View source for Carnatic music

{{Short description|Music genre originating in southern India}}
{{pp-semi-indef}}
{{Use dmy dates|date=May 2019}}
{{Use Indian English|date=May 2019}}
{{Carnatic}}
{{Indian classical music}}
{{Hinduism}}

'''Carnatic music''' (known as {{IAST|Karnāṭaka saṃgīta}} or {{IAST|Karnāṭaka saṅgītam}} in the [[Dravidian languages]]) is a system of music commonly associated with [[South India]], including the modern Indian states of [[Andhra Pradesh]], [[Karnataka]], [[Kerala]], [[Tamil Nadu]] and [[Telangana]]. Most Carnatic compositions are only in [[Telugu language|Telugu]] and [[Sanskrit]].<ref>{{Cite book |last1=Fuller |first1=C. J. |url=https://books.google.com/books?id=r7KjBAAAQBAJ&pg=PA201 |title=Tamil Brahmans: The Making of a Middle-Class Caste |last2=Narasimhan |first2=Haripriya |date=2014-11-11 |publisher=University of Chicago Press |isbn=978-0-226-15288-2 |pages=201 |language=en |quote=Most songs were in Telugu or Sanskrit, though some were in Tamil, but even Telugu and Tamil were strongly inflected by Sanskrit.}}</ref>

It is one of two main subgenres of [[Indian classical music]] that evolved from ancient Hindu texts and traditions, particularly the [[Samaveda]] is cited as a key foundation.<ref>{{Cite web|url=http://www.ae.iitm.ac.in/~sriram/karpri.pdf|title=A Karnatic Music Primer|last=Sriram|first=Parthasarathy|language=en-US}}</ref> (The other genre being the [[Hindustani music|Hindustani classical music]].) The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in ''gāyaki'' (singing) style.

Although there are stylistic differences, the basic elements of {{IAST|''[[Shruti (music)|śruti]]''}} (the relative musical pitch), {{IAST|''[[svara]]''}} (the musical sound of a single note), {{IAST|''[[rāga]]''}} (the mode or melodic formulae), and {{IAST|''[[tala (music)|tala]]''}} (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung through compositions, especially the [[Kriti (music)|kriti]] (or kirtanam) – a form developed between the 14th and 20th centuries by composers such as [[Purandara Dasa]], and the [[Trinity of Carnatic music]]. Carnatic music is also usually taught and learned through compositions.<ref name=":03">{{Cite book |last=Ramaswamy |first=Vijaya |url=https://books.google.com/books?id=ALUvDwAAQBAJ&pg=PA88 |title=Historical Dictionary of the Tamils |date=2017-08-25 |publisher=[[Rowman & Littlefield]] |isbn=978-1-5381-0686-0 |pages=88 |language=en |quote=In precolonial or early-modern South India, Telugu became the cultural language of the south, including the Tamil country, somewhat similar to the overwhelming dominance of French as the cultural language of modern Europe during roughly the same era. Therefore, Telugu predominates in the evolution of Carnatic music, and it is the practice to teach Telugu language in music colleges to those aspiring to become singers.}}</ref><ref name=":522">{{Cite book |url=https://books.google.com/books?id=ZOlNv8MAXIEC&dq=telugu+court+language&pg=PA269 |title=The Garland Encyclopedia of World Music |date=1998 |publisher=[[Taylor & Francis]] |isbn=978-0-8240-4946-1 |editor-last=Arnold |editor-first=Alison |volume=5: South Asia: The Indian Subcontinent |pages=231, 232, 269 |language=en}}</ref> Telugu language predominates in the evolution of Carnatic music.<ref name=":03"/><ref name=":522"/> 

Carnatic music is usually performed by a small ensemble of musicians, consisting of a principal performer (usually a vocalist), a melodic accompaniment (usually a [[violin]]), a rhythm accompaniment (usually a [[mridangam]]), and a [[Tanpura|tambura]], which acts as a [[drone (music)|drone]] throughout the performance. Other typical instruments used in performances may include the [[ghatam]], [[kanjira]], [[morsing]], [[venu]] flute, [[Saraswati veena|veena]], and [[chitraveena]]. The greatest concentration of Carnatic musicians is to be found in the city of [[Chennai]].<ref name="Britannica">Carnatic music. (2007). In Encyclopædia Britannica.  Retrieved 12 April 2007, from Encyclopædia Britannica Online</ref> Various Carnatic music festivals are held throughout India and abroad, including the [[Madras Music Season]], which has been considered to be one of the world's largest cultural events.<ref>[https://indianfolklore.org/journals/index.php/Music/article/view/22/26 The Music Academy] {{webarchive |url=https://web.archive.org/web/20120426090237/https://indianfolklore.org/journals/index.php/Music/article/view/22/26 |date=26 April 2012 }} Written by Malathi Rangaswamy, Secretary of Music Academy</ref><ref>[[#Nettl2005|Nettl (2005)]], p38</ref>

==Origin and history==

[[File:Saraswati.jpg|thumb|200px|[[Saraswati]], the [[Devi|Hindu goddess]] of all knowledge, music, arts and science, with her instrument, the ''veena''.]]

Carnatic music originated in [[Karnataka]] and was named after it,<ref>{{cite book |last1=Kesavan |first1=Veluthat |url=https://books.google.com/books?id=0V61DwAAQBAJ |title=The Buffalo Century: Vāñcheśvara Dīkṣita's Mahiṣaśatakam: A Political Satire for All Centuries |date=2019 |publisher=Taylor & Francis |isbn=9781000708561 |page=5 |quote=Because this music came from Karnataka, it eventually came to be known as "Carnatic music" throughout the country}}</ref><ref>{{cite book |url=https://books.google.com/books?id=S1PwmMWrj1MC&q=art%20and%20architecture%20in%20karnataka%20sangeeta |title=Art and Architecture in Karnataka |date=1996 |publisher=Directorate of Archaeology and Museums, Government of Karnataka |page=313}}</ref> known as ''Karnāṭaka Saṁgīta'' which spread through [[Andhra Pradesh|Andhra]] and [[Tamil Nadu|Tamil]] countries where it flourished.<ref>{{cite book |last1=Desai |first1=P. B. |url=https://archive.org/details/in.ernet.dli.2015.430132/page/n21/mode/1up?view=theater |title=A History of Karnataka: (From-Pre-History to Unification) |date=1970 |page=xxi-21}}</ref>

