| Indian classical music |
|---|
 |
| Concepts |
In Carnatic music, Sthai or Staayi refers to the octave. [1] Madhyama sthai refers to the middle octave, Tara sthai refers to the upper octave and Mandhira sthai refers to the lower octave. [1]
| Indian classical music |
|---|
| |
| Concepts |
In Carnatic music, Sthai or Staayi refers to the octave. [1] Madhyama sthai refers to the middle octave, Tara sthai refers to the upper octave and Mandhira sthai refers to the lower octave. [1]
The Five types of Sthai are:
| Name of Staayi | Octave | Method of Denoting |
|---|---|---|
| Anumandra Staayi | 2 octaves below | Two dots below the Swara |
| Mandara Staayi | Lower octave | One dot below the Swara |
| Madhya Staayi | Middle octave | Swara without dots |
| Thara Staayi | Higher octave | One dot above the Swara |
| Ati Thara Staayi | 2 Octaves above | Two dots above the Swara |
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, 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. The heptatonic scale of Western musical notation is said to have its origins in Carnatic music, having been picked up by Pythagoras during his visit to India to learn mathematics, thus introducing it to the west. The circle of fifths and several other popular concepts in western classical music have their origins in the theory of Carnatic classical music.
Indian classical music is the classical music of the Indian subcontinent. It has two major traditions: the North Indian classical music tradition is called Hindustani, while the South Indian expression is called Carnatic. These traditions were not distinct until about the 16th 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.
Mēḷakarta is a collection of fundamental musical scales (ragas) in Carnatic music. Mēḷakarta ragas are parent ragas from which other ragas may be generated. A melakarta raga is sometimes referred as mela, karta or sampurna as well, though the latter term is inaccurate, as a sampurna raga need not be a melakarta.
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.
The Alap is the opening section of a typical North Indian classical performance. It is a form of melodic improvisation that introduces and develops a raga. In dhrupad singing the alap is unmetered, improvised and unaccompanied, and started at a slow tempo. For people unfamiliar with the raga form, it introduces the mode to the listener. It defines the raga, its mood, and the emphasized notes and notes with a secondary role. It's like an invocation.
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.
The venu is one of the ancient transverse flutes of Indian classical music. It is an aerophone typically made from bamboo, that is a side blown wind instrument. It continues to be in use in the South Indian Carnatic music tradition. In Northern Indian music, a similar flute is called bansuri. In the South, it is also called by various other names such as pullankudal (புல்லாங்குழல்) in Tamil, oodakuzhal (ഓടകുഴൽ) or kurungu kuzhal in Malayalam (Kerala) and ಕೊಳಲು (koḷalu) in Kannada (Karnataka). It is known as pillana grōvi or Vēṇuvu (వేణువు) in Telugu. It is also called as Carnatic Flute.
Svara or Swara is a Sanskrit word that connotes simultaneously a breath, a vowel and the sound of a musical note corresponding to its name. Most of the times a swara is identified for both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven swaras/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians designate as saptaka. It is one of the reasons why svara is considered a symbolical expression for the number seven.
The ancient Tamil music is the historical predecessor of the Carnatic music during the Sangam period spanning from 500 BCE to 200 CE.
Arohana, Arohanam or Aroha, in the context of Indian classical music, is the ascending scale of notes in a raga. The pitch increases as we go up from Shadja (Sa) to the Taar Shadja (Sa), possibly in a crooked (vakra) manner.
M.S. Gopalakrishnan, a.k.a. MSG, was a violinist in the field of Carnatic music. He is commonly grouped with Lalgudi Jayaraman and T.N.Krishnan as part of the violin-trinity of Carnatic Music. He was awarded the Madras Music Academy's Sangeetha Kalanidhi in 1997. He was a recipient of the Padma Bhushan, Padma Shri, Kalaimamani, Sangeetha Kalanidhi and Sangeet Natak Akademi awards.
Ionian mode is a musical mode or, in modern usage, a diatonic scale also called the major scale.
Shashank Subramanyam is a Grammy-nominated renowned exponent of the Bamboo Flute from India and specialises in Indian Classical Music. He is a recipient of the Sangeet Natak Akademi's senior award by Govt. of India bestowed by the Hon. President of India for the year 2017 at an investiture ceremony held at Rashtrapathi Bhavan in New Delhi. He was a child prodigy and began performing from his age of 6 in 1984 and has performed for over three decades.
Darbari Kanada, or simply Raga Darbari,, is a raga in the Kanada family, which is thought to have originated in Carnatic music and brought into Hindustani classical music by Miyan Tansen, the legendary 16th-century composer in emperor Akbar's court. This tradition is reflected in the name itself; Darbar is the Persian derived word in Hindi meaning "court." As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or pure Kanada. It belongs to the Asavari thaat. This raag is called raaga Kaanada in Yakshagana.
Ahir Bhairav is a Hindustani classical raga. It is a mixture of Bhairav and the ancient, rare raga Ahiri or Abhiri, or perhaps a mixture of Bhairav and Kafi.
The Algerian Scale is a scale frequently used in Algerian, Berber, and North African music. The frequent use of 1.5 steps in the scale contributes to a sound commonly associated with Moorish 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. Most of the keerthanas/kritis used in Carnatic music is based on Telugu language.
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.
Alankara, also referred to as palta or alankaram, is a concept in Indian classical music and literally means "ornament, decoration". An alankara is any pattern of musical decoration a musician or vocalist creates within or across tones, based on ancient musical theories or driven by personal creative choices, in a progression of svaras. The term alankara is standard in Carnatic music, while the same concept is referred to as palta or alankara in Hindustani music.
Saraswati Vidyardhi is a Carnatic vocalist and composer from Andhra Pradesh, India. She has won critical acclaim for her intensive research in Anumandra sthai (octave). She is capable of singing notes below the mandra shadjam up to the anumandra shadjam, and has also unearthed rare Panchamantya ragas.
 | This article about the music of India is a stub. You can help Wikipedia by expanding it. |