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.
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.
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.
Muthuswami Dikshitar (IAST: muttusvāmi dīkṣitar, 24 March 1776 – 21 October 1835), mononymously Dikshitar, was a South Indian poet, singer and veena player, and a legendary composer of Indian classical music, who is considered one of the musical trinity of Carnatic music. Muthuswami Dikshitar was born on 24 March 1775 in Tiruvarur near Thanjavur, in what is now the state of Tamil Nadu in India, to a family that is traditionally traced back to Virinichipuram in the northern boundaries of the state. His compositions, of which around 500 are commonly known, are noted for their elaborate and poetic descriptions of Hindu gods and temples and for capturing the essence of the raga forms through the vainika (veena) style that emphasises gamakas. They are typically in a slower speed. He is also known by his signature name of Guruguha which is also his mudra. His compositions are widely sung and played in classical concerts of Carnatic music.
Varṇam is a type of composition in the Carnatic music system consisting of short metric pieces which encapsulate the main features of a raga. Varnams capture the raga bhavam, ranjaka prayogasvisesha sancharas, etc. Dhatu and janta prayogas are usually part of a varnam. Understanding of these aspects is key to developing manodharma sangeetham.
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.
Manodharma is a form of improvised South Indian classical Carnatic music. It is created on the spot during the performance, while remaining within the confines of musical grammar, as codified in the raga and/or the tala. Every Carnatic concert has one or many music pieces that showcases the singer's prowess and intellect in the form of Manodharma sangeetham. Often the centerpiece of a Carnatic concert will explore all the five types of manodharma. It serves as an important and integral aspect of Carnatic music.
Veena Kuppayyar (1798–1860) was an exponent of Veena and a composer of Carnatic music. He was a student of the famous composer Tyagaraja. Kuppayar composed his songs in Telugu language and has left behind a number of popular kritis.
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.
A katcheri is an assembly of musicians and audience in the context of Carnatic music or Karnatick music. It is presented in the concert format. The music fraternity of connoisseurs and common people assemble at the katcheri venues to listen to classical music concerts of vidwans. Etymologically the word "katcheri" is derived from Urdu language and in Hindi to mean a court of law.
Ganesh and Kumaresh are noted Indian duo of violin players who are a part of the Carnatic music fraternity. The brothers are best known as modern contemporary artists who have done lot of service to "Sastriya Sangitam". They are a dynamic duo of violinists, who have carved a niche for themselves in this era of great violinists. The brothers have gone deeper into the realm of the music and brought out a refreshingly original content and style for the instrument.
Neyveli Santhanagopalan is an Indian Carnatic vocalist and teacher. He has learned from masters such as Shri Thanjavur Sankara Iyer, Shri Maharajapuram Santhanam, and currently learns from Shri TN Seshagopalan.
In Carnatic Music, Kalpanaswaram, is melo-rhythmic raga improvisation in a specific tala. As part of swarakalpana, the musician delivers increasingly complex, improvised sequences in the Indian music solfege within or towards the end of a composition. Swarakalpana is integral to the Pallavi portion of a Ragam Thanam Pallavi and typically follows the neraval. It is also common for seasoned artists to perform swarakalpana during recitals of various other kritis.
Hamsadhvani, is a rāga in Carnatic music. It is an audava rāgam. It is a janya rāga of the Melakartha raga, Sankarabharanam (29th) but according to Hamsadhvani's prayoga or the way it is sung it is said to be the janya of Kalyani (65th).
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.
Charukesi is a rāga in Carnatic music. It is the 26th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Tarangini in Muthuswami Dikshitar school of Carnatic music.
Carnatic music terms are briefly described in this page. Major terms have their own separate article pages, while minor terms are defined / described here.
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.
Kudamaloor Janardanan[കുടമാളൂര് ജനാര്ദ്ദനന്] is an Indian flautist of the Carnatic music tradition.
"Vatapi Ganapatim", also known as "Vatapi ganapatim bhajeham" or "Vatapi ganapatim bhaje", is a Sanskrit kriti song by the South Indian poet-composer Muthuswami Dikshitar (1775–1835), one of the "Trinity of Carnatic music". The panegyrical hymn praises Vatapi Ganapati, Ganesha (Ganapati) worshipped in a shrine in Tiruchenkattankudi Utrapatishwaraswamy Temple dedicated to lord Shiva in Thiruvarur district in the Tamil Nadu state of India. The hymn is composed in Hamsadhvani raga ; however, in tradition of kritis, individual performers add their own variations in the tune as a part of improvisation. Vatapi Ganapatim is considered the best-known piece of Muthuswami Dikshitar and is one of the most popular compositions of Carnatic music. The hymn is traditionally sung at the beginning of many Carnatic music concerts.