Like all art forms in [[Indian culture]], Indian classical music is believed to be a divine art form that originated from the [[Deva (Hinduism)|deva]]s and [[devi]]s ([[Hindu]] gods and goddesses),<ref>[[#Moorthy2001|Moorthy (2001)]], p17</ref><ref name="origin" /> and is venerated as symbolic of {{IAST|''[[Nada yoga|nāda]] brāhman''}}.<ref>{{cite web|url=http://www.hindu.com/seta/2005/01/13/stories/2005011300111500.htm|archive-url=https://web.archive.org/web/20050331184754/http://www.hindu.com/seta/2005/01/13/stories/2005011300111500.htm|url-status=dead|archive-date=2005-03-31|work=[[The Hindu]]|title=Sci Tech / Speaking Of Science: The music of we primates: Nada Brahmam}}</ref> Ancient treatises also describe the connection of the origin of the [[swara|svara]]s, or notes, to the sounds of animals and birds and man's effort to simulate these sounds through a keen sense of observation and perception. The [[Sama Veda|''Samaveda'']], which is believed to have laid the foundation for Indian classical music, consists of hymns from the ''[[Rigveda]]'', set to musical tunes that would be sung using three to seven musical notes during Vedic [[yajna]]s.<ref name="origin" /> The [[Yajur-Veda|''Yajurveda'']], which mainly consists of sacrificial formulae, mentions the ''veena'' as an accompaniment to vocal recitations.<ref>{{cite web |title=Veena in Yajurveda |url=http://trumpet.sdsu.edu/m151/Music_of_India1.html |url-status=dead |archive-url=https://web.archive.org/web/20061031152317/http://trumpet.sdsu.edu/M151/Music_of_India1.html |archive-date=2006-10-31 }}</ref> References to Indian classical music are made in many ancient texts, including [[Indian epic poetry|epics]] like the ''[[Ramayana]]'' and the ''[[Mahabharata]]''. The ''[[Yajnavalkya Smriti]]'' states, "''vīṇāvādana tattvajñaḥ śrutijātiviśāradaḥ tālajñaścāprayāsena mokṣamārgaṃ niyacchati"'' ("The one who is well versed in ''[[veena]]'', one who has the knowledge of srutis and one who is adept in tala, attains liberation ([[moksha]]) without doubt").<ref>YjS 3.115. {{cite web|title=Yajnavalkya on Music|url=http://www.sanathanadharma.com/articles/sangeet.htm}}</ref> Contemporray Carnatic music is based on musical concepts (including ''[[swara|svara]]'', ''[[raga]]'', and ''[[Tala (music)|tala]]'') that were described in detail in several ancient works, particularly the [[Bharata Muni|Bharata]]'s ''[[Natya Shastra of Bharata|Natya Shastra]]'' and ''[[Silappadhikaram|Cilappatikaram]]'' by [[Ilango Adigal]].<ref name="Singer1958">{{cite journal | last = Singer |first = M.|title = The Great Tradition in a Metropolitan Center: Madras| journal = The Journal of American Folklore| volume = 71 | issue = 281 | pages = 347–388 |year = 1958 | doi = 10.2307/538567 | jstor = 538567 | publisher = American Folklore Society}}</ref>

Owing to Persian and Islamic influences in [[North India]] from the 12th century onwards, Indian classical music began to diverge into two distinct styles — Hindustani music and Carnatic music.<ref name="Britannica"/> Commentaries and other works, such as [[Sharngadeva]]'s ''[[Sangita Ratnakara]]'', further elaborated on the musical concepts found in Indian classical music.<ref>[[#Moorthy2001|Moorthy (2001)]], p18</ref> By the 16th and 17th centuries, there was a clear demarcation between Carnatic and Hindustani music;<ref name="Subramaniam1999">{{cite journal | last = Subramaniam |first = L.
|title = The reinvention of a tradition: Nationalism, Carnatic music and the Madras Music Academy, 1900–1947 | journal = Indian Economic & Social History Review | volume = 36 | issue = 2 | pages = 131–163 |year = 1999 | doi = 10.1177/001946469903600201|s2cid = 144368744
}}</ref> Carnatic music remained relatively unaffected by Persian and Arabic influences. It was at this time that Carnatic music flourished in [[Vijayanagara]], while the [[Vijayanagara Empire]] reached its greatest extent.<ref name="Ries1969">{{cite journal | last = Ries |first = R. E.|title = The Cultural Setting of South Indian Music | journal = Asian Music | volume = 1 | issue = 2 | pages = 22–31 |year = 1969 | doi = 10.2307/833909 | jstor = 833909 | publisher = University of Texas Press}}</ref> [[Purandara Dasa]], who is known as the "father (''pitamaha'') of Carnatic music", formulated the system that is commonly used for the teaching of Carnatic music.<ref name="origin">{{cite web|url=http://www.carnatica.net/origin.htm|title= History of Music, Origins|work=The Carnatica Group|publisher=Carnatica.net|access-date=2007-07-03}}</ref><ref>Theory of Music, Vasanthamadhavi P.183</ref> [[Venkatamakhin]] invented and authored the formula for the [[melakarta]] system of raga classification in his Sanskrit work, the ''Chaturdandi Prakasika'' (1660 AD).<ref name="Subramaniam1999"/> Govindacharya is known for expanding the melakarta system into the [[sampoorna raga|sampurna raga]] scheme – the system that is in common use today.

By the 16th century, Indian classical music split into two styles: Hindustani in the North and Karnataka (later called Carnatic) in the South. The term "Karnataka" music originated from the Vijayanagara Empire, historically known as the Karnataka Empire. The British later influenced the change in name to "Carnatic" music, and the term is only about 150–200 years old.

In the 18th and 19th centuries, Carnatic music was mainly patronised by the local kings of the [[Kingdom of Mysore]], [[Kingdom of Travancore]], and the [[Thanjavur Maratha kingdom|Maratha rulers of Tanjore]].<ref>{{cite news|title=Royal tribute to Thanjavur rulers|url=https://www.newindianexpress.com/cities/chennai/2017/dec/27/royal-tribute-to-thanjavur-rulers-1738354.html|newspaper=The New Indian Express}}</ref> Some of the royalty of the kingdoms of Mysore and Travancore were themselves noted composers and proficient in playing musical instruments, such as the [[veena]], [[rudra veena]], [[violin]], [[ghatam]], [[venu]], [[mridangam]], [[nadaswaram]], and [[swarabat]].<ref>[[#Pranesh2003|Pranesh (2003)]], p54-55, p92, p162-163, p225-226</ref> Some [[Musicians of the Kingdom of Mysore|famous court-musicians]] proficient in music were [[Veene Sheshanna]] (1852–1926)<ref>[[#Pranesh2003|Pranesh (2003)]], p108</ref> and Veene Subbanna (1861–1939),<ref>[[#Pranesh2003|Pranesh (2003)]], p128</ref> among others.

During the late 19th century, the city of [[Madras]] (now known as Chennai) emerged as the locus for Carnatic music.<ref name="Hughes2002">{{cite journal | last = Hughes |first = S. P.|title = The 'Music Boom' in Tamil South India: gramophone, radio and the making of mass culture | journal = Historical Journal of Film, Radio and Television | volume = 22 | issue = 4 | pages = 445–473 |year = 2002 | doi = 10.1080/0143968022000012129|s2cid = 191466174}}</ref> With the dissolution of the erstwhile [[princely states]] and the [[Indian independence movement]] reaching its conclusion in 1947, Carnatic music went through a radical shift in patronage into an art of the masses with ticketed performances organised by private institutions called [[sabhā]]s.

