Carnatic music is also usually taught and learned through compositions. Although improvisation plays an important role, Carnatic music is mainly sung through compositions, especially the kriti (or kirtanam) – a form developed between the 14th and 20th centuries by composers such as Purandara Dasa and the Trinity of Carnatic 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.Īlthough there are stylistic differences, the basic elements of śruti (the relative musical pitch), swara (the musical sound of a single note), rāga (the mode or melodic formulæ), and tala (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. The other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. It is one of two main subgenres of Indian classical music that evolved from ancient Sanatana dharma sciences and traditions, particularly the Samaveda. Though I can justify my ideas, if you are appearing for some examination, stick to the definitions and descriptions in the books prescribed as part of your syllabus.Carnatic music, known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu, and Sri Lanka. The ideas may differ from the standard texts in books. The descriptions are based on my six decades of experience with Carnatic Music (as a student, amateur musician, teacher and above all Rasika), extensive reading including old books (like Sangeetha Ratnaakara, Chaturdandiprakaasika, Raagavibodham etc.) and analysing using computer techniques. A Computer helps to give a combined Text-Visual-Audio view. Even if an audio CD comes with a book it is quite difficult for the listener to correlate the two.
#CARNATIC MUSIC THEORY NOTES SOFTWARE#
The program Rasika part of Rasika-Gaayaka-Sishya Carnatic Music Software package (works with Windows OS) was aimed at satisfying these needs. He could be given examples of songs but an explanation based on notes and nuances would help a lot.
At a more advanced level, a knowledge of the structure of a Raagam can help to sing a piece for which there is no recording but notation is available.Ī Rasika can enjoy music whether he knows the theory or not, but most of the time a Carnatic music Rasika wants to find the Raagam of a song he hears! Or he would like to know, how one Raagam differs from another.
It is also easier for a teacher to explain mistakes of students on the basis of notes.įor a beginner learning instruments like Veena, knowledge of notes speeds up the learning process.
But when he later wants to sing some new Raagam he may have difficulty in avoiding shades of a closer Raagam. Similarly a student with a basic musical sense is often able to repeat melodies sung by a teacher or others without knowing what notes are being sung.
This often works for well established old Raagams, but they often find it difficult to distinguish between Raagams having similar groups of notes and differing in Gamakam (nuances) or newer Raagams differing in only one or two notes from older Raagams. Others who have been listening to Carnatic music for many years are able to identify Raagams by remembering the typical phrases from popular songs and trying to match with what they hear. Why should a Rasika or student know about the 'theory' of Carnatic music such as Raagams,Thaalams, classification, definitions etc.? Many Rasikas enjoy music without bothering even to find the Raagam. Why study Carnatic Music Theory Why study Carnatic Music Theory?