Frogtoon Music

Frogtoon Music - Genre information for Carnatic-Music

Carnatic Music Sanskrit Karnāṭaka Saṃgītaṃ Is A System Of Music Commonly Associated With The Southern Part Of The Indian Subcontinent With Its Area Roughly Confined To Four Modern States Of India Andhra Pradesh Karnataka Kerala And Tamil Nadu. It Is One Of Two Main Sub-Genres Of Indian Classical Music That Evolved From Ancient Hindu Traditions The Other Sub-Genre Being Hindustani Music Which Emerged As A Distinct Form Due To Persian And Islamic Influences In North India. In Contrast To Hindustani Music 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.
Although There Are Stylistic Differences The Basic Elements Of Śruti The Relative Musical Pitch Swara The Musical Sound Of A Single Note Rāga The Mode Or Melodic Formulæ And Tala The Rhythmic Cycles Form The Foundation Of Improvisation And Composition In Both Carnatic And Hindustani Music. Although Improvisation Plays An Important Role Carnatic Music Is Mainly Sung Through Compositions Especially The Kriti Or Kirtanam A Form Developed Between The 16th And 20th Centuries By Prominent Composers Such As Purandara Dasa And The Trinity Of Carnatic Music.
Carnatic Music Is Usually Performed By A Small Ensemble Of Musicians Consisting Of A Principal Performer Usually A Vocalist A Melodic Accompaniment Usually A Violin A Rhythm Accompaniment Usually A Mridangam And A Tambura Which Acts As A Drone Throughout The Performance. Other Typical Instruments Used In Performances May Include The Ghatam Kanjira Morsing Veena & Flute. The Most Outstanding Performances And The Greatest Concentration Of Carnatic Musicians Are Found In The City Of Chennai. 1 In Particular The Six Week-Long Music Season Held In Chennai Every December Has Been Described As The World's Largest Cultural Event 2 . Origins And History Like All Art Forms In Indian Culture Carnatic Music Is Believed To Have A Divine Origin. It Originated From The Devas And Devis Hindu Gods And Goddesses 3 4 And Is Venerated As Symbolic Of Nāda Brāhman 5 . Ancient Treatises Describe The Connection Of The Origin Of The Swaras Or Notes To The Sounds Of Animals And Birds And Man's Effort To Simulate These Sounds Through A Keen Sense Of Observation And Perception. The Sama Veda Which Is Believed To Have Laid The Foundation For Indian Classical Music Consists Of Hymns From The Rigveda Set To Musical Tunes Which Would Be Sung Using Three To Seven Musical Notes During Vedic Yajnas. 6 The Yajur-Veda Which Mainly Consists Of Sacrificial Formulae Mentions The Veena As An Accompaniment To Vocal Recitations. 7 References To Indian Classical Music Are Made In Many Ancient Texts Including Epics Like The Ramayana And Mahabharata. The Yajnavalkya Smriti Mentions Vīṇāvādana Tattvajñaḥ Śrutijātiviśāradaḥ Tālajñaścāprayāsena Mokṣamārgaṃ Niyacchati "The One Who Is Well Versed In Veena One Who Has The Knowledge Of Srutis And One Who Is Adept In Tala Attains Salvation Without Doubt" . 8 . Carnatic Music Is Based As It Is Today On Musical Concepts Including Swara Raga And Tala That Were Described In Detail In Several Ancient Works Particularly The Silappadhikaram And Bharata's Natya Shastra. 9 Owing To Persian And Islamic Influences In North India From The 12th Century Onwards Hindustani Music And Carnatic Music Styles Diverged. 1 By The 16th And 17th Centuries There Was A Clear Demarcation Between Carnatic And Hindustani Music. 10 It Was At This Time That Carnatic Music Flourished In Thanjavur While The Vijayanagar Empire Reached Its Greatest Extent. 11 Purandara Dasa Who Is Known As The Father Pitamaha Of Carnatic Music Formulated The System That Is Commonly Used For The Teaching Of Carnatic Music. 12 4 Venkatamakhin Invented And Authored The Formula For The Melakarta System Of Raga Classification In His Sanskrit Work The Chaturdandi Prakasika 1660 AD . 10 Govindacharya Is Known For Expanding The Melakarta System Into The Sampoorna Raga Scheme - The System That Is In Common Use Today. Carnatic Music Was Mainly Patronized By The Local Kings Of The Kingdom Of Mysore And Kingdom Of Travancore In The 18th Through 20th Centuries. The Royalty Of The Kingdoms Of Mysore And Travancore Were Noted Composers And Proficient In Playing Musical Instruments Such As The Veena Rudra Veena Violin Ghatam Flute Mridangam Nagaswara And Swarabhat. 