=== Carnatic music outside of South India ===
From the 18th century, South Indian immigrant communities abroad increased, especially in [[Southeast Asia]] and [[Ceylon|Sri Lanka]]. Communities such as the [[Nattukottai Chettiar]]s participate in the extension of the Carnatic cultural scene abroad, thanks to their rich patronage activity.<ref>{{Cite journal |last=Aravinthon |first=Dr (Mrs) Suhanya |date=2021-06-01 |title=Roots of Carnatic Music in Sri Lanka - Artistic interrelations between Sri Lanka and South India A |url=https://zenodo.org/record/6550640 |journal=Smrti - Department of Indian Music: Annual Journal |volume=1 |issue=1 |pages=90–95 |doi=10.5281/zenodo.6550640}}</ref> Carnatic music artists therefore perform abroad among South Indian communities who request their coming, in order to enliven local community life. For a long time in Sri Lanka, Carnatic music was associated with Indian immigrants, and was often derogatorily referred to as "''thosai kade'' music" ("music from the [[Dosa (food)|dosa]] shop"), in reference to the South Indians-owned restaurants and eateries that typically played this kind of music.<ref name=":0">{{Cite book |last=Daniel |first=E. Valentine |title=Charred lullabies: chapters in an anthropography of violence |date=1996 |publisher=[[Princeton University Press]] |isbn=978-0-691-02774-6 |series=Princeton studies in culture / power / history |location=Princeton, NJ |pages=157, 145 |oclc=34669394}}</ref>

From the 20th century, Carnatic music gained significant popularity among certain social strata of the [[Demographics of Sri Lanka|Sri Lankan population]], who were then heavily influenced by a prominent cultural movement known as the Hindu revival.<ref name=":0" /><ref>{{Cite book |last1=O’Shea |first1=Janet |title=Choreographies of 21st century wars |last2=Morris |first2=Gay |last3=Giersdorf |first3=Jens Richard |publisher=[[Oxford University Press]] |year=2016 |isbn=978-0-19-020166-1 |pages=119 |language=en |chapter=From Temple to Battlefield: Bharata Natyam in the Sri Lankan Civil War |oclc=915135656}}</ref><ref name=":1">{{Cite book |last=Reed |first=Susan A. |title=Dance and the nation: performance, ritual, and politics in Sri Lanka |publisher=[[University of Wisconsin Press]] |year=2010 |isbn=978-0-299-23164-4 |pages=131–132 |language=en |chapter=Dance, Ethnicity and the State |oclc=317288154}}</ref> Carnatic music was thus appropriated and highly promoted during the 1920s and 1930s as a cultural and identity marker of the [[Colombo]] and [[Jaffna]] bourgeoisies,<ref name=":1" /><ref name=":2">{{Cite book |last=Jeyaratnam Wilson |first=Alfred |title=Sri Lankan Tamil nationalism: its origins and development in the nineteenth and twentieth centuries |publisher=[[University of British Columbia Press]] |year=2000 |isbn=0-7748-0759-8 |pages=36 |language=en |chapter=Language, Poetry; Culture and Tamil Nationalism |oclc=41467484}}</ref> and by extension of the [[Sri Lankan Tamils]]. The place given to Carnatic music in the construction of a modern Sri Lankan Tamil identity has reached significant proportions, such as its rise in the curricula of most Jaffna colleges, where it gradually replaced from the mid-1930s the teaching of [[Western classical music]],<ref name=":1" /> or its high esteem among the upper social classes of Colombo and Jaffna, where the learning of Carnatic music among young women is expected as a sign of good education.<ref name=":0" /><ref name=":1" /><ref name=":2" /><ref>{{Cite web |title=Tamil of Sri Lanka Facts, information, pictures {{!}} Encyclopedia.com articles about Tamil of Sri Lanka |url=http://www.encyclopedia.com/topic/Tamil_of_Sri_Lanka.aspx |access-date=2016-06-10 |website=encyclopedia.com}}</ref> Many people have travelled to India for improving their skills, and the flow of students to India from Sri Lanka or of Sri Lankan Tamil origin is constantly increasing.<ref name=":1" /><ref>{{Cite web |last=Srinivasan |first=Anil |title=Sri Lankan Tamil diaspora: The new force spreading Carnatic music and dance worldwide |url=http://scroll.in/article/769894/sri-lankan-tamil-diaspora-the-new-force-spreading-carnatic-music-and-dance-worldwide |access-date=2016-06-10 |website=Scroll.in |date=20 November 2015 |language=en-US}}</ref>

==Nature==
The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as ''gāyaki'').<ref name="Breyer2004">{{cite journal | last = Breyer |first = Barbara|title = Composers and Tradition in Karnatik Music | journal = Asian Music |volume = 3 |pages = 42–51  |year = 1972 | doi = 10.2307/833958 | jstor = 833958 | issue = 2 | publisher = University of Texas Press}}</ref> Like [[Hindustani music]], Carnatic music rests on two main elements: {{IAST|''[[rāga]]''}}, the [[Musical mode|modes]] or melodic formulae, and {{IAST|''[[tala (music)|tāḷa]]''}}, the rhythmic cycles.<ref name="Breyer2004"/>

Today, Carnatic music is presented by musicians in concerts or recordings, either vocally or through instruments. Carnatic music itself developed around musical works or compositions of phenomenal composers (see below).

==Important elements==

===Śruti===
{{Main|Śruti (music)}}

''Śruti'' commonly refers to musical pitch.<ref name="autogenerated3">{{cite web|url=http://www.karnatik.com/glosss.shtml|title=Royal Carpet: Glossary of Carnatic Terms S|work=karnatik.com}}</ref> It is the approximate equivalent of a tonic (or less precisely a key) in Western music; it is the note from which all the others are derived. It is also used in the sense of graded pitches in an [[octave]]. While there are an infinite number of sounds falling within a scale (or raga) in Carnatic music, the number that can be distinguished by auditory perception is twenty-two (although over the years, several of them have converged). In this sense, while sruti is determined by auditory perception, it is also an expression in the listener's mind.<ref>{{Cite web |url=http://www.soundofindia.com/showarticle.asp?in_article_id=952096767 |title=Sound of India |access-date=18 December 2006 |archive-url=https://web.archive.org/web/20081211064155/http://www.soundofindia.com/showarticle.asp?in_article_id=952096767 |archive-date=11 December 2008 |url-status=dead }}</ref>

===Svara===
{{Main|Svara}}

''Svara'' refers to a type of musical sound that is a single note, which defines a relative (higher or lower) position of a note, rather than a defined frequency.<ref name="autogenerated3" /> ''Svara''s also refer to the [[solfege]] of Carnatic music, which consist of seven notes, "sa-ri-ga-ma-pa-da-ni" (compare with the Hindustani ''[[sargam (swara)|sargam]]:'' sa-''re''-ga-ma-pa-''dha''-ni or Western do-re-mi-fa-so-la-ti). These names are abbreviations of the longer names ''shadja'', ''rishabha'', ''gandhara'', ''madhyama'', ''panchama'', ''dhaivata'' and ''nishada''. Unlike other music systems, every member of the solfege (called a [[swara]]) has three variants. The exceptions are the drone notes, ''shadja'' and ''panchama'' (also known as the [[tonic (music)|tonic]] and the [[dominant (music)|dominant]]), which have only one form; and ''madhyama'' (the [[subdominant]]), which has two forms. A 7th century stone inscription in Kudumiyan Malai<ref>S. Santhanlingam, ''Kudumiyan Malai'', Tamil Nadu Government Archeology Department publication, 1981</ref> in [[Tamil Nadu]] shows vowel changes to solfege symbols with ra, ri, ru etc. to denote the higher quarter-tones. In one scale, or [[raga]], there is usually only one variant of each note present. The exceptions exist in "light" ragas, in which, for artistic effect, there may be two, one ascending (in the ''arohanam'') and another descending (in the ''[[avarohana]]m'').

