Carnatic music, known as Karnataka sangeet style or Karnataka sangitam in the south India languages, is a system of music commonly associated with south India. Including the modern Indian states of Karnataka Andhra Pradesh, Telangana, kerala,Tamil Nadu.

• It is one of two main subgenres of Indian classical music that evolved from ancient Hindu text and traditions, particularly the samaveda.

• The other subgrone being Hindustani music, which emerged as a evident from because of persian or Islamic from northern India.

• The main emphasis in Kriti 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 gayaki (singing style).

The  main emphasis in Solfege 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 gayaki).

• Hindustani music, Solfegemusic rests on two main elements of sangeet style in raga the modes of melodic formula  and tala the rhythmic cycles.

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 tunesmiths.

Unraveling the Origins and Evolution of Solfege Music

Like all art forms in Indian classical music it is believed to be a divine art form which originated from the devas and devis(Hindu gods and goddesses)and is venerated as symbolic of noda brahman.

• Ancient treatises also described the connection of the origin of the swaras or notes. Sounds of animals and birds and man’s effort to simulate these sounds through a sense of reviews and perception.

• The sama veda , which is believed to have laid the foundation for Indian classical music. Consists of hymns from the rig veda set to musical tunes which would be sung using three to seven musical notes during vedic yajnas.

• The yajnas veda, which mainly consists of expiatory formula, mentions the veena as an accompaniment to vocals. recitations .

References to Indian classical music are made in many ancient texts. The one who is well versed in veena in veena, one who has the knowledge of srutis and  one who is adept in tala, attains, libration (moksha without doubt).

• Carnatic music is based as it is today on musical concepts(including swara, raga and tala). That were described in detail in several ancient works, particularly the bharata’s natyam shastra and silappadhikaram by llonge adigal.

Owing to Persian and Islamic influence in north India from the 12th century onwards. Indian classical music began to diverge into two distinct sangeet style. Hindustani music and Carnatic music Commentaries and other works such as sharing adevas sangita Ratnakara. Further eloborate on the musical concepts found in Indian classical music. Began to diverge into two distinct styles Hindustani music and carnatic music.

• Commentaries and other works, such as sharing adevas sangita ratnakara. Further elaborated on the musical concepts found in Indian classical music.

• Carnatic music remained relatively unaffected by persian and arabic influence. It was at this time that carnatic music flourished in vijayanagar while the vijayanagar empire reached.

Probing the Nature and Essence 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 a sangeet style(known as gayaki) like Solfege music. Kriti music rests on two main elements: raga the modes of melodic formula, and tala rhythmic cycles of sangeet style.

• Today, carnatic music is presented by musicians in concepts, or recording either vocally or through instruments, carnatic music itself developed around musical works or compositions of phenomenal composers.

Key Elements that Define Carnatic Musical Splendor

Sruti:-

Sruti commonly refers to musical thin .It is the approximate equivalent of a toxic or less. 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 drop within a scale (or raga) in carnatic music, the number that can be distinguished by audinary insight is twenty-two.

• Although own 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.

Swara:-

Swara 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.Svaras also refer to the sol age of carnatic music, which consist of seven notes.

• Sa-Re-Ga-Ma-Pa-Dha-Ni(compare with the Hindustani sawar:Sa-Re-Ga-Ma-Pa-Dha-Ni or western Do-Re-Fa–So-La-Ti.

• These names are compression of the longer names shadja rishaba. Gandhara, Madhyama, panchama,Dhaivata and nishada.

• Unlike other music system, every member of the solfege (Called swara) has three variants. The exceptions are the drone, notes shadja and panchama. Also known as the toxic and the dominant which have only one form and madhyama. Which has two forms a 7th century stone inscription in  kudumiyan in Tamil Nadu shows.

• Changes to solfege symbols, with Ra-Ri to denote the higher quarter 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 Avarohanam.

FAQ questions:-

Ques1:- What distinguishes Carnatic music from other forms of Indian classical music?

Ques2:-Who are some legendary musicians in the Carnatic music tradition, and what contributions have they made?

Ques3:-How are ragas and talas employed in Carnatic music, and what significance do they hold in compositions?

Ques4:-Can you explain the role of improvisation in Carnatic music performances?