Like all art forms in Indian culture, Carnatic Music is believed to have a divine origin - it is believed to have originated from the Devas and Devis.However, it is also generally accepted that the natural origins of music were an important factor in the development of Carnatic music. Ancient treatises describe the connection of the origin of swaras to the sounds of animals and birds, and man’s keen sense of observation and perception that tried simulating these sounds - after hearing and distinguishing between the different sounds that emanated from bamboo reed when air passes through its hollows, man designed the first flute. In this way, music is venerated as an aspect of the supreme (nāda brāhmam). Folk music is also said to have been a natural origin of Carnatic music, with many folk tunes corresponding to certain Carnatic ragas.
The Vedas are generally accepted as the main probable source of Indian music. The Sama Veda is said to have laid the foundation for Indian music, and consists mainly of hymns of Rigveda, set to musical tunes which would be sung using three to seven musical notes during Vedic sacrifices. The Yajur-Veda, which mainly consists of sacrificial formulae, mentions the veena as an accompaniment to vocal recitations during the sacrifices.
References to Indian classical music are made in many ancient religious texts, including epics like the Ramayana and Mahabharata. The Yajnavalkya Smriti mentions "vīṇāvādanatattvajñaḥ 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 salvation without doubt.") Carnatic music is based on music concepts mentioned in Bharata's Natya Shastra. The Natya Shastra mentions many musical concepts (including swara and tala) that continue to be relevant to Carnatic music today.
While it is not clear whether ancient Tamil music has evolved into the tradition of Carnatic music, the unique similarities shared by both styles of music through history has been undisputed. Many of the modes used in ancient Tamil music (known as Panns) are entirely equivalent to the ragas used in the melakarta raga system of today's Carnatic music, while the rhythmic meters found in several musical forms (such as the Tiruppugazh) and other ancient literature, resemble the talas that are in use today.
Carnatic music saw renewed growth during the Vijayanagar Empire by the Kannada Haridasa movement of Vyasaraja, Purandara Dasa, Kanakadasa and others. Purandara Dasa who is known as the Sangeeta Pitamaha (the grandfather of Carnatic music) laid out the fundamental tenets and framework for teaching Carnatic music. Venkatamakhin is credited with the classification of ragas in the Melakarta System and wrote his most important work; Chaturdandi Prakasika (c.1635 CE) in Sanskrit. Govindacharya expanded the Melakarta Scheme into the Sampoorna raga system, which is the system in common use today.
The Vedas are generally accepted as the main probable source of Indian music. The Sama Veda is said to have laid the foundation for Indian music, and consists mainly of hymns of Rigveda, set to musical tunes which would be sung using three to seven musical notes during Vedic sacrifices. The Yajur-Veda, which mainly consists of sacrificial formulae, mentions the veena as an accompaniment to vocal recitations during the sacrifices.
References to Indian classical music are made in many ancient religious texts, including epics like the Ramayana and Mahabharata. The Yajnavalkya Smriti mentions "vīṇāvādanatattvajñaḥ 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 salvation without doubt.") Carnatic music is based on music concepts mentioned in Bharata's Natya Shastra. The Natya Shastra mentions many musical concepts (including swara and tala) that continue to be relevant to Carnatic music today.
While it is not clear whether ancient Tamil music has evolved into the tradition of Carnatic music, the unique similarities shared by both styles of music through history has been undisputed. Many of the modes used in ancient Tamil music (known as Panns) are entirely equivalent to the ragas used in the melakarta raga system of today's Carnatic music, while the rhythmic meters found in several musical forms (such as the Tiruppugazh) and other ancient literature, resemble the talas that are in use today.
Carnatic music saw renewed growth during the Vijayanagar Empire by the Kannada Haridasa movement of Vyasaraja, Purandara Dasa, Kanakadasa and others. Purandara Dasa who is known as the Sangeeta Pitamaha (the grandfather of Carnatic music) laid out the fundamental tenets and framework for teaching Carnatic music. Venkatamakhin is credited with the classification of ragas in the Melakarta System and wrote his most important work; Chaturdandi Prakasika (c.1635 CE) in Sanskrit. Govindacharya expanded the Melakarta Scheme into the Sampoorna raga system, which is the system in common use today.
Posts
No comments:
Post a Comment