Carnatic Music – UPSC Notes – Art and Culture

Carnatic music has its roots in prehistoric times, with musical instruments being a prominent subject in the works of sculptors, painters, and authors of ancient Tamil and Sanskrit texts.

The term “Carnatic music” finds its origins in the Sanskrit expression Karnātaka Sangītam, signifying “traditional” or “codified” music. In Tamil culture, a parallel concept is referred to as Tamil Isai. Scholars use these terms to emphasize the classical nature and scientific foundations of traditional music. Apart from Sanskrit and Tamil, languages like Telugu, Kannada, and Malayalam have been employed for composing song lyrics.

Purandara Dāsa (1484-1564), a prolific poet-composer and mystic from Vijayanagar, introduced a music curriculum that continues to be followed to this day. Since the 17th century, numerous rāga-s (melody types) have been categorized among the 72 melakarta rāgas (scales).

• Purandaradasa:
  • Purandaradasa was a Haridasa philosopher and a dedicated follower of Madhwacharya’s Dwaitha philosophy.
  • He is believed to have been born in the district of Shimoga.
  • Noted for his significant contributions, Purandara Dasa composed Dasa Sahithya primarily in Kannada, showcasing his devotion as a Bhakti movement vocalist and a proficient music scholar.
  • His influential practice served as inspiration for his younger contemporary, Kanakadasa.
  • While most of Purandara Dasa’s Carnatic music compositions are in Kannada, some are also in Sanskrit.
  • He consistently signed his compositions with the pen name “Purandara Vittala.”
• Venkatamakhi:
  • Venkatamakhi stands out as the grand theorist of Carnatic music.
  • In the 17th century AD, he played a pivotal role in the development of “Melakarta,” a system for classifying south Indian ragas.
  • His classification system continues to be relevant, with a total of 72 Melakartas in use today.
• Musical Trinity (Tyagaraja, Muthuswami Dikshitar, Syama Sastri):
  • The birth of the Musical Trinity occurred at Tiruvarur between the years 1750 to 1850 A.D.
  • This period marked the onset of a dynamic and transformative phase in the evolution of Carnatic music.

Salient Features

• It is an indigenously developed style of classical music.
• The Melakarta scheme is a highly comprehensive and systematic formula that includes all the modes used in ancient as well as modern systems of music from different parts of the world.
• It is strongly kriti-based.
• There is a unity of raga, tala, and shruti in every piece.
• The system gives equal importance to melody and rhythm.
• Mixing the three degrees of speeds is a characteristic element.
• Fewer instruments are used in Karnatak than in northern Indian music, and there are no exclusively instrumental forms.
• There is an even balance between re-creativity (soulful interpretation of the compositions of great masters) and creativity (on-the-spot improvisations).
• Some of the important Carnatic music compositions include Gitam, suladi, svarajati, Jatisvaram, varnam, kritanam, kriti, pada, javali, pallavi, etc.

Important Carnatic Compositions

1. Gitam:
   • The simplest type of composition.
   • Constructed with an easy and melodious flow of music.
   • Sung without repetition from the beginning to the end.
   • Themes are usually devotional, with a few gitas in praise of musical luminaries and Acharyas.
   • Composed in Sanskrit, Kannada, and Bhandira bhasha.
2. Suladi:
   • Similar to Gitam in musical structure and composition.
   • A talamalika with sections in different talas.
   • Fewer sahitya syllables than in gitas and a profusion of vowel extensions.
   • Devotional themes with compositions in different tempos – vilambita, madhya, and druta.
   • Many Suladis were composed by Purandaradasa.
3. Svarajati:
   • More complicated than gitas.
   • Consists of three sections – Pallavi, Anupallavi, and Charanam.
   • Themes can be devotional, heroic, or amorous.
   • Syama Sastri, one of the Musical Trinity, was famous for using svarajatis.
4. Jatisvaram:
   • Noted for its rhythmical excellence.
   • Belongs to the realm of dance music, with some sung to jatis and others to a mixture of svaras and jatis.
5. Varnam:
   • A complete composed piece showcasing the characteristic phrases and melodic movements of a raga.
   • Typically performed at the beginning of a concert.
6. Kritanam:
   • Clothed in simple music, abundant in Bhakti bhava.
   • Suited for congregational singing as well as individual presentation.
7. Kriti:
   • A highly evolved musical form and the longer format of Carnatic song.
   • Forms the mental backbone of any typical Carnatic music concert.
8. Pada:
   • Scholarly compositions in Telugu and Tamil, mainly composed for dance forms but also sung in concerts due to their musical excellence.
9. Javali:
   • Belongs to the sphere of light classical music.
   • Sensuous in concept and spirit, resembling the Thumris of Hindustani Music.
10. Tillana:
    • Mainly a dance form, occasionally included in music concerts as a conclusion piece.
    • Usually begins with jatis.
11. Pallavi:
    • The most important branch of creative music, providing ample opportunities for displaying creative talents, imaginative skill, and musical intelligence.
12. Tanam:
    • A method of raga improvisation (manodharma) in the Carnatic classical music tradition.
    • Suited mainly for vocal, violin, and veena.
    • The second part of a Raagam Taanam Pallavi, coming after the raga is sung but before the pallavi begins.

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Frequently Asked Questions (FAQs) – Carnatic Music

1. What is Carnatic music?
   • Carnatic music is a form of Indian classical music originating from Southern India. It is typically performed by a small ensemble, including a vocalist, a melodic accompaniment (often a violin), a rhythm accompaniment (usually a mridangam), and a tambura, which provides a drone throughout the performance.
2. Why is it called Carnatic music?
   • The term “Carnatic” is believed to have its roots in the Sanskrit word ‘Karnatakam,’ referring to the southern region of the Vindhyas. The name may be derived from the Sanskrit phrase ‘Karneshuathathi,’ meaning pleasing to the ear.
3. Who is the founder of Carnatic music?
   • Purandaradasa, also known as the Father of Carnatic music or Karnataka Sangeetha Pitamaha, is credited as the founder. He wrote numerous compositions, often using the pen name Purandara Vittala.
4. What is the difference between Hindustani and Carnatic music?
   • Carnatic music is more structured and formulaic, relying on fixed patterns of melody and rhythm. Hindustani music, in contrast, is more improvisational, allowing for greater flexibility and creative expression.
5. What are the 12 types of Carnatic music?
   • The 12 musical notes in Carnatic music are Shadjamum, Suddha Rishabham, Chatusruti Rishabham, Sadharana Gandharam, Antara Gandharam, Suddha Madhyamam, Prati Madhyamam, Panchamam, Suddha Dhaivatam, Chatusruti Dhaivatam, Kaishiki Nishadam, and Kakali Nishadam.
6. Who is the father of Indian music?
   • Purandar Das, a saint from Karnataka, is recognized as the father of Carnatic music. He introduced the Raga Mayamalavagowla.
7. Is Carnatic music Hindu?
   • Carnatic music has its origins in Southern India and is deeply rooted in Hindu traditions. Lyrics are often devotional, addressing Hindu deities, and many songs explore themes of love, social issues, or the sublimation of human emotions for union with the divine.