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Carnatic Music Terminology
Carnatic music terms are briefly described in this page. Major terms have their own separate article pages, while minor terms are defined / described here. The order of terms is from basic to related terms, rather than alphabetic. Main terms Nāda '' Nāda'' refers to music or musical sound. It also refers to the tone of a musical instrument. Anahata Nāda ''Anāhata Nāda'' refers to the naturally occurring sounds (literally not struck). Ahata Nāda ''Ahata Nāda'' refers to generated sounds or sounds made by efforts of man (literally that which is heard). It is of 6 types. 1.shareeraja - it emanates from the human throat. Example: vocal singing 2.Dhanuja - is born from string instruments. Example: Violin,veena etc... 3.Vayuja - us born when air is passed through narrow pipe like instruments. Example: Flute, nadaswaram etc... 4.Charmaja 5. Lohaja 6.Nakhaja Śruti '' Śruti'' is musical pitch. It is considered to be equivalent to tonic of western music. This is the pit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music
Carnatic music (known as or 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, Telangana and southern Odisha. It is one of three main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. (The other two are Hindustani music and Odissi 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 (the relative musical pitch), (the musical sound of a single note), (the mode or melodic formulae), and (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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Janya
''Janya'' is a term meaning "derive". In Carnatic (South Indian) music a ''janya raga'' is one derived from one of the 72 '' melakarta'' ragas (fundamental melodic structures). ''Janya'' ragas are classified into various types based on a variety of features. ''Varja'' ragas Ragas that omit (varjyam, to omit in Sanskrit) one or more of the notes of the scale (''swaras'') of their parent ''melakarta'' raga, in the ascending or descending scale or in both, fall into this category. Different notes may be omitted from the ascending '' arohana'' and descending '' avarohana'' scale. Such scales are given the names listed below.''A practical course in Carnatic music'' by Prof. P. Sambamurthy, 15th edition published 1998, The Indian Music publishing house''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications vrja a * ''Sampurna'' – 7 note scale * ''Shadava'' – 6 notes * ''Audava'' – 5 notes Since these terms are applicable both to the ascending and th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samavadi
The samavadi or samvadi is the second-most prominent (though not necessarily second-most played) note of a raga in Indian classical music. The primary note of the raga is the '' vadi''; the vadi and samavadi are in most cases a fourth or fifth apart. A ''samavadi'' is a note of special significance. ''Vadi'' is often translated as the "king" note of a raga, while the ''samavadi'' is translated as the "prime minister" or "vizier" note. A performer will typically try to emphasize the ''samavadi'' along with the vadi when improvising on a certain raga. The ''vadi'' and ''samavadi'' can be crucial in defining the raga at hand, and in some cases two ragas with the same arohana and avrohana An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The notes descend in pitch ... can be distinguished only by the prominence o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vadi (music)
Vadi, in both Hindustani classical music and Carnatic music, is the tonic (root) swara (musical note) of a given raga (musical scale). "Vadi is the most sonant or most important note of a Raga."Nad Understanding Raga Music, Bagchee, Sandeep References Hindustani music theory Carnatic music Carnatic music terminology Hindustani music terminology {{Carnatic-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Svara
Swara () or svara is an Indian classical music term that connotes simultaneously a breath, a vowel, a note, the sound of a musical note corresponding to its name, and the successive steps of the octave, or ''saptanka''. More comprehensively, it is the ancient Indian concept of the complete dimension of musical pitch. At its most basic comparison to western music, a ''swara'' is, essentially, a "note" of a given scale. However, that is but a loose interpretation of the word, as a ''swara'' is identified as both a musical note and tone; a "tone" is a precise substitute for sur, relating to "tunefulness". Traditionally, Indian musicians have just seven ''swara''s/notes with short names: sa, re, ga, ma, pa, dha, ni, which they collectively refer to as ''saptank'' or ''saptaka''. This is one of the reasons why ''swara'' is considered a symbolic expression for the number seven. In another loose comparison to western music, ''saptak'' (as an octave or scale) may be interpreted as s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Manodharma