13 Some Famous Court-Musicians And Royalty Proficient In Music Were Veena Sheshanna 1852-1926 14 And Veena Subbanna 1861-1939 15 Among Others. With The Dissolution Of The Erstwhile Princely States And The Indian Independence Movement Reaching Its Conclusion In 1947 Carnatic Music Went Through A Radical Shift In Patronage Into An Art Of The Masses With Ticketed Performances Organized By Private Institutions Called Sabhas. During The 19th Century Madras Emerged As The Locus For Carnatic Music. 16 Nature Of Carnatic Music 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 A Singing Style Known As Gāyaki . 17 Like Hindustani Music Carnatic Music Rests On Two Main Elements Rāga The Modes Or Melodic Formulæ And Tāḷa The Rhythmic Cycles. 17 Today Carnatic Music Is Presented By Musicians In Concerts Or Recordings Either Vocally Or Through Instruments. Carnatic Music Itself Developed Around Musical Works Or Compositions Of Phenomenal Composers See Below . Important Elements Of Carnatic Music Śruti Śruti Commonly Refers To Musical Pitch. 18 It Is The Approximate Equivalent Of A Tonic Or Less Precisely A Key In Western Music It Is The Note From Which All The Others Are Derived. It Is Also Used In The Sense Of Graded Pitches In An Octave. While There Are An Infinite Number Of Sounds Falling Within A Scale Or Raga In Carnatic Music The Number That Can Be Distinguished By Auditory Perception Is Twenty-Two Although Over The Years Several Of Them Have Converged . In This Sense While Sruti Is Determined By Auditory Perception It Is Also An Expression In The Listener's Mind. 19 Swara Swara Refers To A Type Of Musical Sound That Is A Single Note Which Defines A Relative Higher Or Lower Position Of A Note Rather Than A Defined Frequency. 18 Swaras Also Refer To The Solfege Of Carnatic Music Which Consist Of Seven Notes "sa-Ri-Ga-Ma-Pa-Da-Ni" Compare With The Hindustani Sargam Sa-Re-Ga-Ma-Pa-Dha-Ni Or Western Do-Re-Mi-Fa-So-La-Ti . These Names Are Abbreviations Of The Longer Names Shadja Rishabha Gandhara Madhyama Panchama Dhaivata And Nishada. Unlike Other Music Systems Every Member Of The Solfege Called A Swara Has Three Variants. The Exceptions Are The Drone Notes Shadja And Panchama Also Known As The Tonic And The Dominant Which Have Only One Form And Madhyama The Subdominant Which Has Two Forms. A 7th Century Stone Inscription In Kudumiyan Malai 20 In Tamil Nadu Shows Vowel Changes To Solfege Symbols With Ra Ri Ru Etc. To Denote The Higher Quarter-Tones. In One Scale Or Raga There Is Usually Only One Variant Of Each Note Present. The Exceptions Exist In "light" Ragas In Which For Artistic Effect There May Be Two One Ascending In The Arohanam And Another Descending In The Avarohanam . Raga System A Raga In Carnatic Music Prescribes A Set Of Rules For Building A Melody - Very Similar To The Western Concept Of Mode. 21 It Specifies Rules For Movements Up Aarohanam And Down Avarohanam The Scale Of Which Notes Should Figure More And Which Notes Should Be Used More Sparingly Which Notes May Be Sung With Gamaka Which Phrases Should Be Used Or Avoided And So On. In Effect It Is A Series Of Obligatory Musical Events Which Must Be Observed Either Absolutely Or With A Particular Frequency. 22 In Carnatic Music The Sampoorna Ragas Those With All Seven Notes In Their Scales Are Classified Into A System Called The Melakarta Which Groups Them According To The Kinds Of Notes That They Have. There Are Seventy-Two Melakarta Ragas Thirty Six Of Whose Madhyama Subdominant Is Sadharana Perfect Fourth From The Tonic The Remaining Thirty-Six Of Whose Madhyama Subdominant Is Prati An Augmented Fourth From The Tonic . The Ragas Are Grouped Into Sets Of Six Called Chakras "wheels" Though Actually Segments In The Conventional Representation Grouped According To The Supertonic And Mediant Scale Degrees. There Is A System Known As The Katapayadi Sankhya To Determine The Names Of Melakarta Ragas.
