu or sisapadya forms are particularly unique. Though these forms consist of lyric-based verses, musicians improvise raga phrases in free rhythm, like an alapana,[31] so both the sound value, and the meaning of the text, guide the musician through elaborate melodic improvisations.[36] Forms such as the divya prabandham, thevaram and ugabhoga are often performed similarly, however, these forms can also have a set melody and rhythm like the devaranama, javali, padam, thillana and thiruppugazh forms.

The most common and significant forms in Carnatic music are the varnam and the kriti (or kirtanam).

Varnam

This is a special item which highlights everything important about a raga, known as the sanchaaraas of a raga  - this includes which notes to stress, how to approach a certain note, classical and characteristic phrases of a raga, the scale of the raga, and so on. Though there are a few different types of varnams, in essence, they all have a pallavi, an anupallavi, muktayi swaras, a charanam, and chittaswaras. They are sung in multiple speeds, and are very good for practice.In concerts, varnams are often sung at the beginning as they are fast and grab the audience's attention.

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. One or two lines.
2. Anupallavi. The second verse. Also two lines.
3. Charana. The final (and longest) verse that wraps up the song. The Charanam usually borrows patterns from the Anupallavi. There can be multiple charanas.

This kind of song is called a keerthanam or a kriti. There are other possible structures for a kriti, which may in addition include swara passages named chittaswara. Chittaswara consists only of notes, and has no words. Still others have a verse at the end of the charana, called the madhyamakāla. It is sung immediately after the charana, but at double speed.