SPRING NECTAR FOUNDATION FOR INDIAN MUSIC AND HERITAGE
Carnatic Music - Traditional Music of South India
It is very hard to pin point the evolution or the origin of exact time frame of today's traditional Music of south India called Carnatic music. Carnatic music definitely went through tremendous amount of changes in its practical as well as the theoretical forms that most definitely taken place from pre-vedic times to the present day. More than enough historical evidences are available for us to trace most of the evolutionary changes of contemporary Carnatic music.
The first and fore most believed origin of Carnatic music is the divine origin. According to the ancient Indian beliefs, most of the Fine Art forms are originated from the divine sources. So did Carnatic music believe to be originated directly from the Gods and goddesses. Many mythological treatises talk about this divine origin.
The next believed source of origin is natural origin. The natural tones and sounds emanated from plants, trees, such as when air passed through the hollow stems of bamboo logs, ancient musical human observed the phenomenon and designed the bamboo flute. Same way the sounds and tones of some animals and birds were connected with the origin of some swaras is referred in many ancient treatise. The keen musical sense and ability of ancient human's observation simulated and distinguished the frequencies, qualities and timbre of those sounds also was another factor of the evolution of Carnatic music.
Folk origin is another contributing factor. , Its believed that humans from folk lore based on the different types of work they did, languages they spoke, culture they delt with contributed a major part in the evolution of music except thehe folk music evokes much spontaneity, but the classical system is more organized.
It is generally agreed upon the fact that the Vedas are the most probable source of Carnatic music as a matter of fact Indian music. The term “Veda” literally means knowledge. The thousands of hymns in four different vedas 1.Rig Veda, 2.Yajur Veda , 3. Sama Veda and 4. Atharvan Veda were dedicated to the Gods and goddesses of Hindu religion, in the forms of chants that were passed by oral tradition from generation to generation. Of these four Vedas, the Sama Veda that used to be sung during Vedic sacrifices is said to have laid the foundation for Carnatic music. Sama Veda consists mostly of Rig Vedic hymns, set to musical tunes. These, using musical notes (3 notes - 7 notes), sometimes accompanied by a musical instrument.
There are several other references about music and musical instruments apart from the Veda sources such as, Upanishads, Brahmanas and Puranas and epics such as Ramayana and Mahabharata. Bharata's Natya Sastra is believed to be the greatest source to the similar music system in practice in many respects to the present Carnatic system.
Tamil music was practiced by the native Dravidians of Southern India. Some of the Tamil Sangam literature works such as Silappadikaram, Tolkappiam, and many other works discribes of seven notes, octaves, Model shof of tonic, ascending and descending scales with old Dravidian. In the ancient Tamil music, the term 'Pann' referred to that of modern Raga. The rhythmic metrics found in some of these sacred musical forms such as Tevaram, Tiruppugazh,Thiruvachakam etc., resemble the tala patterns of present day music. Many scholars believe that the ancient Tamil music might be an important source for the evolution of Carnatic music where it might have been derived. The word “Carnatic” came to represent the South Indian Classical Music as a separate musical system only after the Sangita Ratnakara of Sarngadeva (1210-1247). Only after the latter half of the 14th century a distinct demarcation between Hindustani and Carnatic music as two different musical systems of Indian classical music is seen. There are references to prove that Classical Carnatic music flourished in the southern Indian region, especially in Vijayanagara and Tanjure. The present form of Carnatic music is based on historical developments based from the traces to the 15th - 16th AD and thereafter.
Many of the important musical forms such as Tevaram, Divyaprabandham, Tiruppavai, Ashtapadis, Padams, Kritis, were composed along with the Abhyasa ganams, such as Swaravalis, Alankara, Gitams, for beginners. Tallapakkam Annamacharya (1425 - 1503 AD), composed with new structure called Kritiwhich had, three sections, of the Pallavi, Anupallavi and Charanam. This structure were accepted widely and was popularized by later composers, in particular, the carnatic Trinity. Thyagaraja, Muthuswami Dikshitar, Syama Sastry. Annamacharya is credited to have composed about thirty two thousand compositions of which around twelve thousand have been traced and some of these have been still preserved in copper plates.
Purandaradasa (1484 - 1564 AD) is known as the Sangeeta Pitamaha (the godfather of Carnatic music). Purandara dasa was a prolific composer, and laid the foundation for the systematic music educational excersise system. He is credited to have formulated the Swaravali exercises for early practice, apart from composing simple devotional songs, Gitams, and Kritis with high devotional and philosophical essence.