===Raga system===
{{Main|Raga}}

{{See also|List of composers who created ragas}}

A ''raga'' in Carnatic music prescribes a set of rules for building a [[melody]] – very similar to the Western concept of [[musical mode|mode]].<ref>{{cite web|url=http://www.karnatik.com/glossm.shtml|title=Royal Carpet: Glossary of Carnatic Terms M|work=karnatik.com}}</ref> It specifies rules for movements up (''aarohanam'') and down (''avarohanam''), the [[musical scale|scale]] of which [[note (music)|notes]] should figure more and which notes should be used more sparingly, which notes may be sung with ''[[gamaka (music)|gamaka]]'' (ornamentation), which phrases should be used or avoided, and so on. In effect, it is a series of obligatory musical events that must be observed, either absolutely or with a particular frequency.<ref name="Nettl1974">{{cite journal | last = Nettl |first = Bruno |author-link=Bruno Nettl|title = Thoughts On Improvisation: A Comparative Approach| journal = [[Musical Quarterly]]|volume = LX |pages = 9–12  |year = 1974 | doi = 10.1093/mq/LX.1.1}}</ref>

In Carnatic music, the ''sampoorna ragas'' (those with all seven notes in their scales) are classified into a system called the ''[[melakarta]]'', which groups them according to the kinds of notes that they have. There are seventy-two ''melakarta ragas'', thirty six of whose madhyama ([[subdominant]]) is shuddha ([[perfect fourth]] from the tonic), the remaining thirty-six of whose madhyama (subdominant) is prati (an [[augmented fourth]] from the tonic). The ''ragas'' are grouped into sets of six, called ''[[chakra]]s'' ("wheels", though actually segments in the conventional representation) grouped according to the [[supertonic]] and [[mediant]] scale degrees. There is a system known as the ''[[katapayadi sankhya]]'' to determine the names of ''melakarta raga''s.

''Raga''s may be divided into two classes: ''janaka raga''s (i.e. melakarta or parent ragas) and ''[[janya]] raga''s (descendant ragas of a particular janaka raga). Janya ragas are themselves subclassified into various categories.

===Tala system===
{{Main|Tala (music)}}

''[[Tala (music)|Tala]]'' refers to a fixed time cycle or metre, set for a particular composition, which is built from groupings of beats.{{citation needed|date=September 2012}} ''Tala''s have cycles of a defined number of beats and rarely change within a song. They have specific components, which in combinations can give rise to the variety to exist (over 108), allowing different compositions to have different rhythms.<ref>{{cite web|url=http://www.karnatik.com/glosst.shtml|title=Royal Carpet: Glossary of Carnatic Terms T|work=karnatik.com}}</ref>

Carnatic music singers usually keep the beat by moving their hands up and down in specified patterns, and using their fingers simultaneously to keep time. ''Tala'' is formed with three basic parts (called ''anga''s) that are ''laghu'', ''dhrtam'', and ''anudhrtam'', though complex talas may have other parts like ''plutam'', ''guru'', and ''kaakapaadam''. There are seven basic ''tala'' groups that can be formed from the ''laghu'', ''dhrtam'', and ''anudhrtam'':

* Ata tala
* Dhruva tala
* Eka tala
* Jhampa tala
* Matya tala{{citation needed|date=September 2012}}
* Rupaka tala
* Triputa tala

A ''laghu'' has five variants (called ''jaathi''s) based on the counting pattern. Five ''jaathis'' times seven tala groups gives thirty-five basic ''tala''s, although use of other ''anga''s results in a total of 108 ''tala''s.

==Improvisation==
Improvisation in ''raga'' is an essential aspect of [[Indian classical music]].<ref name="Mann1912">{{cite journal | last = MacCarthy |first = M.| title = Some Indian Conceptions of Music| journal = Proceedings of the Musical Association|volume = 38th Sess | pages = 41–65  |year = 1912 | doi=10.1093/jrma/38.1.41|url = https://zenodo.org/record/1431793}}</ref><ref name="Kassebaum1987">{{cite journal | last = Kassebaum |first = G. R.| title = Improvisation in Alapana Performance: A Comparative View of Raga Shankarabharana
 | journal = [[Yearbook for Traditional Music]] |volume = 19 |pages = 45–64 |year = 1987 | doi = 10.2307/767877 | jstor = 767877 | publisher = International Council for Traditional Music| s2cid=192945498 }}</ref> "''Manodharma Sangeetam''" or "''kalpana Sangeetam''" ("music of imagination") as it is known in Carnatic music, comprises several varieties of improvisation.<ref name="Kassebaum1987"/><ref>[[#Arnold2000|Kassebaum (2000)]], p17</ref>

The main traditional forms of improvisation in Carnatic music are as follows:<ref name="Higgins1973">{{cite journal | last = Higgins |first = J. B.| title = untitled | journal = Asian Music |volume = 4 | issue = 2 |pages = 27–35  |year = 1973|doi = 10.2307/833829|jstor = 833829}}</ref><ref>[[#NettlRussells1998|Viswanathan & Cormack (1998)]], pp. 219–220.</ref>

* Alapana 
* Niraval
* Pallavi
* Ragam 
* Swarakalpana
* Tanam
* Tani Avartanam

===Raga Alapana===
{{Main|Alapana}}

An alapana, sometimes also called ragam,<ref name="Wolf1999">{{cite journal | last = Wolf |first = R.| title = untitled | journal = Asian Music |volume = 30 | issue = 1 |pages = 199–203 |year = 1999|doi = 10.2307/834271|jstor = 834271}}</ref> is the exposition of a [[raga]] or tone – a slow improvisation with no rhythm,<ref name="RoyalCarpetGlossary-R">{{cite web|url=http://www.karnatik.com/glossr.shtml|title=Royal Carpet: Glossary of Carnatic Terms R|work=karnatik.com}}</ref> where the raga acts as the basis of embellishment.<ref name="Nettl1974"/> In performing alapana, performers consider each raga as an object that has beginnings and endings and consists somehow of sequences of thought.<ref name="Nettl1974"/>

The performer will explore the [[ragam]] and touch on its various nuances,<ref name="Wolf1999"/> singing in the lower octaves first, then gradually moving up to higher octaves, while giving a hint of the song to be performed.<ref name="RoyalCarpetGlossary-R"/>

Theoretically, this ought to be the easiest type of improvisation, since the rules are so few, but in fact, it takes much skill to sing a pleasing, comprehensive (in the sense of giving a "feel for the ragam") and, most importantly, original raga alapana.

