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 Andhra Pradesh, Karnataka, Kerala, Tamil Nadu and portions of east and south Telangana and southern Odisha. It is one of three main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. The other two sub gendered are Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India and Odissi music from Odisha which dates back from 2000 years back based on Traditions in Jagannatha Temple. 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.
Sadguru Tyagaraja Swami, also known as Tyagayya, and in full as Kakarla Tyagabrahmam, was a saint and composer of Carnatic music, a form of Indian classical music. Tyagaraja and his contemporaries, Shyama Shastri and Muthuswami Dikshitar, are regarded as the Trinity of Carnatic music. Tyagaraja composed thousands of devotional compositions, most in Telugu and in praise of Rama, many of which remain popular today. However, only 720 of these are in vogue. Of special mention are five of his compositions called the Pancharatna Kritis, which are often sung in programs in his honour. Tyagaraja composed Utsava Sampradaya Krithis, which are often sung to accompany temple rituals and Divya Nama Sankeertanas which are sung as a part of concerts and in daily life.
Hanumatodi, more popularly known as Todi, is a rāgam in Carnatic music. It is the 8th melakarta rāgam in the 72 melakarta rāgam system. This is sung very often in concerts. It is a difficult rāgam to perform in owing to its complexity in prayoga. It is called Janatodi in Muthuswami Dikshitar school of Carnatic music. Its Western equivalent is the Phrygian mode. Todi in Carnatic music is different from Todi (thaat) of Hindustani music. The equivalent of the Hindustani raga Todi in Carnatic music is Shubhapantuvarali. The equivalent of Carnatic Todi in Hindustani is Bhairavi thaat in terms of notes, but the two sound very different due to differing uses of gamakas.
Syama Sastri or Shyama Shastri was a musician and composer of Carnatic music. He was the oldest among the Trinity of Carnatic music, Tyagaraja and Muthuswami Dikshitar being the other two.
Gudalur Narayanaswamy Balasubramaniam, popularly known as GNB, was an Indian Carnatic singer. He innovated the art through emphasis on laya control and reducing the gamakas which eventually made Carnatic music appeal to the lay and the learned alike. He was also a Tamil film actor. Ariyakudi Iyengar inspired him.
Dhīraśankarābharaṇaṃ, commonly known as Śankarābharaṇaṃ, is a rāga in Carnatic music. It is the 29th Melakarta rāga in the 72 Melakarta rāga system of Carnatic music. Since this raga has many Gamakās (ornamentations), it is glorified as "Sarva Gamaka Māṇika Rakti Rāgaṃ".
Anandabhairavi or Ananda Bhairavi is a very old melodious ragam of Carnatic music. This rāgam also used in Indian traditional and regional musics. Ānandam (Sanskrit) means happiness and the rāgam brings a happy mood to the listener.
Patnam Subramania Iyer was a composer and singer of Carnatic music. Subramaniya Iyer followed the traditions of the great composer Tyagaraja. He has left behind almost one hundred compositions.
Mayamalavagowla is a raga of Carnatic music. It is classified as 15th melakarta raga under Venkatamakhin's melakarta system. Originally known as malavagowla, "maya" was prefixed to it after the advent of the scheme of the 72 melas. The number 15 was assigned to it following the Katapayadi sankhya system. This is a morning raga.
Kalyani is a melakarta raga in the Carnatic music. It was called Kalyan but is now more popularly called Yaman in Hindustani Music. Its Western equivalent is the Lydian mode.
The Trinity of Carnatic Music, also known as the Three Jewels of Carnatic Music, refers to the outstanding trio of composer-musicians of Carnatic music in the 18th century—Tyagaraja, Muthuswami Dikshitar, and Syama Sastri. Prolific in composition, the Trinity of Carnatic music is known for creating a new era in the history of carnatic music by bringing about a noticeable change in what was the existing carnatic music tradition. Compositions of the Trinity of Carnatic music are recognized as being distinct in style, and original in handling ragas. All three composers were born in Thiruvarur, formerly part of Thanjavur District in Tamilnadu. M. S. Subbalakshmi, D. K. Pattammal, and M. L. Vasanthakumari, who are carnatic musicians of the 20th century, are popularly referred to as the female Trinity of Carnatic Music.