The golden age of Carnatic music is the 17th century and many important milestones of Carnatic music where evolved during that time. Some of the most important developments in both Lakshana (theoretical) and Lakshya (practical) aspects took place during this period. A structured scientific 72 Melakarta scheme was formulated by Venkatamakhi in his treatise Chaturdandi Prakasika in this century. Many other scholars created several other treatises following Venkatamakhi. The three great composers of Carnatic music, who were later celebrated as the Musical Trinity (Trimurti) - Syama Sastri (1762 - 1827) Tyagaraja (1767-1847) and Muthuswami Dikshitar (1776-1835) were born during the period from 1763 - 1775 AD. All three of them contributed their immense knowledge, devotional discipline and greatest musicianship with great creativity and innovative ideas. Their contribution in Carnatic music is invaluable. The art of composing music was elevated to great heights during their time. Other great composers who have contributed to music compositions include Swati Tirunal (1813-1847), Vina Kuppayyar, Subbaraya Sastri, Gopalakrishna Bharati, Ghanam Krishna Iyer, Patnam Subramanya Iyer, Koteeswara Iyer, Muthaiah Bhagavatar, Mysore Vasudevachar and Papanasam Sivan and so forth. 72 Melakarta scheme is accountable for the transformation of South Indian Music. Hundreds and thousands of Ragas came into existence by the compositions of carnatic music Trinity along with those other great composers.
In 19th century, musical notation system were developed, to represent the musical compositions in written form. While several other great composers were working to improve the theoretical aspect of music, many others were trying to keep the equal balance towards the practical aspect for the refinement of carnatic system, to keep it fresh and alive.
Large repertoire of musical forms were developed, by creating new structural arrangements. These include Swarajati Varnam, Kriti, Padam, Javali, Tillana, and so forth. These musical forms have continued to remain popular in the 20th century.
Carnatic music and musicians was mostly limited within the major temples and royal courts until late 19t century. It was also maintained by few rich land-owners, who arranged concerts for various events. From the 20th century, this typical patronage has taken a different route since numerous Fine Arts organizations (Sabhas) , Private or group of promoters of arts and culture, well developed corporate sponsors have involved to give a better and professional outlook to this art-form. As a result this change, Carnatic music is heard not only in major cities in India, but also in major venues in Asia, Europe, North and South Americas, and in most other continents of the world.
Carnatic music learning and the process of teaching have also adopted drastic changes based on student and teachers different life style, over years. The traditional Gurukula system has given way to an institutional system of training in the 20th century. Several good musicians have taken teaching as full time carrier path. Modern educational tools, computer and recording technology, internet and mass media communications have played a vital roll not only for the enormous growth of Carnatic Music but also to make the carnatic music education available students all around the globe. Through these major worldwide changes in the system, Carnatic music has not only gained new dynamism , but has also retained its pure beauty within its own traditional framework.
The first and fore most believed origin of Carnatic music is the divine origin. According to the ancient Indian beliefs, most of the Fine Art forms are originated from the divine sources. So did Carnatic music believe to be originated directly from the Gods and goddesses. Many mythological treatises talk about this divine origin.
The next believed source of origin is natural origin. The natural tones and sounds emanated from plants, trees, such as when air passed through the hollow stems of bamboo logs, ancient musical human observed the phenomenon and designed the bamboo flute. Same way the sounds and tones of some animals and birds were connected with the origin of some swaras is referred in many ancient treatise. The keen musical sense and ability of ancient human's observation simulated and distinguished the frequencies, qualities and timbre of those sounds also was another factor of the evolution of Carnatic music.
Folk origin is another contributing factor. , Its believed that humans from folk lore based on the different types of work they did, languages they spoke, culture they delt with contributed a major part in the evolution of music except thehe folk music evokes much spontaneity, but the classical system is more organized.
It is generally agreed upon the fact that the Vedas are the most probable source of Carnatic music as a matter of fact Indian music. The term “Veda” literally means knowledge. The thousands of hymns in four different vedas 1.Rig Veda, 2.Yajur Veda , 3. Sama Veda and 4. Atharvan Veda were dedicated to the Gods and goddesses of Hindu religion, in the forms of chants that were passed by oral tradition from generation to generation. Of these four Vedas, the Sama Veda that used to be sung during Vedic sacrifices is said to have laid the foundation for Carnatic music. Sama Veda consists mostly of Rig Vedic hymns, set to musical tunes. These, using musical notes (3 notes - 7 notes), sometimes accompanied by a musical instrument.
There are several other references about music and musical instruments apart from the Veda sources such as, Upanishads, Brahmanas and Puranas and epics such as Ramayana and Mahabharata. Bharata's Natya Sastra is believed to be the greatest source to the similar music system in practice in many respects to the present Carnatic system.