===Niraval===
{{Main|Niraval}}

Niraval, usually performed by the more advanced performers, consists of singing one or two lines of text of a song repeatedly, but with a series of melodic improvised elaborations.<ref name="Higgins1987">{{cite journal  | last = Higgins |first = J. B.
|title = Performing Arts in India: Essays on Music, Dance, and Drama| journal = Asian Music |volume = 18 | issue = 2 |pages = 103–118  |year = 1987 | doi=10.2307/833942|jstor = 833942
}}</ref> Although niraval consists of extempore melodic variations, generally, the original patterns of duration are maintained;<ref>[[#Randel2003|Randel (2003)]], p562</ref> each word in the lines of text stay set within their original place (''idam'') in the [[Tala (music)|tala]] cycle.<ref name="Viswanathan 1998 p232">[[#NettlRussells1998|Viswanathan & Cormack (1998)]], p232</ref> The lines are then also played at different levels of speed which can include double speed, triple speed, quadruple speed and even [[sextuple]] speed.<ref name="Henry2002">{{cite journal  | last = Henry |first = E. O.
|title = The Rationalization of Intensity in Indian Music| journal = Ethnomusicology |volume = 46 | issue = 1 |pages = 33–35  |year = 2002  | doi = 10.2307/852807  | jstor = 852807  | publisher = Society for Ethnomusicology}}</ref> The improvised elaborations are made with a view of outlining the raga, the tempo, and the theme of the composition.{{citation needed|date=September 2012}}

===Kalpanaswaram===
{{Main|Kalpanaswaram}}

Kalpanaswaram, also known as swarakalpana, consists of improvising melodic and rhythmic passages using ''[[swara]]s'' (solfa syllables).<ref>[[#NettlRussell1998|Viswanathan & Cormack (1998)]], p219</ref> Like niraval,<ref>[[#NettlRussell1998|Viswanathan & Cormack (1998)]], p232</ref> kalpanaswaras are sung to end on a particular swara in the [[raga]] of the melody and at a specific place (''idam'') in the [[Tala (music)|tala]] cycle.<ref>[[#NettlRussell1998|Viswanathan & Cormack (1998)]], p221</ref>

Kalpanaswaras have a somewhat predictable rhythmical structure;<ref>[[#SolisNettl2009|Solis & Nettl (2009)]], p188</ref> the swaras are sung to end on the ''samam'' (the first beat of the rhythmical cycle).<ref name="Henry2002"/> The swaras can also be sung at the same speed or double the speed of the melody that is being sung, though some artists sing triple-speed phrases too.<ref name="Henry2002"/>

Kalpanaswaram is the most elementary type of improvisation, usually taught before any other form of improvisation.

===Tanam===
Tanam is one of the most important forms of improvisation, and is integral to Ragam Tanam Pallavi.<ref name="Palackal1998">{{cite journal | last = Palackal |first = J. J.
|title = untitled| journal = Yearbook for Traditional Music|volume = 30 | pages = 207 |year = 1998 | doi=10.2307/768616|jstor = 768616
|s2cid = 191394968
}}</ref> Originally developed for the veena, it consists of expanding the raga with syllables like ''tha, nam, thom, aa, nom, na,'' etc.

===Ragam Tanam Pallavi===
{{Main|Ragam Tanam Pallavi}}

Ragam, Tanam, and Pallavi are the principal long form in concerts,<ref name="Palackal1998"/> and is a composite form of improvisation. As the name suggests, it consists of raga alapana, tanam, and a [[pallavi]] line. Set to a slow-paced [[Tala (music)|tala]], the pallavi line is often composed by the performer. Through niraval, the performer manipulates the pallavi line in complex melodic and rhythmic ways.<ref name="Wolf1999"/> The niraval is followed by kalpanaswarams.

=== Tani Avartanam ===
Tani Avartanam refers to the extended solo that is played by the percussionists in a concert,<ref name="Kassebaum 2000">[[#Arnold2000|Kassebaum (2000)]], 158</ref> and is usually played after the main composition in a concert.<ref name="Viswanathan 1998 p232"/> The percussionist displays the full range of his skills and rhythmic imagination during the solo, which may take from two to twenty minutes.<ref name="Kassebaum 2000"/>

==Compositions==
{{Unreferenced section|date=August 2014}} 
In contrast to [[Hindustani classical music|Hindustani music]] of the northern part of India, Carnatic music is taught and learned through compositions, which encode many intricate musical details, also providing scope for free improvisation. Nearly every rendition of a Carnatic music composition is different and unique as it embodies elements of the composer's vision, as well as the musician's interpretation.

A Carnatic composition really has two elements, one being the musical element, the other being what is conveyed in the composition. It is probably because of this fact that most Carnatic music compositions are composed for singing. In addition to the rich musical experience, each composition brings out the knowledge and personality of the composer, and hence the words are as important as the musical element itself. This poses a special challenge for the musicians because rendering this music does not involve just playing or singing the correct musical notes; the musicians are expected to understand what was conveyed by the composer in various languages, and sing musical phrases that act to create the effect that was intended by the composer in his/her composition.

There are many types/forms of compositions.

''[[Geetham]]s'' and ''[[swarajati]]s'' (which have their own peculiar composition structures) are principally meant to serve as basic learning exercises.

Compositions more commonly associated with [[Indian classical dance]] and [[bhakthi|Indian devotional music]] have also been increasingly used in the Carnatic music repertoire. The performance of the [[Sanskrit]] ''[[shloka|sloka]]'', Tamil ''[[viruttam]], Kannada [[Ugabhoga]] and'' Telugu ''padyamu'' or ''sisapadya'' forms are particularly unique. Though these forms consist of lyric-based [[verse (popular music)|verses]], musicians improvise ''[[raga]]'' phrases in free rhythm, like an [[alapana]],<ref name="Higgins1987" /> so both the sound value, and the meaning of the text, guide the musician through elaborate melodic improvisations.<ref name="Higgins1985">{{cite journal  | last = Higgins |first = J. B.
|title = India| journal = Ethnomusicology|volume = 29 | issue = 1 |pages = 162–166  |year = 1985  | doi = 10.2307/852348  | jstor = 852348  | publisher = Society for Ethnomusicology}}</ref> Forms such as the ''[[Divya Prabandha|divya prabandham]]'', ''[[thevaram]]'' and ''[[ugabhoga]]'' are often performed similarly, however, these forms can also have a set melody and rhythm like the ''devaranama'', ''javali'', ''padam'', ''[[thillana]]'' and ''[[thiruppugazh]]'' forms.

The most common and significant forms in Carnatic music are the ''[[varnam]]'' and the ''[[Kriti (music)|kriti]]'' (or ''kirtanam'').

