The origins of Indian classical music can be found in the Vedas, which are the oldestscriptures in the Hindu tradition. Indian classical music has also been significantly influenced by, or syncretised with, Indian folk music.Indian classical music is both elaborate and expressive. Like Western classical music, it divides the octave into 12 semitones of which the 7 basic notes are, in ascending tonal order, Sa Re Ga Ma Pa Dha Ni Sa for Hindustani music and Sa Ri Ga Ma Pa Dha Ni Safor Carnatic music, similar to Western music's Do Re Mi Fa Sol La Ti Do.
HINDUSTANI
Hindustani music is mainly found in North India. Khyal and Dhrupad are its two main forms, but there are several other classical and semi-classical forms.Players of the tabla, a type of drum, usually keep the rhythm, an indicator of time in Hindustani music. Another common instrument is the stringedtanpura, which is played at a steady tone (a drone) throughout the performance of the raga, and which provides both a point of reference for the musician and a background against which the music stands out. The task of playing the tanpura traditionally falls to a student of the soloist. Other instruments for accompaniment include the sarangi and the harmonium.The performance usually begins with a slow elaboration of the raga, known as badhat. This can range from long (30–60 minutes) to short (8–10 minutes) depending on the raga, the style and preference of the musician, and the medium (LP records and All India Radioperformance times had a fixed upper limit). Once the raga is established, the ornamentation around the mode begins to become rhythmical, gradually speeding up; this section is called the drut in vocal performances or the jor in instrumental performances.
CARNATIC
Carnatic music, from South India, tends to be significantly more rhythmically intensive and structured than Hindustani music. Examples of this are the logical classification of ragas into melakarthas, and the use of fixed compositions similar to Western classical music. Carnatic raga elaborations are generally much faster in tempo and shorter than their equivalents in Hindustani music. A devotion and a request for a blessing follows, then a series of interchanges betweenragams (unmetered melody) and thaalams (the ornamentation, equivalent to the jor). This is intermixed with hymns called krithis. Thepallavi or theme from the raga then follows.Primary themes include worship, descriptions of temples, philosophy, and nayaka-nayika (Sanskrit "hero-heroine") themes. Tyagaraja(1759–1847), Muthuswami Dikshitar (1776–1827) and Syama Sastri (1762–1827) are known as the Trinity of Carnatic music, whilePurandara Dasa (1480–1564) is the father of Carnatic music.
HINDUSTANI
Hindustani music is mainly found in North India. Khyal and Dhrupad are its two main forms, but there are several other classical and semi-classical forms.Players of the tabla, a type of drum, usually keep the rhythm, an indicator of time in Hindustani music. Another common instrument is the stringedtanpura, which is played at a steady tone (a drone) throughout the performance of the raga, and which provides both a point of reference for the musician and a background against which the music stands out. The task of playing the tanpura traditionally falls to a student of the soloist. Other instruments for accompaniment include the sarangi and the harmonium.The performance usually begins with a slow elaboration of the raga, known as badhat. This can range from long (30–60 minutes) to short (8–10 minutes) depending on the raga, the style and preference of the musician, and the medium (LP records and All India Radioperformance times had a fixed upper limit). Once the raga is established, the ornamentation around the mode begins to become rhythmical, gradually speeding up; this section is called the drut in vocal performances or the jor in instrumental performances.
CARNATIC
Carnatic music, from South India, tends to be significantly more rhythmically intensive and structured than Hindustani music. Examples of this are the logical classification of ragas into melakarthas, and the use of fixed compositions similar to Western classical music. Carnatic raga elaborations are generally much faster in tempo and shorter than their equivalents in Hindustani music. A devotion and a request for a blessing follows, then a series of interchanges betweenragams (unmetered melody) and thaalams (the ornamentation, equivalent to the jor). This is intermixed with hymns called krithis. Thepallavi or theme from the raga then follows.Primary themes include worship, descriptions of temples, philosophy, and nayaka-nayika (Sanskrit "hero-heroine") themes. Tyagaraja(1759–1847), Muthuswami Dikshitar (1776–1827) and Syama Sastri (1762–1827) are known as the Trinity of Carnatic music, whilePurandara Dasa (1480–1564) is the father of Carnatic music.
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