🎼Music of Asia Unit 6 – South Asian Music: Carnatic Tradition

Origins and Historical Context

• Carnatic music developed in South India, primarily in the states of Tamil Nadu, Karnataka, Andhra Pradesh, and Telangana
• Evolved from ancient Hindu traditions, particularly the Samaveda, one of the four Vedas containing hymns and chants
• Influenced by the Bhakti movement, a devotional tradition that emphasized personal connection with the divine through music and poetry
• Shaped by the contributions of saint-composers, such as Purandara Dasa (1484-1564) and Tyagaraja (1767-1847)
• Patronage from South Indian royal courts, particularly during the Vijayanagara Empire (14th-17th centuries), fostered the growth and refinement of Carnatic music
• Emergence of the modern Carnatic music system is attributed to Venkatamakhin, a 17th-century scholar who codified the melakarta scheme of ragas
• Carnatic music gained prominence during the 18th and 19th centuries, with the rise of composer-saints like Muthuswami Dikshitar and Syama Sastri

Key Characteristics of Carnatic Music

• Primarily vocal-based, with instrumental music serving as an accompaniment or imitation of the human voice
• Monophonic in nature, focusing on a single melodic line with rhythmic accompaniment
• Improvisation plays a central role, allowing musicians to showcase their creativity and technical prowess
• Devotional content is prevalent, with compositions often praising Hindu deities or expressing spiritual themes
• Carnatic music is built upon a foundation of raga (melodic framework) and tala (rhythmic cycle)
• Gamakas, or ornamentation techniques, are essential for expressing the emotional content of a raga
• Compositions are typically set to Carnatic poetry in languages such as Telugu, Tamil, Kannada, and Sanskrit

Fundamental Concepts and Theory

• Sruti refers to the relative pitch positions in Carnatic music, with 22 srutis per octave
• Swara represents the seven basic notes in an octave (Sa, Ri, Ga, Ma, Pa, Dha, Ni), which can be modified to create 12 swarasthanas
• Raga is a melodic framework consisting of a specific selection and arrangement of swaras, each with its own characteristic phrases and emotional content
  • Janaka ragas are the 72 parent ragas from which all other ragas are derived
  • Janya ragas are the hundreds of ragas created by combining or modifying the swaras of janaka ragas
• Tala is the rhythmic cycle that provides the temporal framework for Carnatic music
  • Talas are characterized by their length (number of beats) and internal structure (grouping of beats)
  • Common talas include Adi (8 beats), Rupaka (6 beats), and Misra Chapu (7 beats)
• Shruti, the smallest interval of pitch, is the foundation of Carnatic music's tuning system
• Melakarta is a system of organizing ragas into 72 parent scales, each with a unique combination of swaras

Instruments and Vocal Styles

• Vocal music is at the heart of Carnatic tradition, with instruments often replicating the human voice
• Carnatic vocal styles include:
  • Kalpana sangeetham, a highly improvised style that emphasizes raga exploration and creativity
  • Kriti, a compositional form that combines fixed compositions with improvised elements
  • Padams and Javalis, lighter, more romantic compositions that often explore themes of love and devotion
• The primary melodic accompaniment instrument is the Saraswati veena, a plucked string instrument with 24 fixed frets and 4 main playing strings
• The violin, adapted to suit Carnatic music, is another essential melodic accompaniment instrument
• Rhythm is provided by the mridangam, a double-headed drum that produces a wide range of tones and rhythmic patterns
• Other percussion instruments include the ghatam (clay pot), kanjira (frame drum), and morsing (jaw harp)
• The tambura, a long-necked lute, provides a continuous drone throughout the performance, establishing the tonic pitch