Ragas May Be Divided Into Two Classes Janaka Ragas I.E Melakarta Or Parent Ragas And Janya Ragas Descendant Ragas Of A Particular Janaka Raga . Janya Ragas Are Themselves Subclassified Into Various Categories. Tala System Tala Refers To The Beat Set For A Particular Composition A Measure Of Time . Talas Have Cycles Of A Defined Number Of Beats And Rarely Change Within A Song. They Have Specific Components Which In Combinations Can Give Rise To The Variety To Exist Over 108 Allowing Different Compositions To Have Different Rhythms. 23 Carnatic Music Singers Usually Keep The Beat By Moving Their Hands Up And Down In Specified Patterns And Using Their Fingers Simultaneously To Keep Time. Tala Is Formed With Three Basic Parts Called Angas Which Are Laghu Dhrtam And Anudhrtam Though Complex Talas May Have Other Parts Like Plutam Guru And Kaakapaadam. There Are Seven Basic Tala Groups Which Can Be Formed From The Laghu Dhrtam And Anudhrtam Dhruva Tala
Matya Tala
Rupaka Tala
Jhampa Tala
Triputa Tala
Ata Tala
Eka Tala A Laghu Has Five Variants Called Jaathis Based On The Counting Pattern. Five Jaathis Times Seven Tala Groups Gives Thirty-Five Basic Talas Although Use Of Other Angas Results In A Total Of 108 Talas.
Improvisation Improvisation In Raga Is The Soul Of Indian Classical Music 24 - An Essential Aspect. 25 "Manodharma Sangeetham" Or "kalpana Sangeetham" "music Of Imagination" As It Is Known In Carnatic Music Embraces Several Varieties Of Improvisation. 25 26 The Main Traditional Forms Of Improvisation In Carnatic Music Consist Of Alapana Niraval Kalpanaswaram Ragam Thanam Pallavi And Thani Avarthanam. 27 28 Raga Alapana An Alapana Sometimes Also Called Ragam 29 Is The Exposition Of A Raga Or Tone - A Slow Improvisation With No Rhythm 30 Where The Raga Acts As The Basis Of Embellishment. 22 In Performing Alapana Performers Consider Each Raga As An Object That Has Beginnings And Endings And Consists Somehow Of Sequences Of Thought. 22 The Performer Will Explore The Ragam And Touch On Its Various Nuances 29 Singing In The Lower Octaves First Then Gradually Moving Up To Higher Octaves While Giving A Hint Of The Song To Be Performed. 30 Theoretically This Ought To Be The Easiest Type Of Improvisation Since The Rules Are So Few But In Fact It Takes Much Skill To Sing A Pleasing Comprehensive In The Sense Of Giving A "feel For The Ragam" And Most Importantly Original Raga Alapana. Niraval Niraval Usually Performed By The More Advanced Performers Consists Of Singing One Or Two Lines Of A Song Repeatedly But With A Series Of Melodic Improvised Elaborations. 31 The Lines Are Then Also Played At Different Levels Of Speed Which Can Include Double Speed Triple Speed Quadruple Speed And Even Sextuple Speed. 32 Kalpanaswaram Kalpanaswaram Also Known As Swarakalpana Consists Of Improvising Melodic And Rhythmic Passages Using Swaras Solfa Syllables . 33 Kalpanaswaras Are Sung To End On A Particular Swara In The Raga Of The Melody And At A Specific Place Idam In The Tala Cycle. 34 Generally The Swaras Are Sung To End On The Samam The First Beat Of The Rhythmical Cycle And Can Be Sung At The Same Speed Or Double The Speed Of The Melody That Is Being Sung Though Some Artists Sing Triple-Speed Phrases Too. 32 Kalpanaswaram Is The Most Elementary Type Of Improvisation Usually Taught Before Any Other Form Of Improvisation. Tanam Tanam Is One Of The Most Important Forms Of Improvisation And Is Integral To Ragam Tanam Pallavi. 35 Originally Developed For The Veena It Consists Of Expanding The Raga With Syllables Like Tha Nam Thom Aa Nom Na Etc. Ragam Tanam Pallavi Ragam Tanam Pallavi Is The Principal Long Form In Concerts 35 And Is A Composite Form Of Improvisation. As The Name Suggests It Consists Of Raga Alapana Tanam And A Pallavi Line. Set To A Slow-Paced Tala The Pallavi Line Is Often Composed By The Performer. Through Niraval The Performer Manipulates The Pallavi Line In Complex Melodic And Rhythmic Ways. 29 The Niraval Is Followed By Kalpanaswarams. Thani Avarthanam
Compositions In Contrast To Hindustani Music Of The Northern Part Of India Carnatic Music Is Taught And Learned Through Compositions Which Encode Many Intricate Musical Details Also Providing Scope For Free Improvisation. Nearly Every Rendition Of A Carnatic Music Composition Is Different And Unique As It Embodies Elements Of The Composer's Vision As Well As The Musician's Interpretation.