===Varnam===
{{Main|Varnam}}

Varnams are short metric pieces which encapsulate the main features and requirements of a ''[[raga]]''.<ref>[[#Nettl2005|Nettl (2005)]], p189</ref> The features and rules of the raga (also known as the ''sanchaaraas'' of a raga) include how each note of the raga should be stressed, the scale of the raga, and so on.<ref name="autogenerated2">{{cite web|url=http://www.karnatik.com/glossv.shtml|title=Royal Carpet: Glossary of Carnatic Terms V|work=karnatik.com}}</ref> All varnams consist of lyrics,<ref name="Bradnock 1992 p631">[[#Bradnock1992|Bradnock (1992)]], p631</ref> as well as swara passages, including a ''[[pallavi]]'', an ''[[Anupallavi (music)|anupallavi]]'', ''muktayi swaras'', a ''[[charanam]]'', and ''[[chitta swara|chittaswaras]]''.<ref name="autogenerated2" />

Known for their complex structure, varnams are a fundamental form in Carnatic music.<ref name="Bradnock 1992 p631"/> Varnams are practised as vocal exercises in multiple speeds by performers of Carnatic music, to help develop voice culture, and maintain proper pitch and control of rhythm. In Carnatic music concerts, varnams are often performed by musicians as the opening item – acting as a warm up for the musicians,<ref>[[#Gupta2006|Gupta (2006)]], p68</ref> and as a means of grabbing the attention of the audience.<ref name="autogenerated2" />

===Kriti===
{{Main|Kriti (music)}}

Carnatic songs (kritis) are varied in structure and style, but generally consist of three units:
# [[Pallavi]]. This is the equivalent of a [[refrain]] in Western music, with 1 or 2&nbsp;lines.
# [[Anupallavi (music)|Anupallavi]]. This is the second verse, also as 2 lines.
# [[Charanam|Charana]]. The final (and longest) verse that wraps up the song. The Charanam usually borrows patterns from the Anupallavi. There can be multiple charanas.

This kind of song is called a ''keerthanam'' or a ''[[Kriti (music)|kriti]]''. There are other possible structures for a ''kriti'', which may in addition include swara passages named ''chittaswara''. A ''chittaswara'' consists only of notes, and has no words. Still others have a verse at the end of the ''charana'', called the ''madhyamakāla''. It is sung immediately after the ''charana'', but at double speed.

==Prominent composers==

{{See also|List of Carnatic composers|List of composers who created ragas|Musicians of the Kingdom of Mysore}}

There are many composers in Carnatic music. [[Purandara Dasa]] (1484–1564) is referred to as the ''Pitamaha'' (the father or grandfather) of Carnatic music as he formulated the basic lessons in teaching Carnatic music, and in honour of his significant contribution to Carnatic music. He structured graded exercises known as ''Swaravalis'' and ''Alankaras'', and at the same time, introduced the ''[[Raga]]'' [[Mayamalavagowla]] as the first scale to be learnt by beginners. He also composed ''Gitas'' (simple songs) for novice students.

The contemporaries [[Tyagaraja]] (1767– 1847), [[Muthuswami Dikshitar]], (1776–1835) and [[Syama Sastri]], (1762–1827) are regarded as the [[Trinity of Carnatic music]] because of the quality of Syama Sastri's compositions, the varieties of compositions of Muthuswami Dikshitar, and Tyagaraja's prolific output in composing ''[[Kriti (music)|kriti]]s''.<ref>{{cite web|url=http://www.hindu.com/fr/2006/03/31/stories/2006033100510300.htm|archive-url=https://web.archive.org/web/20060919223436/http://www.hindu.com/fr/2006/03/31/stories/2006033100510300.htm|url-status=dead|archive-date=2006-09-19|work=[[The Hindu]]|title=The golden era}}</ref>

Prominent composers prior to the [[Trinity of Carnatic music]] include [[Sripadaraja]], [[Vyasatirtha]], [[Kanakadasa]], [[Vadiraja Tirtha]], [[Arunachala Kavi]], [[Annamacharya]], [[Narayana Teertha|Narayana Theertha]], [[Vijaya Dasa]], [[Jagannatha Dasa (Kannada poet)|Jagannatha Dasa]], [[Gopala Dasa]], [[Bhadrachala Ramadas]], [[Sadasiva Brahmendra]] and [[Oottukkadu Venkata Kavi]]. Other composers are [[Swathi Thirunal]], [[Gopalakrishna Bharathi]], [[Neelakanta Sivan]], [[Patnam Subramania Iyer]], [[Mysore Vasudevachar]], [[Koteeswara Iyer]], [[Muthiah Bhagavathar]], [[Subramania Bharathiyar]], [[Kalyani Varadarajan]], [[M. Balamuralikrishna]] and [[Papanasam Sivan]]. The compositions of these composers are rendered frequently by artists of today.

Composers of Carnatic music were often inspired by religious devotion and were usually scholars proficient in one or more of the languages [[Kannada]], [[Malayalam]], [[Sanskrit]], [[Tamil language|Tamil]], or [[Telugu language|Telugu]]. They usually included a signature, called a ''[[Mudras in Indian Music|mudra]]'', in their compositions. For example, all songs by Tyāgarāja (who composed in Sanskrit and Telugu) have the word ''Tyagaraja'' in them, all songs by Muttuswāmi Dīkṣitar (who composed in Sanskrit and Maṇipravāl̥am) have the words ''Guruguha'' in them; songs by Śyāma Śāstri (who composed in Sanskrit and Telugu) have the words Ś''yāma Kr̥ṣṇa'' in them; all songs by Purandaradasa (who composed in Kannada and Sanskrit) have the words ''Purandara Vitthala''; while Gopalakrishna Bharathi (who composed in Tamil) used the signature ''Gopalakrishnan'' in his compositions. Papanasam Sivan, who has been hailed as the ''Tamil Tyagaraja'' of Carnatic music,<ref name="autogenerated1">{{cite web|url=http://www.hindu.com/thehindu/fr/2002/01/04/stories/2002010401120600.htm|archive-url=https://web.archive.org/web/20030627174438/http://www.hindu.com/thehindu/fr/2002/01/04/stories/2002010401120600.htm|url-status=dead|archive-date=2003-06-27|work=[[The Hindu]]|title=Focus on veena's exalted status}}</ref> composed in Tamil and Sanskrit,<ref name="autogenerated1" /> and used the signature ''Ramadasan'' in his compositions.

==Learning==
Carnatic music is traditionally taught according to the system formulated by [[Purandara Dasa]]. This involves ''sarali swaras'' (graded exercises), ''alankaras'' (exercises based on the seven talas), ''[[geethams|geetams]]'' or simple songs, and [[Swarajatis]]. After the student has reached a certain standard, ''[[varnam]]s'' are taught and later, the student learns [[Kriti (music)|kriti]]s. It typically takes several years of learning before a student is adept enough to perform at a concert.

The learning texts and exercises are more or less uniform across all the South Indian states. The learning structure is arranged in increasing order of complexity. The lessons start with the learning of the ''sarali varisai'' ([[solfege]] set to a particular raga).

Carnatic music was traditionally taught in the [[gurukula]] system, where the student lived with and learnt the art from his [[guru]] (perceptor). From the late 20th century onwards, with changes in lifestyles and need for young music aspirants to simultaneously pursue a parallel academic career, this system has found few takers.

Musicians often take great pride in letting people know about their [[Guru]] [[Parampara]], or the hierarchy of disciples from some prominent ancient musician or composer, to which they belong. People whose disciple-hierarchies are often referred to are [[Tyagaraja]], [[Muthuswami Dikshitar]], [[Syama Sastri]], [[Swathi Thirunal]] and [[Papanasam Sivan]], among others.

In modern times, it is common for students to visit their gurus daily or weekly to learn music. Though new technology has made learning easier with the availability of quick-learn media such as learning exercises recorded on audio cassettes and CDs, these are discouraged by most gurus who emphasize that face-to-face learning is best for students.

