Performances of Carnatic music

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Carnatic music is usually performed by a small ensemble of musicians, who sit on an elevated stage. This usually consists of at least; a principal performer, a melodic accompaniment, a rhythm accompaniment, and a drone. [1]

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The tambura is the traditional drone instrument used in concerts, however, tamburas are increasingly being replaced by śruti boxes, and now more commonly, the "electronic tambura". The drone itself is an integral part of performances and furnishes stability - the equivalent of harmony in Western music. [2]

Performances can be musical or musical-dramatic. Musical recitals are either vocal, or purely instrumental in nature, while musical-dramatic recitals refer to Harikatha. [1] But irrespective of what type of recital it is, what is featured are compositions which form the core of this genre of music.

Instrumentation

The tambura is the traditional drone instrument used in concerts. However, tamburas are increasingly being replaced by śruti boxes, and now more commonly, the electronic tambura. The drone itself is an integral part of performances and furnishes stability – the equivalent of harmony in Western music. [2]

In a vocal recital, a concert team may have one or more vocalists as the principal performer(s). Instruments, such as the Saraswati veena and/or venu flute, can be occasionally found as a rhythmic accompaniment, but usually, a vocalist is supported by a violin player (who sits on his/her left). The rhythm accompanist is usually a mridangam player (who sits on the other side, facing the violin player). However, other percussion instruments such as the ghatam, kanjira and morsing frequently also accompany the main percussion instrument and play in an almost contrapuntal fashion along with the beats.

The objective of the accompanying instruments is far more than following the melody and keeping the beats. The accompaniments form an integral part of every composition presented, and they closely follow and augment the melodic phrases outlined by the lead singer. The vocalist and the violinist take turns while elaborating or while exhibiting creativity in sections like raga, niraval and kalpanaswaram.

Unlike Hindustani music concerts, where an accompanying tabla player can keep beats without following the musical phrases at times, in Carnatic music, the accompanists have to follow the intricacies of the composition since there are percussion elements such as eduppu in several compositions.

Some concerts feature a good bit of interaction with the lead musicians and accompanists exchanging notes, and accompanying musicians predicting the lead musician's musical phrases.

Concert content

Development of concert format

The late Ariyakudi Ramanuja Iyengar, a veteran Carnatic music vocalist, is credited with establishing the contemporary concert format which has been in use by Carnatic musicians to this day. [3]

Contemporary concert content

A contemporary Carnatic concert (called a katcheri) usually lasts about three hours, and usually comprises a number of varied compositions. Carnatic songs are composed in a particular raga , which means that they do not deviate from the notes in the raga . Each composition is set with specific notes and beats, but performers improvise extensively. Improvisation occurs in the melody of the composition as well as in using the notes to expound the beauty of the raga .

Concerts usually begin with a varnam or an invocatory item which will act as the opening piece. The varnam is composed with an emphasis on swaras of the raga, but will also have lyrics, the saahityam. It is lively and fast to get the audience's attention. An invocatory item, may alternatively, follow the varnam.

After the varnam and/or invocatory item, the artist sings longer compositions called kirtanas (commonly referred to as kriti s). Each kriti sticks to one specific raga, although some are composed with more than one raga; these are known as ragamalika (a garland of ragas).

After singing the opening kriti , usually, the performer sings the kalpanaswaram of the raga to the beat. The performer must improvise a string of swaras in any octave according to the rules of the raga and return to beginning of the cycle of beats smoothly, joining the swaras with a phrase selected from the kriti . The violin performs these alternately with the main performer. In very long strings of swara , the performers must calculate their notes accurately to ensure that they stick to the raga , have no awkward pauses and lapses in the beat of the song, and create a complex pattern of notes that an experienced audience can follow.