A Carnatic Composition Really Has Two Elements One Being The Musical Element The Other Being What Is Conveyed In The Composition. It Is Probably Because Of This Fact That Most Carnatic Music Compositions Are Composed For Singing. In Addition To The Rich Musical Experience Each Composition Brings Out The Knowledge And Personality Of The Composer And Hence The Words Are As Important As The Musical Element Itself. This Poses A Special Challenge For The Musicians Because Rendering This Music Does Not Involve Just Playing Or Singing The Correct Musical Notes The Musicians Are Expected To Understand What Was Conveyed By The Composer In Various Languages And Sing Musical Phrases That Act To Create The Effect That Was Intended By The Composer In His/her Composition.
There Are Many Types/forms Of Compositions.
Geethams And Swarajatis Which Have Their Own Peculiar Composition Structures Are Principally Meant To Serve As Basic Learning Exercises.
Compositions More Commonly Associated With Indian Classical Dance And Indian Devotional Music Have Also Been Increasingly Used In The Carnatic Music Repertoire. The Performance Of The Sanskrit Sloka Tamil Viruttam And Telegu Padyamu Or Sisapadya Forms Are Particularly Unique. Though These Forms Consist Of Lyric-Based Verses Musicians Improvise Raga Phrases In Free Rhythm Like An Alapana 31 So Both The Sound Value And The Meaning Of The Text Guide The Musician Through Elaborate Melodic Improvisations. 36 Forms Such As The Divya Prabandham Thevaram And Ugabhoga Are Often Performed Similarly However These Forms Can Also Have A Set Melody And Rhythm Like The Devaranama Javali Padam Thillana And Thiruppugazh Forms.
The Most Common And Significant Forms In Carnatic Music Are The Varnam And The Kriti Or Kirtanam . Varnam This Is A Special Item Which Highlights Everything Important About A Raga Known As The Sanchaaraas Of A Raga 37 - This Includes Which Notes To Stress How To Approach A Certain Note Classical And Characteristic Phrases Of A Raga The Scale Of The Raga And So On. Though There Are A Few Different Types Of Varnams In Essence They All Have A Pallavi An Anupallavi Muktayi Swaras A Charanam And Chittaswaras. 37 They Are Sung In Multiple Speeds And Are Very Good For Practice. 37 In Concerts Varnams Are Often Sung At The Beginning As They Are Fast And Grab The Audience's Attention. 37 Kriti Carnatic Songs Kritis Are Varied In Structure And Style But Generally Consist Of Three Units 1. Pallavi. This Is The Equivalent Of A Refrain In Western Music. One Or Two Lines. 2. Anupallavi. The Second Verse. Also Two Lines. 3. Charana. The Final And Longest Verse That Wraps Up The Song. The Charanam Usually Borrows Patterns From The Anupallavi. There Can Be Multiple Charanas.
This Kind Of Song Is Called A Keerthanam Or A Kriti. There Are Other Possible Structures For A Kriti Which May In Addition Include Swara Passages Named Chittaswara. Chittaswara Consists Only Of Notes And Has No Words. Still Others Have A Verse At The End Of The Charana Called The Madhyamakāla. It Is Sung Immediately After The Charana But At Double Speed. Prominent Composers There Are Many Composers In Carnatic Music. Purandara Dasa 1480 - 1564 Is Known As The Father Pitamaha Of Carnatic Music Due To His Pioneering Contributions To Carnatic Music. Purandara Dasa Is Renowned For Formulating The Basic Lessons Of Carnatic Music. He Structured Graded Exercises Known As Swaravalis And Alankaras And At The Same Time Introduced The Raga Mayamalavagowla As The First Scale To Be Learnt By Beginners. He Also Composed Gitas Simple Songs For Novice Students. Although Only A Fraction Of His Compositions Still Exist He Is Said To Have Composed Around 475 000 Compositions In Total. 38 The Contemporaries Tyagaraja 1759? - 1847 Muthuswami Dikshitar 1776 - 1827 And Syama Sastri 1762 - 1827 Are Regarded As The Trinity Of Carnatic Music Due To The Quality Of Syama Sastri's Compositions The Varieties Of Compositions Of Muthuswami Dikshitar And Tyagaraja's Prolific Output In Composing Kritis. 39 Prominent Composers Prior To The Trinity Of Carnatic Music Include Arunachala Kavi Annamacharya Narayana Theertha Vijaya Dasa Bhadrachala Ramadas Sadasiva Brahmendra And Oottukkadu Venkata Kavi. Other Prominent Composers Are Swathi Thirunal Gopalakrishna Bharathi Neelakanta Sivan Patnam Subramania Iyer Mysore Vasudevachar Koteeswara Iyer Muthiah Bhagavathar Subramania Bharathiyar And Papanasam Sivan. The Compositions Of These Composers Are Rendered Frequently By Prominent Artists Of Today.
Composers Of Carnatic Music Were Often Inspired By Religious Devotion And Were Usually Scholars Proficient In One Or More Of The Languages Kannada Malayalam Sanskrit Tamil And Telugu. They Usually Included A Signature Called A Mudra In Their Compositions. For Example All Songs By Tyagaraja Who Composed In Telugu Have The Word Tyagaraja In Them All Songs By Muthuswami Dikshitar Who Composed In Sanskrit Have The Words Guruguha In Them Songs By Syama Sastri Who Composed In Telugu Have The Words Syama Krishna In Them While Purandaradasa Who Composed In Kannada Used The Signature Purandara Vittala. Gopalakrishna Bharathi Used The Signature Gopalakrishnan And Composed In Tamil. Papanasam Sivan Who Has Been Hailed As The Tamil Thyagaraja Of Carnatic Music 40 Also Composed In This Language As Well As Sanskrit 40 And Used The Signature Ramadasan. Learning Carnatic Music Carnatic Music Is Traditionally Taught According To The System Formulated By Purandara Dasa. This Involves Varisais Graded Exercises Alankaras Exercises Based On The Seven Talas Geethams Or Simple Songs And Swarajathis. After The Student Has Reached A Certain Standard Varnams Are Taught And Later The Student Learns Kritis. It Typically Takes Several Years Of Learning Before A Student Is Adept Enough To Perform At A Concert.
The Learning Texts And Exercises Are More Or Less Uniform Across All The South Indian States. The Learning Structure Is Arranged In Increasing Order Of Complexity. The Lessons Start With The Learning Of The Sarali Varisai Solfege Set To A Particular Raga .
Carnatic Music Was Traditionally Taught In The Gurukula System Where The Student Lived With And Learnt The Art From His Guru Perceptor . From The Late 20th Century Onwards With Changes In Lifestyles And Need For Young Music Aspirants To Simultaneously Pursue A Parallel Academic Career This System Has Found Few Takers.
Musicians Often Take Great Pride In Letting People Know About Their Guru Parampara Or The Hierarchy Of Disciples From Some Prominent Ancient Musician Or Composer To Which They Belong. People Whose Disciple-Hierarchies Are Often Referred To Are Thyagaraja Muthuswami Dikshitar Syama Sastri Swathi Thirunal And Papanasam Sivan Among Others.
In Modern Times It Is Common For Students To Visit Their Gurus Daily Or Weekly To Learn Music. Though New Technology Has Made Learning Easier With The Availability Of Quick-Learn Media Such As Learning Exercises Recorded On Audio Cassettes And CDs These Are Discouraged By Most Gurus Who Emphasize That Face-To-Face Learning Is Best For Students. Notations Notation Is Not A New Concept In Indian Music. However Carnatic Music Continued To Be Transmitted Orally For Centuries Without Being Written Down. The Disadvantage With This System Was That If One Wanted To Learn About A Kriti Composed For Example By Purandara Dasa It Involved The Difficult Task Of Finding A Person From Purandara Dasa's Lineage Of Students.