===Notations===
Notation is not a new concept in Indian music. However, Carnatic music continued to be transmitted orally for centuries without being written down. The disadvantage with this system was that if one wanted to learn about a [[Kriti (music)|kriti]] composed, for example, by [[Purandara Dasa]], it involved the difficult task of finding a person from Purandara Dasa's lineage of students.

Written notation of Carnatic music was revived in the late 17th century and early 18th century, which coincided with rule of [[Shahaji II]] in [[Tanjore]]{{Contradictory inline|article=Shahaji II|reason=Shahaji II ruled 1947-1949 so maybe some ancestor/predecessor of his is wanted.}}. Copies of Shahaji's musical manuscripts are still available at the [[Saraswati Mahal Library]] in Tanjore and they give us an idea of the music and its form. They contain snippets of [[solfege]] to be used when performing the mentioned ragas.

====Melody====
Unlike classical [[Classical music|Western music]], Carnatic music is notated almost exclusively in [[tonic sol-fa]] notation using either a Roman or Indic script to represent the solfa names. Past attempts to use the [[staff notation]] have mostly failed. Indian music makes use of hundreds of ragas, many more than the [[Musical mode|church modes]] in Western music. It becomes difficult to write Carnatic music using the staff notation without the use of too many [[accidental (music)|accidentals]]. Furthermore, the staff notation requires that the song be played in a certain [[key (music)|key]]. The notions of key and absolute pitch are deeply rooted in Western music, whereas the Carnatic notation does not specify the key and prefers to use [[scale degree]]s (relative pitch) to denote notes. The singer is free to choose the actual pitch of the [[tonic (music)|tonic]] note. In the more precise forms of Carnatic notation, there are symbols placed above the notes indicating how the notes should be played or sung; however, informally this practice is not followed.

To show the length of a note, several devices are used. If the duration of note is to be doubled, the letter is either capitalized (if using Roman script) or lengthened by a [[diacritic]] (in Indian languages). For a duration of three, the letter is capitalized (or diacriticized) and followed by a comma. For a length of four, the letter is capitalized (or diacriticized) and then followed by a semicolon. In this way any duration can be indicated using a series of semicolons and commas.

However, a simpler notation has evolved that does not use semicolons and capitalization, but rather indicates all extensions of notes using a corresponding number of commas. Thus, ''Sā'' quadrupled in length would be denoted as "S,,,".

====Rhythm====
The notation is divided into columns, depending on the structure of the [[Tala (music)|''tāḷaṃ'']]. The division between a ''laghu'' and a ''dhrutam'' is indicated by a।, called a ''ḍaṇḍā'', and so is the division between two ''dhrutams'' or a ''dhrutam'' and an ''anudhrutam''. The end of a cycle is marked by a॥, called a ''double ḍaṇḍā'', and looks like a [[caesura]].

==Performance==
{{Main|Performances of Carnatic music}}

Carnatic music is usually performed by a small ensemble of musicians, who sit on an elevated stage. This usually consists of, at least, a principal performer, a melodic accompaniment, a rhythm accompaniment, and a drone.<ref name="LArmand1983">{{cite journal  | last = L'Armand |first = A. K.
|title = One Hundred Years of Music in Madras: A Case Study in Secondary Urbanization| journal = Ethnomusicology |volume = 27 |pages = 411–438  |year = 1983  | doi = 10.2307/850653  | author2 = L'armand, Adrian  | issue = 3  | publisher = Society for Ethnomusicology|jstor = 850653
}}</ref>

Performances can be musical or musical-dramatic. Musical recitals are either vocal, or purely instrumental in nature, while musical-dramatic recitals refer to [[Harikatha]].<ref name="LArmand1983"/> Regardless of what type of recital it is, what is featured are compositions which form the core of this genre of music.

===Instrumentation===
{{See also|Indian musical instruments}}
The ''[[tanpura]]'' is the traditional [[Drone (music)|drone]] instrument used in concerts. However, tanpuras are increasingly being replaced by [[Sruti box|''śruti'' box]]es, and now more commonly, the [[electronic tanpura]]. The drone itself is an integral part of performances and furnishes stability – the equivalent of [[harmony]] in Western music.<ref name="Rosenthal1931">{{cite journal  | last = Rosenthal|first = E.|title = Tyagaraja: A Great South Indian Composer| journal = Musical Quarterly |volume = XVII |pages = 14–24 |year = 1931  | doi = 10.1093/mq/XVII.1.14}}</ref>

In a vocal recital, a concert team may have one or more vocalists as the principal performer(s). Instruments, such as the [[Saraswati veena]] and/or [[venu]] flute, can be occasionally found as an accompaniment, but usually, a vocalist is supported by a violin player (who sits on his/her left). The rhythm accompanist is usually a [[mridangam]] player (who sits on the other side, facing the violin player). However, other percussion instruments such as the [[ghatam]], [[kanjira]] and [[morsing]] frequently also accompany the main percussion instrument and play in an almost [[contrapuntal]] fashion along with the beats.

The objective of the accompanying instruments is far more than following the melody and keeping the beats. The accompaniments form an integral part of every composition presented, and they closely follow and augment the melodic phrases outlined by the lead singer. The vocalist and the violinist take turns while elaborating or while exhibiting creativity in sections like [[raga]], [[niraval]] and [[kalpanaswaram]].

Unlike [[Hindustani music]] concerts, where an accompanying [[tabla]] player can keep beats without following the musical phrases at times, in Carnatic music, the accompanists have to follow the intricacies of the composition since there are percussion elements such as eduppu in several compositions.

Some concerts feature a good bit of interaction with the lead musicians and accompanists exchanging notes, and accompanying musicians predicting the lead musician's musical phrases.

===Contemporary concert content===
A contemporary Carnatic music concert (called a ''kutcheri'') usually lasts about three hours, and comprises a number of varied compositions. Carnatic songs are composed in a particular ''[[raga]]'', which means that they do not deviate from the notes in the ''raga''. Each composition is set with specific notes and beats, but performers improvise extensively. Improvisation occurs in the melody of the composition as well as in using the notes to expound the beauty of the ''raga''.

Concerts usually begin with a ''[[varnam]]'' or an invocatory item which will act as the opening piece. The ''varnam'' is composed with an emphasis on ''[[swara]]s'' of the raga, but will also have lyrics, the ''saahityam''. It is lively and fast to get the audience's attention. An invocatory item may usually follow the ''varnam''.

After the ''varnam'' and/or invocatory item, the artist sings longer compositions called ''kirtanas'' (commonly referred to as ''[[Kriti (music)|kriti]]''s). Each kriti sticks to one specific ''raga'', although some are composed with more than one raga; these are known as ''ragamalika'' (a garland of ''ragas'').

After singing the opening ''kriti'', usually, the performer sings the ''[[kalpanaswaram]]'' of the ''raga'' to the beat. The performer must improvise a string of ''swaras'' in any octave according to the rules of the raga and return to beginning of the cycle of beats smoothly, joining the ''swaras'' with a phrase selected from the ''kriti''. The violin performs these alternately with the main performer. In very long strings of ''swara'', the performers must calculate their notes accurately to ensure that they stick to the ''raga'', have no awkward pauses or lapses in the beat of the song, and create a complex pattern of notes that a knowledgeable audience can follow.

