Excerpts of an article authored by Carnatic Classical vocalist T.V.Ramprasadh

1. (Here are excerpts of an article authored by Carnatic Classical vocalist T.V.Ramprasadh)
Indian Music - From the historical perspective
Carnatic music, referred to as Karnataka Sangeetha in ancient scriptures, is not merely one of the world's
most popular classical systems; it is one of the oldest systems of music in the world. Most scholars agree
with the fact that the Vedas were compiled between the period 4000 BC and 1000 BC. Sama Védha the
third of the Vedas is believed to have laid the foundation for Indian classical music. The two epics
Ramayana (400 BC circa) and the Mahabharata also have references to music. One of the earliest
references to musical theory is found in Rik Prathisakhya (around 400 BC) which mentions the evolution
of the seven notes from the three notes. Some of the major musical works are
• the Silapadhikaaram by Ilango Adigal, in Tamil language (4th Century BC)
• Bharathā’s Natyashastra (2nd-4th Century AD) which is the earliest treatise to elaborate on the
science of music and dance
• Brihaddhési of Mathanga Muni (between the 6th and 7th Century AD) * Thevaarams in Tamil (6th -
9th Century AD) which used more than 20 musical scales with Tamil names, the Gita Gōvindha
written by
• Jayadhéva (12th Century AD), believed to be the first opera in Indian music, and
• Thiruppugazh (pronounce as Thiruppugal) written by Arunagirinaathar in Tamil around the15th
Century AD which used complicated thaala patterns and ragas in its compositions.
The classification of Indian music into Carnatic and Hindustani music was first seen in the work Sangeetha
Sudhaakara of Haripala Deva (1309 - 1312) where he acknowledges that with the Muslim invasions of
North India in the 13th Century the music there got Persianised and he called it the Hindustani Music and
the music of the south, Karnaataka music, meaning traditional and old music.
The traditional method of teaching any subject in India was known as the Gurukula system (Guru -
teacher, Kula - race). It means learning through living traveling and completely associating with the Guru.
The Indian outlook is that music is divine and the perfect synchronization of the performer with the
musical sound or Naada helps attain real divine bliss.
What is Carnatic Music?
I have heard oft repeated questions on Carnatic music, some of which sound like
1) But what is it really?"
2) What is it that defines Carnatic music?"
3) How did the term originate and what does it encompass?"
4) What is it that has caused it to live on for so many centuries?
5) What is it that makes it stand apart from say Hindustani music or any other form of music for that
matter? Having asked about the differences, are there lines of parallel where say Carnatic and Hindustani
meet?"
Carnatic Music is the name given to the classical music of South India. It is a very ancient system of music
untouched by the various influences India had due to the political invasions from time immemorial. The
name itself is derived from the word "Karnataka" which in Sanskrit means traditional or pure. Till the early
20th century the music was still known as Karnataka Sangeetha (Karnataka Music). The British during
their rule called the entire Southern Peninsula of India as the Carnatic Region and hence now this system
of music is also called Carnatic Music. This music is basically the classical form and excludes different
forms of popular music and devotional music which are of the lighter type, but includes the music used by

2. the four classical dance forms of South India namely Bharatanātyam, Kuchipudi, Mōhiniāttam and
Kathakali.
There are a lot of differences in the two forms of the classical traditions of India, namely the Carnatic and
the Hindustani. Differences exist in the classification of the Raga system and the Thaala system, the
Carnatic system having a much more evolved system and a much larger selection of Ragas and Thala.
Again the importance given to compositions is very high in Carnatic Music as compared to Hindustani
music which uses some couplets just as a medium for expression. The compositions in Carnatic music are
mostly spiritual in nature from a wide selection of seven Indian languages. The instruments (both solo and
accompanying) used in both the systems are different. Where as the Hindustani uses Saarangi,
Harmonium as melodic accompaniment and Tabla or Pakhāwaj (double sided drum) for rhythmic
accompaniment, the Carnatic system uses Violin as the melodic accompaniment and Mridangam (double
side drum made of jack wood), Ghatam (Pot), Thavil, Morsing (Jew's harp) and Khanjira (Tambourine) as
rhythmic accompaniments. Solo instruments in the Hindustani system are the Sitar, Violin, Sarod, Been,
Santoor, Flute, Sehnai, Hawaiian Guitar, etc and in the Carnatic system they are the Veena, Violin, Flute,
Gottuvadhyam, Jala tharangam, Naadhaswaram,Clarinet,Saxophone, Mandolin, Guitar etc.
Though differences exist there are many common ragas and thaala in both systems and musicians of both
the systems have included ragas from the other in their repertoire. Ultimately they are all streams of the
same ocean – music
In Carnatic Music there is a good balance between science and art; creativity and re-creativity. It is melody
based.
The three basic components of Carnatic Music are
Melody - Shruthi
Rhythm - Laya
Prosody – Saahithya
These components set the parameters for all the aspects of Carnatic music. The popular Sanskrit saying
"Shruthir Maatha, Layaf Pitha" (equating Shruthi to mother, and Laya to father) shows the importance
placed on the first two components.
Melody: The esoteric traits of Indian music spring mainly from the concept of raga, which is India's gift to
world music. Raga occupies the pride of place in classical Indian music. Raga can be defined as a melodic
entity arising out of a permutation and combination of notes (musical scale) with ornamentation or tonal
inflections (gamaka; called meend in Hindustani and trill and glissando in Western music) possessing
individuality and scope to express different moods. Each raga is based on a scale, which could be either
the parent (janaka) or derivative (janyaa). A raga could be obtained from at least four notes. Needless to
mention that the stress of each raga is on a particular emotion and its mood seizes the listener and
enchants him. The psychic appeal of Indian music is an intrinsic quality which has been used as a form of
meditation. Raga has two principle aspects the technical aspect and the aesthetic aspect. Both the
composed and improvised forms (Kalpita and Manodharma Sangita respectively) serve to bring out the
finer nuances of a raga.
Rhythm is found everywhere, in the beat of a heart, the ticking of a clock, movement of a train etc. It is
one of the fundamental and most sophisticated aspects of Carnatic music. Rhythm also has a
psychological effect on the listener. The rhythmic aspects of Carnatic music are arguably among the most
developed in the world. The patterns may be from simple to complex. Musical rhythm is a development
from prosody and the meters of the poetry. The demonstrative rhythm is thaala and the inner rhythm or
inherent rhythm is called Laya. Thaala is a temporal device which measures the duration of music and it
regulates the rhythmic flow of music. Thaala is defined as the structured rhythmic cyclic meter usually