Performers then begin the main compositions with a section called raga alapana exploring the raga . In this, they use the sounds aa, ri, na, ta, etc. instead of swaras to slowly elaborate the notes and flow of the raga. This begins slowly and builds to a crescendo, and finally establishes a complicated exposition of the raga that shows the performer's skill. All of this is done without any rhythmic accompaniment, or beat. Then the melodic accompaniment (violin or veena), expounds the raga . Experienced listeners can identify many ragas after they hear just a few notes. With the raga thus established, the song begins, usually with lyrics. In this, the accompaniment (usually violin, sometimes veena) performs along with the main performer and the percussion (such as a mridangam). In the next stage of the song, they may sing niraval or kalpanaswaram again.

In most concerts, the main item will at least have a section at the end of the item, for the percussion to perform solo (called the tani avartanam). The percussion performers perform complex patterns of rhythm and display their skill. If multiple percussion instruments are employed, they engage in a rhythmic dialogue until the main performer picks up the melody once again. Some experienced artists may follow the main piece with a ragam thanam pallavi mid-concert, if they do not use it as the main item.

Following the main composition, the concert continues with shorter and lighter songs. Some of the types of songs performed towards the end of the concerts are tillanas and thukkadas - bits of popular kritis or compositions requested by the audience. Every concert that is the last of the day ends with a mangalam, a thankful prayer and conclusion to the musical event.

Audience

The audience of a typical concert has a reasonable understanding of Carnatic music. It is also typical to see the audience tapping out the tala in sync with the artist's performance. As and when the artist exhibits creativity, the audience acknowledge it by clapping their hands. With experienced artists, towards the middle of the concert, requests start flowing in. The artist usually plays the request and it helps in exhibiting the artist's broad knowledge of the several thousand kritis that are in existence.[ citation needed ]

Modern concerts

Every December, the city of Chennai in India has its six-week-long Music Season, which has been described as the world's largest cultural event. [4] The Music Season was started in 1927, to mark the opening of the Madras Music Academy. It used to be a traditional month-long Carnatic music festival, but since then it has also diversified into dance and drama, as well as non-Carnatic art forms. The music season in Chennai is in the month of Margashira - Marghazhi in Tamil and comes to an end with the festival of Makara Shankrati or Pongal. The cultural hub of Karnataka, Mysore - Bangalore region celebrates its Music Season known as Ramnavami Music Festival for a period of 45 days. Unlike the Madras Season which are held in closed auditoriums, the Ramanavami Music Festival is mostly held in Open Air Aoditoriums. The pleasant Chaitra - month of Kannada Calendar and evening showers make up the event much more celebrous. In Mysore, the concerts are held in Shri Bidaram Krishnappa Mandira and Jaganmohana Palace. Apart from these, many other smaller sabhas in Bangalore, Mysore, Hassan, Shimoga and Chikmagalur also conduct concerts in this festive season.

Related Research Articles

Carnatic music Music genre originating in southern India

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 Classical music from the Indian subcontinent

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

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 Indian poet and composer

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.

Varnam Form of song in 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

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.

Katcheri

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 Musical artist

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

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

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).

Musicians of the Kingdom of Mysore

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

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.

Glossary of Carnatic music Wikipedia glossary

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

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 Sanskrit hymn to Hindu god Ganesha by Muthuswami Dikshitar

"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.

References

  1. 1 2 L'Armand, A. K.; L'armand, Adrian (1983). "One Hundred Years of Music in Madras: A Case Study in Secondary Urbanization". Ethnomusicology. 27 (3): 411–438. doi:10.2307/850653. JSTOR   850653.
  2. 1 2 Rosenthal, E. (1931). "Tyagaraja: A Great South Indian Composer". Musical Quarterly. XVII (1): 14–24. doi:10.1093/mq/XVII.1.14.
  3. V. Subrahmaniam (17 December 2012). "What ails Carnatic music - The Hindu". The Hindu . Retrieved 19 April 2014.
  4. "Musical Musings". The Hindu . Chennai, India. 3 February 2005. Archived from the original on 7 February 2005. Retrieved 13 January 2007.