Ragas and Talas

• Ragas are the melodic foundation of Carnatic music, each with its own unique character, mood, and performance time
  • Ragas are defined by their ascending (arohanam) and descending (avarohanam) scales, as well as their characteristic phrases (prayogas)
  • Each raga is associated with a specific emotional state (rasa) and is performed at a particular time of day or season
• Talas provide the rhythmic structure for Carnatic music, with cycles ranging from 3 to 128 beats
  • Talas are characterized by their length, tempo, and internal subdivisions (angas)
  • Tala is maintained through hand gestures (kriya) and vocalized syllables (konnakol)
• The combination of raga and tala creates the framework for improvisation and composition in Carnatic music
• Raga alapana is an improvisational form that explores the melodic and emotional content of a raga without rhythmic accompaniment
• Tanam is another improvisational form that introduces a rhythmic element while still focusing on raga exploration
• Pallavi is a compositional form that features extensive improvisation within the structure of a raga and tala

Performance Practices and Traditions

• Carnatic music performances typically follow a specific sequence, beginning with a varnam (a compositional form that introduces the raga and tala) and ending with a mangalam (a concluding piece)
• Concerts often feature a main composition, such as a kriti or a pallavi, which serves as the centerpiece of the performance
• Improvisation is an integral part of Carnatic music, with musicians demonstrating their skill and creativity through forms like raga alapana, tanam, and kalpana swara
• Niraval is a form of improvisation that involves exploring the melodic and rhythmic possibilities of a single line or phrase from a composition
• Manodharma sangeetham refers to the improvisational aspects of Carnatic music, which require a deep understanding of raga, tala, and compositional structure
• Carnatic music is traditionally learned through the guru-shishya parampara, a system of oral transmission from teacher to student
• Performances are often accompanied by a tanpura drone and a mridangam, with additional instruments like the violin, ghatam, and kanjira adding melodic and rhythmic support

Notable Composers and Musicians

• Purandara Dasa (1484-1564) is considered the father of Carnatic music, credited with codifying the system of teaching and composing music
• The Trinity of Carnatic music, consisting of Tyagaraja (1767-1847), Muthuswami Dikshitar (1775-1835), and Syama Sastri (1762-1827), made significant contributions to the repertoire and development of the art form
  • Tyagaraja composed thousands of kritis, most notably in the Telugu language, and is known for his devotional compositions praising Lord Rama
  • Muthuswami Dikshitar is celebrated for his Sanskrit compositions, which showcase his mastery of raga and musical structure
  • Syama Sastri is known for his swarajatis, a compositional form that combines elements of kriti and pallavi
• Other notable composers include Kshetrayya (17th century), Oothukadu Venkata Kavi (17th century), and Papanasam Sivan (1890-1973)
• Renowned Carnatic musicians of the 20th and 21st centuries include:
  • M.S. Subbulakshmi (1916-2004), a legendary vocalist known for her soulful renditions and wide repertoire
  • Lalgudi Jayaraman (1930-2013), a violinist who popularized the use of the instrument as a solo performance medium
  • M. Balamuralikrishna (1930-2016), a versatile vocalist, composer, and innovator who introduced new ragas and talas
  • T.N. Krishnan (1928-2020), a violin virtuoso known for his technical mastery and emotive playing style

Cultural Significance and Modern Influence

• Carnatic music is deeply intertwined with South Indian culture, particularly Hinduism, with many compositions praising deities and expressing devotional themes
• The art form plays a significant role in religious festivals, temple ceremonies, and cultural events throughout South India
• Carnatic music has influenced other genres of Indian music, such as Hindustani classical music and film music, particularly in the South Indian film industry
• The global diaspora of South Indians has led to the spread of Carnatic music worldwide, with thriving communities of performers and enthusiasts in countries like the United States, United Kingdom, and Australia
• Fusion projects and collaborations have brought Carnatic music into contact with other musical traditions, such as jazz, Western classical music, and world music
• Institutions like the Music Academy in Chennai and the Kalakshetra Foundation have played a crucial role in preserving, promoting, and teaching Carnatic music
• The use of technology, such as online learning platforms and digital archives, has made Carnatic music more accessible to a wider audience and has facilitated the dissemination of knowledge and resources
• Contemporary Carnatic musicians continue to innovate and expand the art form, while also maintaining its rich heritage and traditional values