Carnatic music is also known as the ‘Karnataka Sangitam’ in the south Indian language where this music is commonly related with south Indian states. This music form is the most disciplined and structured form in Indian classical art forms.

Karnatic or Carnatic music a subsidiary genre of Indian classical music. As per the ancient historical data, Hindustani classical music has developed in the northern region, and Carnatic music has roots and realms in the southern region of the country.

Hindustani classical music reflects the great influence of Persian and Islamic music forms. Whereas Carnatic music has a wide influence of Indian classical Vedas, chants, and spiritual mantras.
Carnatic music is also known as the ‘Karnataka Sangitam’ in the south Indian language where this music is commonly related with south Indian states. This music form is the most disciplined and structured form in Indian classical art forms. The core essence of Carnatic music is vocal music. Most of the compositions are written to be sung thereby even when it is performed on the instruments it is meant to be performed in a singing style.

Carnatic (or Karnatic) music is one of the two major classical music traditions of India, with its origins in South India. It is known for its complex and structured form, focusing on melody (raga) and rhythm (tala). Though distinct from Hindustani classical music (which is more common in North India), Carnatic music shares some fundamental principles with it, particularly in the areas of raga and tala.

Important elements of Carnatic music are Sruti which is a musical pitch, Swara which refers to a type of musical sound that defines the position of a note, Raga which is a term of melodic structure, and Tala which is a rhythmic structure.
With artistic improvisation in ragas and the beautiful composition of classical instruments, Carnatic music encourages the performer to explore exquisite ranges by focusing on vocal music essence.

Here are the key features of Carnatic music:

1. Raga (Melody)

A raga is a melodic framework used for improvisation and composition in Carnatic music. There are hundreds of ragas, each having a unique set of notes and a specific mood or feeling associated with it. A raga also defines the permissible patterns of ascent (arohanam) and descent (avarohanam) in a scale.

2. Tala (Rhythm)

Tala refers to the rhythmic pattern or cycle in which the music is set. It provides the structure for how the composition should be sung or played. Some common talas in Carnatic music are Adi Tala (8 beats), Rupaka Tala (6 beats), and Khanda Chapu (5 beats).

3. Improvisation

While Carnatic music compositions are highly structured, improvisation plays a critical role, especially in live performances. There are several forms of improvisation:

• Alapana: A free-flowing exploration of the raga without rhythm, to showcase its nuances.
• Kalpanaswaras: Improvised sequences of swaras (notes) sung to a particular raga and tala.
• Neraval: Improvisation based on a single line from the song, where the line is repeated with variations in melody and rhythm.

4. Composers

Carnatic music has a rich heritage of composers who have contributed timeless compositions, many of which are sung even today:

• Tyagaraja, Muthuswami Dikshitar, and Shyama Shastri are collectively known as the Trinity of Carnatic Music. Their compositions (called kritis) are central to Carnatic music.
• Purandara Dasa is considered the “father of Carnatic music” for having laid down the basic lessons for students to learn.
• Other famous composers include Papanasam Sivan, Swathi Thirunal, and Oottukkadu Venkata Kavi.

5. Vocal and Instrumental Carnatic Music

• Vocal Music: The voice is central to Carnatic music, and many of the compositions are meant to be sung. The singer often takes the lead role, with instrumentalists providing accompaniment.
• Instruments: Common instruments in Carnatic music include:
  • Veena: A stringed instrument that is considered one of the oldest in India.
  • Violin: Often used to accompany the vocalist or played as a solo instrument.
  • Mridangam: A drum that provides the rhythm in Carnatic performances.
  • Flute (Venu): A bamboo wind instrument used in both solo and accompaniment roles.
  • Ghatam: A clay pot percussion instrument.
  • Nadaswaram: A traditional wind instrument, often played in temple processions.

6. Performance Structure

Carnatic music concerts typically follow a well-defined structure:

• Varnam: Often performed at the beginning of the concert, it serves as a warm-up, both for the artist and the audience.
• Kriti: The centerpiece of the concert, where the main compositions are sung or played.
• Ragam-Tanam-Pallavi: A highly improvised section of the concert, showcasing the artist’s mastery over the raga and tala.
• Thillana: A rhythmic and lively composition usually performed towards the end of the concert.
• Mangalam: A short piece concluding the concert.

7. Devotional and Spiritual Significance

Carnatic music has deep roots in Hindu spirituality and temple culture. Most of the compositions are in praise of deities, especially in languages like Sanskrit, Tamil, Telugu, and Kannada. Tyagaraja, for example, wrote numerous kritis dedicated to Lord Rama, while Muthuswami Dikshitar’s compositions often praised various Hindu deities and temples.

8. Prominent Carnatic Musicians

Some of the legendary artists of Carnatic music include:

• M.S. Subbulakshmi: The first musician to receive the Bharat Ratna, India’s highest civilian honor.
• Semmangudi Srinivasa Iyer, M. Balamuralikrishna, T.R. Mahalingam, Lalgudi Jayaraman, and G.N. Balasubramaniam.
• Contemporary musicians include Bombay Jayashri, T.M. Krishna, Aruna Sairam, and Sudha Ragunathan.