Carnatic music

The carnatic music (of the name of an old area of Deccan, broader than the current State of the Karnataka) is the Classical music of the India of the South (opposed to the classical music of the India of North, i.e. the music hindustani). One can say that the carnatic music stresses the structure, the rigor, virtuosity, whereas the Hindustani music develops the expression and the feeling.

The musical tradition of the India of the South is primarily nun. So of many compositions are in Sanscrit, the languages dravidiennes (especially the Telugu and the Tamoul) are also largely used.

Like all the Indian Music, it is built on the Râga, the whole of the notes used, and the Tâla, the rhythmic one used.

History

The carnatic music, whose foundations are written between fourth century BC and second century BC, started like a spiritual ritual of the Hindouisme. It was born, with the music hindoustanie, of the tradition of Sama Veda, until the end of the 12th century and the beginning of the 13th century, when the Moghol S invaded the India North. Since that, there was a divergence between the styles of the Indian Musique, the music of north being influenced by the music Persian. (2)

Inter alia instrument S used in the music south-Indian, there was a kind of trumpet which one called the nâgasvaram , and a barrel that one called the tavil . (One still uses these instruments in the Mariage S, the Fête S nuns, and some Concert S.)

Theory

Musical theory

Description

The sargam , i.e., the Musical theory, of the carnatic music is “its-laugh-ga-my-Pa-da-nor” (compare with the hindoustanie “its Re - ga-my-Pa dha - nor”). These names represent the long names chadjamam , richabjam , gândhâram , madhyamam , panchamam , dhaivatam , and nichâdam . With the difference in the other musical systems, each member of the sargam , named a Svara , can have up to three varieties. The exceptions are chadjamam and panchamam , which has only one variety, and madhyamam which has two varieties. In a range, a râga , there is only one variety of each will svara , except in the light râgas , like, for example, Béhag , which can have a variety to the top (in the arohanam ), and another to the bottom (in the avarohanam ). A râga can have five, six, or seven will svaras in the arohanam and five, six, or seven in the avarohanam . Sometimes an artist will sing a will svara which will be neither in the arohanam nor in the avarohanam . Such will svaras are called anya will svaras .

Musical theory carnatic in the Indian writings

Composition and improvisation

Compositions: Styles and structures

Often, the type-setters of the carnatic music were inspired by the devotion, and the majority were erudite Télougou and/or Sanscrit (although other languages from time to time were used, like the Tamoul and the Kannada). Often, the type-setter includes a signature, in the form of the single words. For example, all the songs written by Tyâgarâja have the word Tyāgarāja , and all the songs composed by Mouttousvâmi Dîkchitar have the words Gourou gouhâ

Kîrtanas

The carnatic songs are varied of structure, but here the most common structure:

Pallavî (पल्लवि) . It is the equivalent of the refrain in the music of the West. Consist of two lines.
Anoupallavî (अनुपल्लवि) . The stanza second. Also on two lines.
Charaṇam (चरणं) . The final stanza (and longest) which finishes the song. Normally, it takes ideas of the anoupallavî . Normally on three lines.

This kind of song is called a kîrtana . But it is not the only possible structure. Some kîrtanas has a stanza between the anoupallavî and the charanam , which is called the chittasvaram . This stanza has only notes, not words. Some other songs will have one pours since the charanam , which is called the madhyamakâlam . It is a stanza with words, but it is sung twice more quickly.

Varnas

A varnam is a special song which gives all information on a râga : not only range, but also the notes to which one must make a place of importance, how to approach a note, sentences traditional, etc; it is like reading the Bible in a foreign language. The order of the stanzas in a varnam is a little different from the structure which we already saw: pallavî , anoupallavî , mouktâyi svaram , charanam , and the will chittasvaras .

These two are the kinds of the most important songs in the carnatic music.

Random links: