hindustani music

Hindustani Classical Music is a North Indian classical music tradition that has been evolving from the 12th centuries AD onwards, in what is now northern India and Pakistan, and also Bangladesh, Nepal and Afghanistan. The tradition was born out of a cultural synthesis from several musical streams: the vedic chant tradition dating back to approx. one millennia BCE, the equally ancient Persian tradition of Musiqi-e assil, and also existent folk traditions prevalent in the region. The terms North Indian Classical Music or Shāstriya Sangeet are also occasionally used.

Around the 12th century, Hindustani classical music diverged from the principle which eventually came to be identified as Carnatic classical music. The central notions in both these systems is that of a melodic mode or raga, sung to a rhythmic cycle or tala. The tradition dates back to the ancient Samaveda, (lit. sāma=ritual chant), which deals with the norms for chanting of srutis or hymns such as the Rig Veda. These principles were refined in the Natyashastra by Bharata (2nd-3d c. CE) and the Dattilam (probably 3d-4th c. AD). In medieval times, many of the melodic systems were fused with ideas from Persian music, particularly through the influence of sufi composers like Amir Khusro, and later in the Moghul courts. Noted composers such as Tansen flourished, along with religious groups like the Vaishnavites. After the 16th century, the singing styles diversified into different gharanas patronized in different princely courts. Around 1900, Pandit Vishnu Narayan Bhatkhande consolidated the musical structures of Hindustani Classical music into a number of thaats. In the 20th century, Hindustani classical music has become popular across the world through the influence of artistes like Ravi Shankar, Ali Akbar Khan and many others.

Indian classical music has 7 basic notes (Sa Re Ga Ma Pa Dha Ni), with five interspersed half-notes, resulting in a 12-note scale. Unlike the 12-note scale in Western music, the base frequency of the scale is not fixed, and intertonal gaps (temper) may also vary; however with the gradual replacement of the sarangi by the harmonium, an equal tempered scale is increasingly used. The performance is set to a melodic pattern (raga or raag) characterized in part by specific ascent (Arohana) and descent (Avarohana) sequences, which may not be identical. Other characteristics include King (Vadi) and Queen (Samavadi) notes and a unique note phrase (Pakad). In addition each raga has its natural register (Ambit) and glissando (Meend) rules, as well as features specific to different styles and compositions within the raga structure. Performances are usually marked by considerable improvisation within these norms.

CARNATIC THE DIVINE

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.