Written Notation Of Carnatic Music Was Revived In The Late 17th Century And Early 18th Century Which Coincided With Rule Of Shahaji II In Tanjore. Copies Of Shahaji's Musical Manuscripts Are Still Available At The Saraswathi Mahal Library In Tanjore And They Give Us An Idea Of The Music And Its Form. They Contain Snippets Of Solfege To Be Used When Performing The Mentioned Ragas. Melody Unlike Western Music Carnatic Music Is Notated Almost Exclusively In Tonic Solfa Notation Using Either A Roman Or Indic Script To Represent The Solfa Names. Past Attempts To Use The Staff Notation Have Mostly Failed. Indian Music Makes Use Of Hundreds Of Ragas Many More Than The Church Modes In Western Music. It Becomes Difficult To Write Carnatic Music Using The Staff Notation Without The Use Of Too Many Accidentals. Furthermore The Staff Notation Requires That The Song Be Played In A Certain Key. The Notions Of Key And Absolute Pitch Are Deeply Rooted In Western Music Whereas The Carnatic Notation Does Not Specify The Key And Prefers To Use Scale Degrees Relative Pitch To Denote Notes. The Singer Is Free To Choose The Actual Pitch Of The Tonic Note. In The More Precise Forms Of Carnatic Notation There Are Symbols Placed Above The Notes Indicating How The Notes Should Be Played Or Sung However Informally This Practice Is Not Followed.
To Show The Length Of A Note Several Devices Are Used. If The Duration Of Note Is To Be Doubled The Letter Is Either Capitalized If Using Roman Script Or Lengthened By A Diacritic In Indian Languages . For A Duration Of Three The Letter Is Capitalized Or Diacriticized And Followed By A Comma. For A Length Of Four The Letter Is Capitalized Or Diacriticized And Then Followed By A Semicolon. In This Way Any Duration Can Be Indicated Using A Series Of Semicolons And Commas.
However A Simpler Notation Has Evolved Which Does Not Use Semicolons And Capitalization But Rather Indicates All Extensions Of Notes Using A Corresponding Number Of Commas. Thus Sā Quadrupled In Length Would Be Denoted As "S ". Rhythm The Notation Is Divided Into Columns Depending On The Structure Of The Tāḷaṃ. The Division Between A Laghu And A Dhrutam Is Indicated By A । Called A Ḍaṇḍā And So Is The Division Between Two Dhrutams Or A Dhrutam And An Anudhrutam. The End Of A Cycle Is Marked By A ॥ Called A Double Ḍaṇḍā And Looks Like A Caesura. Performances Of Carnatic Music 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. 41 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. 42 Performances Can Be Musical Or Musical-Dramatic. Musical Recitals Are Either Vocal Or Purely Instrumental In Nature While Musical-Dramatic Recitals Refer To Harikatha. 41 But Irrespective Of What Type Of Recital It Is What Is Featured Are Compositions Which Form The Core Of This Genre Of Music.
In A Vocal Recital A Concert Team May Have One Or More Vocalists As The Principal Performer S . Instruments Such As The Veena And/or 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 Of The Best Concerts Feature A Good Bit Of Interaction With The Lead Musicians And Accompanists Exchanging Notes And Accompanying Musicians Predicting The Lead Singer's Musical Phrases.
See Also Indian Musical Instruments Concert Content A Contemporary Carnatic Music Concert Called A Kutcheri Usually Lasts About Three Hours And 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 Usually Follow The Varnam.
After The Varnam And/or Invocatory Item The Artist Sings Longer Compositions Called Kirtanas Commonly Referred To As Kritis . 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 Or Lapses In The Beat Of The Song And Create A Complex Pattern Of Notes That A Knowledgeable 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 Artists 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 Sings The Requests And It Helps In Exhibiting The Artist's Broad Knowledge Of The Several Thousand Kritis That Are In Existence. Modern Performances 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. 43 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. Artists Carnatic Music Artists Often Have To Have Had Several Years Of Intense Training And Practice Before Being Qualified As Musicians Who Can Perform On Stage.
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43.^ "Musical Musings". The Hindu. Retrieved On 2007-01-13. Carnatic-Music Every artist, every band, and every song you can imagine, from the newest to the oldest, are easily accessible through Frogtoon Music. Get ready to indulge yourself and allow the music to enrich your soul, ignite your passion, awaken your emotions, and bring back some beautiful memories. The following is a directory of top artists and bands from Carnatic Music: As you visit their pages, you will be presented with a list of popular videos, top tracks, recommended mixes, and music from all the albums they released. In addition, within each page, you can access and discover music from similar artists and bands.