Carnatic music, known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu, and Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Sanatana dharma sciences and traditions, particularly the Samaveda. The other subgenre being 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 gāyaki (singing) style.
Khyal or Khayal (ख़याल) is a major form of Hindustani classical music in the Indian subcontinent. Its name comes from a Persian/Arabic word meaning "imagination". Khyal is associated with romantic poetry, and allows the performer greater freedom of expression than dhrupad. In khyal, ragas are extensively ornamented, and the style calls for more technical virtuosity than intellectual rigour.
Indian classical music is the classical music of the Indian subcontinent. It has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic. These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences.
Kishori Amonkar was a leading Indian classical vocalist, belonging to the Jaipur gharana, or a community of musicians sharing a distinctive musical style.
The tanpura or tambura, tanpuri is a long-necked plucked string instrument, originating from India, found in various forms in Indian music. It does not play melody but rather supports and sustains the melody of another instrument or singer by providing a continuous harmonic bourdon or drone. A tanpura is not played in rhythm with the soloist or percussionist: as the precise timing of plucking a cycle of four strings in a continuous loop is a determinant factor in the resultant sound, it is played unchangingly during the complete performance. The repeated cycle of plucking all strings creates the sonic canvas on which the melody of the raga is drawn. The combined sound of all strings - each string a fundamental tone with its own spectrum of overtones - supports and blends with the external tones sung or played by the soloist.
Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, shastriya sangeet. Its origins date from the 12th century CE, when it diverged from Carnatic music, the classical tradition of southern regions of the Indian subcontinent.
Shruti or śruti[ɕrʊtɪ] is a Sanskrit word, found in the Vedic texts of Hinduism where it means lyrics and "what is heard" in general. It is also an important concept in Indian music, where it means the smallest interval of pitch that the human ear can detect and a singer or musical instrument can produce and do nyaas(stay) on it. The musical shruti concept is found in ancient and medieval Sanskrit texts such as the Natya Shastra, the Dattilam, the Brihaddeshi, and the Sangita Ratnakara. Chandogya Upanishad speaks of the division of the octave in 22 parts.
Svara or swara is a Sanskrit word that connotes simultaneously a breath, a vowel, the sound of a musical note corresponding to its name, and the successive steps of the octave or saptaka. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch. Most of the time a svara is identified as both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven svaras/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians collectively designate as saptak or saptaka. It is one of the reasons why svara is considered a symbolic expression for the number seven.
Madras Lalitangi Vasanthakumari was a Carnatic musician and playback singer for film songs in many Indian languages. MLV and her contemporaries D. K. Pattammal and M. S. Subbulakshmi are popularly referred to as the female trinity of Carnatic Music. A prime disciple of G. N. Balasubramaniam, she was the youngest among the established musicians of that era, and was the youngest female awardee of the Sangita Kalanidhi award. In 1967 she was honored with the Padma Bhushan, the third highest civilian award by the government of India. Her daughter late K.Srividya was the well-known, famous film actress in Tamil and Malayalam languages.
Carnatic raga refers to ragas used in Carnatic music. A Carnatic raga has several components - primordial sound (nāda), tonal system (swara), pitch (śruti), scale, ornaments (gamaka) and important tones.
Vani Sateesh is a Carnatic vocalist.
In Concert 1972 is a double live album by sitar virtuoso Ravi Shankar and sarodya Ali Akbar Khan, released in 1973 on Apple Records. It was recorded at the Philharmonic Hall, New York City, in October 1972, and is a noted example of the two Hindustani classical musicians' celebrated jugalbandi (duet) style of playing. With accompaniment from tabla player Alla Rakha, the performance reflects the two artists' sorrow at the recent death of their revered guru, and Khan's father, Allauddin Khan. The latter was responsible for many innovations in Indian music during the twentieth century, including the call-and-response dialogue that musicians such as Shankar, Khan and Rakha popularised among Western audiences in the 1960s.
Vidwan Ballary M Raghavendra is a Carnatic vocalist from Karnataka. He has a bachelor's degree in commerce and also a Master's degree in music from Bangalore University. He has served in various capacities across multiple All India Radio stations in Karnataka. Initially joining as a program executive, he later went on to become the Assistant Station Director in AIR. He had the rare privilege of being an A grade artist in devotional and light classical forms of music apart from Carnatic classical music. He is popularly known for delivering music compositions with lyrical clarity, emotion and good use of rhythmic patterns After his retirement from AIR, he is currently living in Mysore.
Bhinna Shadja is a raga of Hindustani classical music belonging to the Bilaval Thaat. It contains five Shuddha Swaras: Shadaja, Gandhar, Madhyama, Dhaivata, and Nishad. Rishabh and Pancham are omitted. In the form of notation it contains S,G,M,D and N.
Vidushi Sumitra Guha is an Indian classical vocalist, known for her expertise in the Carnatic and Hindustani schools of classical music. The Government of India honored her in 2010, with the fourth highest civilian award of Padma Shri.
Rishabh is the second svara from the seven pronouncing while singing the syllable, Rishabh is pronounced as Re and Ri. It is also called as ऋषभ in the Devanagri script.
Pancham is the fifth svara from the seven svaras of Hindustani music and Carnatic music. Pancham is the long form of the syllable प. For simplicity in pronouncing while singing the syllable, Pancham is pronounced as Pa. It is also called as पंचम in the Devanagri script.
Dhaivat is the sixth svara from the seven svaras of Hindustani music and Carnatic music. Dhaivat is the long form of the syllable ध. For simplicity in pronouncing while singing the syllable, Dhaivat is pronounced as Dha. It is also called as धैवत in the Devanagri script.
Nishad is the seventh svara from the seven svaras of Hindustani music and Carnatic music. Nishad is the long form of the syllable नी. For simplicity in pronouncing while singing the syllable, Nishad is pronounced as Ni. It is also called as निषाद in the Devanagri script.
Shadja is the first svara from the seven svaras of Hindustani music and Carnatic music. Shadja is the long form of the syllable सा. For simplicity in pronouncing while singing the syllable, Shadja is pronounced as Sa. It is also called as षड्ज in the Devanagri script.
