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.
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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.
Ustad Rashid Khan is an Indian classical musician in the Hindustani music tradition. He belongs to the Rampur-Sahaswan gharana, and is the great-grandson of gharana founder Inayat Hussain Khan. He is married to Soma Khan.
Bilaval or Bilawal is a raga and the basis for the eponymous thaat in Hindustani classical music. Raga Bilaval is named after Veraval, Gujarat.
In Hindustani music, meend refers to a glide from one note to another. It is an essential performance practice, and is used often in vocal and instrumental music. On the veena, sitar, sarangi and other plucked stringed instruments, it is usually done by pushing the strings across the frets to vary their effective length and tension; compare portamento and finger vibrato. This can be done on wind instruments like the bansuri by using the fingers to cover the holes in a manner that the changes between discrete pitches are imperceptible. It is considered a sort of alankar, or ornament.
Gamaka refer to ornamentation that is used in the performance of North and South Indian classical music. Gamaka can be understood as embellishment done on a note or between two notes. Present-day Carnatic music uses at least fifteen different kinds of ornamentation. Gamaka is any graceful turn, curve or cornering touch given to a single note or a group of notes, which adds emphasis to each raga's individuality. Gamaka can be understood as any movement done on a note or in between two notes. The unique character of each raga is given by its gamakas, making their role essential rather than decorative in Indian music. Nearly all Indian musical treatises have a section dedicated to describing, listing and characterising gamakas.
Kartik Seshadri is an Indian sitar player and teacher of Indian classical music. He is the director of the Indian Classical Music Ensemble at the University of California, San Diego.
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.
Taan is a technique used in the vocal performance of a raga in Hindustani classical music. It involves the improvisation of very rapid melodic passages using vowels, often the long "a" as in the word "far", and it targets at improvising and to expand weaving together the notes in a fast tempo. It is similar to the technique ahaat, used in Arabic music.
Gandharva Mahavidyalaya New Delhi is an institution established in 1939 to popularize Indian classical music and dance. The Mahavidyalaya (school) came into being to perpetuate the memory of Pandit Vishnu Digambar Paluskar, the great reviver of Hindustani classical music, and to keep up the ideals set down by him. The first Gandharva Mahavidyalaya was established by him on 5 May 1901 at Lahore. The New Delhi school follows the syllabi set by the Akhil Bharatiya Gandharva Mahavidyalaya Mandal.
Lalith J. Rao is an Indian classical singer and a representative of the Agra gharana.
ITC Sangeet Research Academy is a Hindustani classical music academy run by the corporate house, ITC Ltd. It is located in Kolkata, India. Noted musicians associated with the academy include Ulhas Kashalkar, Falguni Mitra, Ajoy Chakrabarty, Ustad Rashid Khan, Mashkoor Ali Khan, Girija Devi, Subhra Guha. Satyajit Ray, was one of the trustees.
ITC SRA Sangeet Sammelan is an annual Indian classical music festival organised by ITC Sangeet Research Academy held by turn in various cities in India.
Vijayalakshmy Subramaniam is an eminent Carnatic music vocalist. As a student and performer of classical music for over three decades, she has performed extensively in India and abroad since the age of twelve. She has conducted numerous workshops and lecture demonstrations on the various aspects of Carnatic Music. She has presented papers at international conferences in many countries over the last decade. She is a serious researcher of music. In June 2007, she brought out a book "Apoorva Kriti Manjari" – a collection of twenty rare compositions of the Trinity of Carnatic Music. The book has notations in English and Tamil by noted musicologist S. Balachander and the audio has been rendered by Vijayalakshmy. A doctorate in music, Vijayalakshmy was awarded the prestigious Fulbright Visiting Lecturer Fellowship in 2010. As part of the programme, she taught the subject 'An Introduction to Indian Music' at the Duke University, North Carolina, USA, as a visiting Fulbright fellow.
Sargam refers to singing the notes instead of the words of a composition, with use of various ornamentations such as meend, gamak, kan and khatka, as part of a khyal performance. This is generally done in medium-tempo as a bridge between the alap and taan portions.
Murki is a short taan or inverted mordent in Hindustani classical music, known as pratyahatam in Carnatic music. It is a fast and delicate ornamentation or alankar, employing two or more notes and is similar to a mordent or ulta murki. A murki is less forceful than a khatka or a zamzama. A combination like R R S S could be a murki or a khatka or the starting point of a zamzama, depending on the force of delivery. Murkis may or may not be appropriate for a given raga. It is also employed in thumris and other lighter genres.
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.
Pandit Vinayak Malharrao Torvi, is an Indian classical vocalist. He belongs to the Gwalior and Kirana gharanas.