Origins and history of Carnatic music

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See also: List of Carnatic music treatises

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.^[1] However, it is also generally accepted that the natural origins of music were an important factor in the development of Carnatic music. ^[1] 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)^[2]. Folk music is also said to have been a natural origin of Carnatic music, with many folk tunes corresponding to certain Carnatic ragas (discussed later).^[1]

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.^[1] The Yajur-Veda, which mainly consists of sacrificial formulae, mentions the veena as an accompaniment to vocal recitations during the sacrifices.^[3]

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.")^[4] Carnatic music is based on music concepts mentioned in Bharata's Natya Shastra.^[5]. The Natya Shastra mentions many musical concepts (including swara and tala) that continue to be relevant to Carnatic music today.^[1]

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 ^{[6] [7]}. 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.^{[8][9] [10]} The rhythmic meters found in several musical forms (such as the Tiruppugazh) and other ancient literature, are equivalent to the talas that are in use today.^[11][12] The Tamil classics speak of seven palais, later developing into sixteen melas, leading to a further emergence of one hundred and three pannas^[13]. Many scholars believe that the ancient Tamil music is an important source from which Carnatic music -- being the traditional music form of South India, is derived^[14]. Such a theory is a definite posibility as the Ancient Tamil music is much older than the presently practiced form of Carnatic music^[15].

Carnatic music saw renewed growth during the Vijayanagar Empire by the Kannada Haridasa movement of Vyasaraja, Purandara Dasa, Kanakadasa and others.^[16] 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.^[17][1]. 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.

Even though the earlier writers Matanga, Sarangadeva and others also were from Karnataka, the music tradition was formally named Karnataka Sangeetha for the first time only in the 13th Century when the Vijayanagara empire was founded.^[18] Since the late 12th and early 13th centuries, as a result of the increasing Persian influence (and as a result of the Islamic conquest) in North India, Hindustani Music started evolving as a separate genre, while Carnatic music was relatively unaffected by these Arabic and Iranian influences.^[19] A clear demarcation between Hindustani music and Carnatic music can be seen in the latter half of the 14th century, as the word "Carnatic" came to represent South Indian classical music as a separate system of music. ^[1]

A unique development in the art of instrumental carnatic music took shape under the patronage of the kings of the Kingdom of Mysore in the 18th through 20th centuries. The composers used to play their compositions on instruments such as the veena, rudra veena, violin, tambura, ghata, flute, mridangam, nagaswara, swarabhat. Some instruments such as harmonium, sitar and jaltarang, though uncommon to the southern region came into use and the English influence popularised the saxophone and piano. Even royalty of this dynasty were noted composers and proficient in playing musical instruments, solo or in concert with others.^[20] Some famous instrumentalists were Veena Sheshanna(1852-1926)^[21], Veena Subbanna (1861-1939),^[22] T. Chowdiah^[23]and others.

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