3. expressed physically by the musician through accented beats and unaccented finger counts or waves of
the hand.
In South Indian Classical music the most important and unique feature is the Prosody or Lyrics. This is the
reason why there are so many composers and compositions in Carnatic music... This is the re-creative
aspect. A musical composition presents a concrete picture of a raga and also the emotions envisaged by
the composer. The different types of compositions used in Carnatic music are Geethas, Swarajathis,
Jathiswaraas, Varnams, Krithis, Kirthanaas, (includes Devaranamas, Tharangaas, Thiruppugazh,
Divyanaama Sankeerthanas, etc.) Padhams, Javalis, Dharus, Churnikaas, Sulaadhis and Thillaanaas.
Jathiswaraas, Varnams, Padhams, Javalis, and Thillaanaas are used in classical dance and Dharus and
Churnikaas are used in drama. Most musical compositions in South Indian Classical music are either
philosophical or describe the various deities or incidents from Hindu mythology.
Alapana, Thanam, Neraval, Kalpana Swara, Pallavi exposition and Thani avarthanam are the creative
expressions of Carnatic music. The spontaneous yet formal delineation of a raga by weaving the swaraas
present in the raga into various patterns is called the Alapana, which is the highlight of any concert. The
raga Alapana is a portion that challenges the performer's creative ability to unfold the beauty of the raga.
The performer elaborately develops the raga in stages, using the sounds 'Aa' or 'Thadhanna', maintaining
all its rules and adhering to the strict framework, free of any rhythm. The performer is not at liberty to use
any foreign note. The Alapana should bring out the charm, appeal and intrinsic mood of the raga.
Thanam is another interesting creative musical form which has intrinsic rhythmic patterns woven into
melodic phrases. The improvisation is usually done without rhythmic accompaniment. At the end of each
phrase a typical finish, either in the form of a triad or an Alapana, is observed. Syllables like 'nam' 'tha'
'anantha' and 'aanandha' are used. Thanam is known as Jod or Jhala in Hindustani music.
Neraval literally means filling up or spreading out. Neraval consists of creating new melodies around the
lyrics of a particular line of a krithi (song), or the line of a pallavi (explained below), while maintaining the
rhythmic structure. The lyrics chosen for Neraval should generally convey some message or meaning. The
improvisations are done in three speeds and this requires a good command of raga and thaala.
Pallavi is derived from padham (words), layam (rhythm) and vinyaasa (variations). It also means a
beautiful creeper which weaves itself slowly but surely. Pallavi consists of a single line composition of the
lyric set to a single cycle of a thaala. The lyrics may be devotional or secular in content and may be in any
language. The pallavi is a challenge to the performer's ability to improvise with complex and intricate
patterns. Pallavi is sung as the part of the Raagam (Alapana), Thanam and Pallavi (RTP) item of the concert
and is very demanding and challenging, both technically and musically, where all the aspects of the
musicianship are put to test. After the Alapana and the Thanam, the pallavi line is introduced and
elaborated in different ways using Neraval. After the Neraval the pallavi line is sung in three speeds and
the thrishra gathi or waltz gait in Western music, wherein the basic subdivision of every beat of the thaala
is altered to three instead of the normal four subdivisions of the beat, keeping the thaala constant. First
the pallavi is sung in the normal tempo, next it is sung in a speed which is twice as slow as the first, after
this we come back to the normal tempo, then the pallavi is sung in the thrishra gathi and finally in the
third speed which is twice as fast as the normal tempo.
Kalpana Swaras - Swara means a note/solfa and kalpana means imagination. In this musical form, the
swaraas are woven into mathematical patterns or raga patterns (sarva laghu) the kalpana swaras is
performed in medium and fast speeds and after each passage the performer returns to the pallavi/krithi
line. The swaras serves as a touchstone for the creativity of the musician.
Thani avarthanam is an important part of the concert mode, which refers to the solo playing of the
percussionists after the major item which could be a krithi or pallavi. The drummer plays in the same
thaala of the composition developed by the singer and has freedom to play anything he/she wants within

4. the framework of the thaala and the established tempo. He explores the rhythmic permutations and
combinations.