Tamil music was practiced by the native Dravidians of Southern India. Some of the Tamil Sangam literature works such as Silappadikaram, Tolkappiam, and many other works discribes of seven notes, octaves, Model shof of tonic, ascending and descending scales with old Dravidian. In the ancient Tamil music, the term 'Pann' referred to that of modern Raga. The rhythmic metrics found in some of these sacred musical forms such as Tevaram, Tiruppugazh,Thiruvachakam etc., resemble the tala patterns of present day music. Many scholars believe that the ancient Tamil music might be an important source for the evolution of Carnatic music where it might have been derived. The word “Carnatic” came to represent the South Indian Classical Music as a separate musical system only after the Sangita Ratnakara of Sarngadeva (1210-1247). Only after the latter half of the 14th century a distinct demarcation between Hindustani and Carnatic music as two different musical systems of Indian classical music is seen. There are references to prove that Classical Carnatic music flourished in the southern Indian region, especially in Vijayanagara and Tanjure. The present form of Carnatic music is based on historical developments based from the traces to the 15th - 16th AD and thereafter.
Many of the important musical forms such as Tevaram, Divyaprabandham, Tiruppavai, Ashtapadis, Padams, Kritis, were composed along with the Abhyasa ganams, such as Swaravalis, Alankara, Gitams, for beginners. Tallapakkam Annamacharya (1425 - 1503 AD), composed with new structure called Kritiwhich had, three sections, of the Pallavi, Anupallavi and Charanam. This structure were accepted widely and was popularized by later composers, in particular, the carnatic Trinity. Thyagaraja, Muthuswami Dikshitar, Syama Sastry. Annamacharya is credited to have composed about thirty two thousand compositions of which around twelve thousand have been traced and some of these have been still preserved in copper plates.
Purandaradasa (1484 - 1564 AD) is known as the Sangeeta Pitamaha (the godfather of Carnatic music). Purandara dasa was a prolific composer, and laid the foundation for the systematic music educational excersise system. He is credited to have formulated the Swaravali exercises for early practice, apart from composing simple devotional songs, Gitams, and Kritis with high devotional and philosophical essence.
The golden age of Carnatic music is the 17th century and many important milestones of Carnatic music where evolved during that time. Some of the most important developments in both Lakshana (theoretical) and Lakshya (practical) aspects took place during this period. A structured scientific 72 Melakarta scheme was formulated by Venkatamakhi in his treatise Chaturdandi Prakasika in this century. Many other scholars created several other treatises following Venkatamakhi. The three great composers of Carnatic music, who were later celebrated as the Musical Trinity (Trimurti) - Syama Sastri (1762 - 1827) Tyagaraja (1767-1847) and Muthuswami Dikshitar (1776-1835) were born during the period from 1763 - 1775 AD. All three of them contributed their immense knowledge, devotional discipline and greatest musicianship with great creativity and innovative ideas. Their contribution in Carnatic music is invaluable. The art of composing music was elevated to great heights during their time. Other great composers who have contributed to music compositions include Swati Tirunal (1813-1847), Vina Kuppayyar, Subbaraya Sastri, Gopalakrishna Bharati, Ghanam Krishna Iyer, Patnam Subramanya Iyer, Koteeswara Iyer, Muthaiah Bhagavatar, Mysore Vasudevachar and Papanasam Sivan and so forth. 72 Melakarta scheme is accountable for the transformation of South Indian Music. Hundreds and thousands of Ragas came into existence by the compositions of carnatic music Trinity along with those other great composers.
In 19th century, musical notation system were developed, to represent the musical compositions in written form. While several other great composers were working to improve the theoretical aspect of music, many others were trying to keep the equal balance towards the practical aspect for the refinement of carnatic system, to keep it fresh and alive.
Large repertoire of musical forms were developed, by creating new structural arrangements. These include Swarajati Varnam, Kriti, Padam, Javali, Tillana, and so forth. These musical forms have continued to remain popular in the 20th century.
Carnatic music and musicians was mostly limited within the major temples and royal courts until late 19t century. It was also maintained by few rich land-owners, who arranged concerts for various events. From the 20th century, this typical patronage has taken a different route since numerous Fine Arts organizations (Sabhas) , Private or group of promoters of arts and culture, well developed corporate sponsors have involved to give a better and professional outlook to this art-form. As a result this change, Carnatic music is heard not only in major cities in India, but also in major venues in Asia, Europe, North and South Americas, and in most other continents of the world.
Carnatic music learning and the process of teaching have also adopted drastic changes based on student and teachers different life style, over years. The traditional Gurukula system has given way to an institutional system of training in the 20th century. Several good musicians have taken teaching as full time carrier path. Modern educational tools, computer and recording technology, internet and mass media communications have played a vital roll not only for the enormous growth of Carnatic Music but also to make the carnatic music education available students all around the globe. Through these major worldwide changes in the system, Carnatic music has not only gained new dynamism , but has also retained its pure beauty within its own traditional framework.