Performers then begin the main compositions with a section called ''[[Alapana|raga alapana]]'' exploring the ''raga''. In this, they use the sounds ''aa, ri, na, ta'', etc. instead of ''swaras'' to slowly elaborate the notes and flow of the raga. This begins slowly and builds to a crescendo, and finally establishes a complicated exposition of the ''raga'' that shows the performer's skill. All of this is done without any rhythmic accompaniment, or beat. Then the melodic accompaniment (violin or veena), expounds the ''raga''. Experienced listeners can identify many ragas after they hear just a few notes. With the ''raga'' thus established, the song begins, usually with lyrics. In this, the accompaniment (usually violin, sometimes veena) performs along with the main performer and the percussion (such as a [[mridangam]]). In the next stage of the song, they may sing ''[[niraval]]'' or ''kalpanaswaram'' again.

In most concerts, the main item will at least have a section at the end of the item, for the percussion to perform solo (called the ''tani avartanam''). The percussion artists perform complex patterns of rhythm and display their skill. If multiple percussion instruments are employed, they engage in a rhythmic dialogue until the main performer picks up the melody once again. Some experienced artists may follow the main piece with a ''[[Ragam Thanam Pallavi|ragam thanam pallavi]]'' mid-concert, if they do not use it as the main item.

Following the main composition, the concert continues with shorter and lighter songs. Some of the types of songs performed towards the end of the concerts are ''[[tillana]]s'' and ''thukkadas'' – bits of popular ''kriti''s or compositions requested by the audience. Every concert that is the last of the day ends with a ''mangalam'', a thankful prayer and conclusion to the musical event.

===Audience===
The audience of a typical concert will have some understanding of Carnatic music. It is also typical to see the audience tapping out the ''tala'' in sync with the artist's performance. As and when the artist exhibits creativity, the audience acknowledge it by clapping their hands. With experienced artists, towards the middle of the concert, requests start flowing in. The artist usually sings the requests, and it helps in exhibiting the artist's broad knowledge of the several thousand [[Kriti (music)|kriti]]s that are in existence.

===Festivals===
{{Main|List of Indian classical music festivals|Madras Music Season}}

Various [[music festivals]] featuring Carnatic music performances are held in India, and throughout the world.

With the city of [[Chennai]] (then known as [[Madras]]) emerging as the locus for Carnatic music during the 19th century,<ref name="Hughes2002"/> its musicians founded the [[Tyagaraja Aradhana]] festival in 1846. The Aradhana festival is an annual death-anniversary celebration of the prolific Carnatic music composer, [[Tyagaraja]]. Held in the city of [[Thiruvayaru]], thousands of musicians attend the festival to perform his compositions. Since its inception, other festivals were started in a similar manner throughout India and abroad, such as the [[Chembai Sangeetholsavam]] in the Indian city of [[Guruvayur]], and the Aradhana in the US city of [[Cleveland]].

The city of Chennai also holds a six-week-long grand "[[Madras Music Season|Music Season]]", which has been described as the world's largest cultural event.<ref>{{cite news|url=http://www.hindu.com/2005/02/03/stories/2005020301281000.htm|archive-url=https://web.archive.org/web/20050207150555/http://www.hindu.com/2005/02/03/stories/2005020301281000.htm|url-status=dead|archive-date=2005-02-07|title=Musical Musings|access-date=2007-01-13|location=Chennai, India|newspaper=[[The Hindu]]|date=2005-02-03}}</ref> The Music Season was started in 1927, to mark the opening of the [[Madras Music Academy]]. It used to be a traditional month-long Carnatic music festival, but since then it has also diversified into [[dance]] and [[drama]], as well as non-Carnatic art forms. Some concert organisers also feature their own Carnatic music festivals during the season. Thousands of performances are held by hundreds of musicians across various venues in the city.

The [[Karnataka Ganakala Parishat]] is an annual conference of Carnatic music, held in February every year, which has lectures and demonstrations in the morning, and performances in the afternoons and evenings.

==See also==

{{Portal|India|Music}}
* [[List of Carnatic composers]]
* [[List of composers who created ragas]]
* [[List of Carnatic singers]]
* [[List of Carnatic instrumentalists]]
* [[Trinity of Carnatic music]]

==Notes==
{{notelist}}

==References==
{{Reflist}}
* Kassebaum, Gayatri Rajapur. 'Karnatak raga' (2000). In {{cite book|title=The Garland Encyclopedia of World Music|last=Arnold|first=Alison|publisher=Taylor & Francis|location=[[New York City|New York]] & [[London]]|ref=Arnold2000}}
* {{cite book|title=Romance of the Raga|last=Moorthy|first=Vijaya|year=2001|publisher=Abhinav Publications|location=[[New Delhi]]|ref=Moorthy2001}}
* Nettl, B. (2009). In {{cite book|title=Musical Improvisation: Art, Education, and Society|last=Solis|first=Gabriel|author2=Nettl, Bruno|year=2009|publisher=[[University of Illinois Press]]|ref=SolisNettl2009}}
* {{cite book|title=Musical Composers during Wodeyar Dynasty (1638–1947 A.D.)|last=Pranesh|first=Meera Rajaram|year=2003|publisher=Vee Emm Publications|location=[[Bangalore]]|ref=Pranesh2003}}
* {{cite book|title=The Harvard Dictionary of Music|last=Randel|first=Don Michael|year=2003|publisher=Harvard University Press|location=United States|ref=Randel2003}}
* Viswanathan, T. & Cormack, Jody (1998). In {{cite book|title=In the Course of Performance: Studies in the World of Musical Improvisation|last=Nettl|first=Bruno|author-link=Bruno Nettl|author2=Russell, Melinda|publisher=[[University of Chicago Press]]|location=[[Chicago]] & [[London]]|ref=NettlRussell1998|isbn=0-226-57411-3|date=15 December 1998|url-access=registration|url=https://archive.org/details/incourseofperfor0000unse}}

==Bibliography==
* {{cite book |title=The Music and Musical Instruments of southern India and the Deccan |author=Charles Russel Day |others=William Gibb (lllus.) |publisher=Novello, Ewer & Co., London -  |year=1891 |url=https://archive.org/stream/musicmusicalinst00dayc#page/n7/mode/2up }}
* {{cite encyclopedia | encyclopedia=Encyclopædia Britannica | edition=15 | year=2005 | article=[Carnatic music]}}
* {{cite book | author= Panchapakesa Iyer, A. S.| title= Gānāmruta Varna Mālikā| publisher=Gānāmruta Prachuram | year=2003 }}

==External links==
{{Wikiquote}}
{{Commons category}}

{{Indian Music}}
{{Melakarta ragas}}
{{Janya}}
{{Violin family}}

{{Karnataka topics}}
{{Authority control}}

[[Category:Carnatic music| ]]
[[Category:Indian styles of music]]
[[Category:South India]]
[[Category:Classical and art music traditions]]
[[Category:Articles containing video clips]]
[[Category:Carnatic violinists]]