Manodharma is a form of improvised South Indian classical Carnatic music. It is created on the spot during the performance, while remaining within the confines of musical grammar, as codified in the raga and/or the tala. Every Carnatic concert has one or many music pieces that showcases the singer's prowess and intellect in the form of Manodharma sangeetham. Often the centerpiece of a Carnatic concert will explore all the five types of manodharma. It serves as an important and integral aspect of Carnatic music. Types of Manodharma Based out of manodharma, individual styles are developed. Manodharma has many aspects and performers develop distinct styles based on their musical values, interpretation and understanding. There is ample scope for manodharma when rendering raga alapana, tanam, neraval, pallavi, swaram and also kritis. There are five improvisational forms that fall under the practice of manodharma in Carnatic Music. They include: Alapana: A free flowing explor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viruttam
A ''viruttam'' or ''virutham'' (Tamil) is a Hindu devotional verse sung in Carnatic music concerts. Viruttams do not possess a set tala and are solely improvised using one or more ragams. It is one of many forms of '' manodharma'' (spontaneous improvisations) in Carnatic music. A ''viruttam'' usually precedes rendition of a song. In most cases, it is sung in the same ragam as the song that follows it. Occasionally, viruttam of multiple verses are sung in different ragams, followed by a song in the same ragam as the last sung ragam of the viruttam. The artist may also sing the same verse in different ragams in different concerts. Virutham is not only used in concerts but also in traditional celebrations. Viruthams in praise of Lord Ayyappa are famous in South India. Viruthams are also sung in praise of Lord Muruga. A viruttam is called as Ugabhoga in Kannada. Ugabhogas are few set of devotional lines by the Haridasas of Karnataka Karnataka ( ) is a States and union territ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ugabhoga
The term ''ugabhoga''Kannada Chapter, Medieval Indian Literature, An Anthology (1997) by Shiva Prakash H.S., edited by Ayyappapanicker, Sahitya Akademi refers to a type of vocal piece in Karnatic music, in which the artist elaborates the treatment of raga characteristics through freestyle verses (typically in the Kannada Kannada () is a Dravidian language spoken predominantly in the state of Karnataka in southwestern India, and spoken by a minority of the population in all neighbouring states. It has 44 million native speakers, and is additionally a ... language) with or without tala. References Carnatic music Vocal music {{Carnatic-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ragam Tanam Pallavi
Ragam Tanam Pallavi (RTP) is a form of singing in Carnatic music which allows the musicians to improvise to a great extent. It is one of the most complete aspects of Indian classical music, demonstrating the entire gamut of talents and the depth of knowledge of the musician. It incorporates ''alapana, raga alapana'', ''tanam'', ''niraval'', and ''kalpanaswara''. In more elaborate ragam tanam pallavis, a ''tani avartanam''#Arnold2000, Kassebaum (2000), 158 may follow. Ragam "Ragam" in the context of "Raga Alapana, Ragam Tanam Pallavi" refers to alapana, ''raga alapana'' - the first component. In this form of pure melodic improvisation, the musician starts with a refrain to create the mood of raga and lays a foundation for composition to follow. Each ''Ragam tanam pallavi'' has at least one raga associated with it. Tanam Source: ''Tanam'' is one of the most important forms of the improvisation, and is integral to the RTP. It is the second component of this composite form of i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kalpanaswaram
{{Use dmy dates, date=August 2023 In Carnatic Music, Kalpanaswaram (also called swarakalpana (spelt alternatively as svarakalpana), manodharmaswara or simply swaras), is melo-rhythmic raga improvisation in a specific tala. As part of swarakalpana, the musician delivers increasingly complex, improvised sequences in the Indian music solfege (sa, ri, ga, ma, pa, da, ni) within or towards the end of a composition. Swarakalpana is integral to the Pallavi portion of a Ragam Thanam Pallavi and typically follows the neraval. It is also common for seasoned artists to perform swarakalpana during recitals of various other kritis. Facts The ''kalpanaswaram'' may start at any place in the tala, but invariably the artist must end their improvisation at the first note of the first phrase of the composition, at the place in the rhythm cycle, where that note is. To arrive at that note, one has to approach it from the closest note below. There are, however, instances when ''kalpana swaras'' are rende ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Niraval
In Carnatic music, Neraval also known as Niraval or Sahitya Vinyasa is the elaboration and improvisation of melody for a particular line. Usually, just one or two lines of text from the song (from the anupallavi or charanam part of the kriti) are sung repeatedly, but with improvised elaborations. The part of lyrics is chosen which is self-contained in terms of its meaning and context and has an elegant structure amenable for repetition with variations. In general, such elaboration follow the rhythmic patterns in the original lyrics ( talam), Randel (2003), p562 and each word in the lines of text stay set within their original place (''idam'') in the tala cycle, Viswanathan & Cormack (1998), p232 though minor variations that remain faithful to the syllabic patterns of the sahityam are considered fine. The lines are then also played at different levels of speed which can include double speed, triple speed, quadruple speed and even sextuple speed. The neraval is one of the features ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
