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    Hindustani Abstract Report: Carnatic Classical Music

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    Siddharth Mishra
    This document provides an overview of Carnatic classical music and one of its pioneers, Muthuswamy Dikshithar. It discusses the structure of Carnatic compositions and the roles of ensemble members. It also outlines Dikshithar's contributions, including composing in Sanskrit and adopting North Indian scales. His teachings helped spread Carnatic music across South India. The document concludes by mentioning TM Krishna's book which provides a critique of today's Carnatic concert.

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    Hindustani Abstract Report: Carnatic Classical Music

    Uploaded by

    Siddharth Mishra
    73 views2 pages
    This document provides an overview of Carnatic classical music and one of its pioneers, Muthuswamy Dikshithar. It discusses the structure of Carnatic compositions and the roles of ensemble members. It also outlines Dikshithar's contributions, including composing in Sanskrit and adopting North Indian scales. His teachings helped spread Carnatic music across South India. The document concludes by mentioning TM Krishna's book which provides a critique of today's Carnatic concert.

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    An abstract exploring carnatic music and one of its pinoeers

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    Hindustani Abstract

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    This document provides an overview of Carnatic classical music and one of its pioneers, Muthuswamy Dikshithar. It discusses the structure of Carnatic compositions and the roles of ensemble members. It also outlines Dikshithar's contributions, including composing in Sanskrit and adopting North Indian scales. His teachings helped spread Carnatic music across South India. The document concludes by mentioning TM Krishna's book which provides a critique of today's Carnatic concert.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    73 views2 pages

    Hindustani Abstract Report: Carnatic Classical Music

    Uploaded by

    Siddharth Mishra
    This document provides an overview of Carnatic classical music and one of its pioneers, Muthuswamy Dikshithar. It discusses the structure of Carnatic compositions and the roles of ensemble members. It also outlines Dikshithar's contributions, including composing in Sanskrit and adopting North Indian scales. His teachings helped spread Carnatic music across South India. The document concludes by mentioning TM Krishna's book which provides a critique of today's Carnatic concert.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 2

    Hindustani Abstract Report

    Carnatic Classical Music

    This essay deals with the detailed history of Carnatic music with special reference to

    one of the four pioneers of Carnatic music Muthuswamy Dikshithar. It includes brief

    introduction to the structure of a Carnatic classical composition with illustrated examples

    discussing aspects of kritis, the ensemble members, how they interact with each other

    and progress through the performance in some detail, and discussion on various

    gāmākas and how singers employ them in their singing. This shall be then followed by

    briefly outlining the history of Muthuswamy Dikshithar and his unique role in the

    development of Carnatic music.

    He composed lyrics in Sanskrit, followed a highly individualistic style of music and lyrics,

    was given less to emotion than others; his compositions focussed more on singing the

    glories of the Lord housed in various temples in South India. He was also a player of

    Veena. Another important aspect of his music was that his peregrinations included a

    visit to North India, where he interacted with musicians and adopted several of the North

    Indian scales in his compositions. He also exchanged notes practitioners of Western

    music in South India, particularly military and dance bands. The pieces are know as

    nōttusvara sāhitya or ‘quasi-European airs’. However, spirituality was the basic content

    of his whole music. His stay in Vārānasi, exposed to slow movement characteristic of

    the orthodox Dhrupad style of North Indian temple music, which is reflected in his even

    playing (for example, Mināksime mudam dehi raga Gāmākākriya, presently

    !1
    Purvikālyāni) and compositions characterized by slow yet majestic pace, rich

    ornamentation tempered by a feeling of inner stillness (śānta rasa). His teachings

    passed on to Tañjāvūr Quartet who were responsible for spreading his musical heritage

    across south india.

    And discussing some fresh perspectives on TM krishna’s evaluation of Carnatic music

    today; from his book titled ‘A Southern Music The Karnatik Story’ , specifically chapter

    ‘The Carnatic Concert Today: A Critique’.

    BIBLIOGRAPHY:

    Viswanathan, T. and Allen, M. ‘Music in South India: experiencing music, expressing

    culture’ (New York [u.a.]: Oxford University Press, 2011)

    Pesch, L. ‘The Oxford illustrated companion to South Indian classical music’ (New Delhi:

    Oxford University Press, 2009)

    Ramakrishna, Lolita ‘The krti in karnātak music’ (New Delhi: B.R.Rhythms, 2012)

    Sundararajan, K. R. ‘Hindu Spirituality: Postclassical and Modern ‘The Spirituality of Carnatic

    Music’’ (ed.), Bithika Mukerji Motilal (Varanasi: Banarsidass Publ., 2003)

    Sharma, Manorma ‘Music Aesthetics’ (New Delhi: A P H Publishing Corporation, 2007)

    Krishna, TM ‘A Southern Music: The Karnatik Story’ (Noida (Uttar Pradesh)): HarperCollins,

    2013)

    !2

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