The Kingdom of Mysore (1399–1950) was founded by Yaduraya in 1399 as a feudatory of the Vijayanagara Empire and became an independent kingdom in the early 17th century, after the decline of the Vijayanagara Empire. Many musicians and composers have presumably adorned the courts of the Mysore kings from Yaduraya's time, furthering the Dakshinadi school of music that had developed in earlier centuries. However, records are only available from the time of King Ranadheera Kanteerava Narasaraja Wodeyar (1638). Musical treatises surviving from this time, though, provide ample information on the music, musical instruments, the types of compositions, the raga (melodies) and the tala (rhythms) used. Though all the Mysore kings patronised music, the golden age of Carnatic music was considered to be during the reigns of Kings Krishnaraja Wodeyar III (1794–1868), Chamaraja Wodeyar IX (1862–1894), Krishnaraja Wodeyar IV (1884–1940) and Jaya Chamaraja Wodeyar (1919–1974). The reign of Krishnaraja Wodeyar IV is regarded as particularly important in musical terms.
Hindōḷaṃ is a ragam in Carnatic music. It is an audava rāgam as it does not have all the seven swaras. Hindolam is not the same as the Hindustani Hindol. The equivalent of Hindolam in Hindustani music is Malkauns.
Madhyamavati (madhyamāvati) is a raga in Carnatic music. It is an audava rāga, as it does not have all the seven musical notes (swaras). It is a janya rāga. The equivalent of Madhyamavati in Hindustani music is Madhumad Sarang. It also has other equivalents in Hindustani music such as ragas Megh and Megh Malhar.
Shuddha Saveri or śuddha sāveri is a ragam in Carnatic music and Yakshagana music. It is an audava rāgam. It is a janya rāgam of the Melakarta ragam Dhīraśaṅkarābharaṇaṃ which is 29th Melakarta raga. In Hindustani music it is called Durga. According to the school of Muthuswami Dikshitar, this rāgam is called Devakriya. Karnataka Shuddha Saveri, a janya rāgam of 1st melakartaKanakangi, is called Shuddha Saveri by the Dikshitar school.
Dharmavati is a rāgam in Carnatic music. It is the 59th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Dhaamavati in Muthuswami Dikshitar school of Carnatic music. Madhuvanti is the nearest Hindustani music scale to Dharmavati. Raga Dharmavati was introduced in Hindustani music in vocal style for the first time by late Pandit Samaresh Chawdhury
Dhanyasi is a rāgam in Carnatic music. It is a janya rāgam from the 8th melakarta scale Hanumatodi. It is a janya scale, as it does not have all the seven swaras in the ascending scale. It is a combination of the pentatonic scale Shuddha Dhanyasi and the sampurna raga scale Hanumatodi.
Nattakurinji is a raga in Carnatic music. It is an audava janya raga of 28th Melakarta raga Harikambhoji. This raga is good to sing in evenings. It is used rarely in Hindustani, but is very popular in Carnatic music. The raaga Kurinji belongs to the Melakarta family Shankarabharanam but is sung relatively rarely.
Nata (nāṭa), also known as Nattai, is a rāgam in Carnatic music, sometimes spelled Nattai. It is a janya rāgam from the 36th melakarta scale Chalanata. It is a janya scale, as it does not have all the seven swaras in the descending scale. It is a combination of the sampurna raga scale Chalanata and the pentatonic scale Gambhiranata. It is an auspicious raga, which is mostly sung in the early part of the concert.
Reethigowla, Reethi Gowla or Reethigowlai is a janya raga in carnatic music. It is associated with 22nd melakarta raga Kharaharapriya.
