HISTORY OF CARNATIC MUSIC

HISTORY OF CARNATIC MUSIC

The history of Carnatic music can be studied based on three major periods of
development, namely, Ancient, Medieval and Modern. Let's now look into the finer
details of each.
THE ANCIENT PERIOD (Vedic period - 4th Century AD)
This was the vital period in the history of Indian music. During this period there is
no mention of the term, Carnatic music, in any of the sources, but there is
sufficient reason to believe that this period was crucial to the original
development of Carnatic music. Some important references are cited here:
Vedas:
* Of the four Vedas, Rig Veda (hymns) was first recited in a monotone known as
archika, which later developed into the two toned chant (gatika). This was
subsequently replaced by a three-toned chant, samika, which had a main tone and
two accents, one higher and one lower. Sama Veda is considered as the main
source for the development of Indian music and the first full scale with seven
notes in the descending order are seen in the rendering, even to this day. The
melody is close to the scale of the raga, Kharaharapriya (22nd Melakarta) or
Natakapriya (10th Melakarta).
* Several references to music of musical instruments are seen in the Vedas.
* One of the earliest references to musical theory is found in the Rik Pratisakya
(around 400BC), which mentions the origin of seven notes from the three notes.
* Upanishads (the concluding part of Vedas), containing the essence of Vedas (100
BC - 300 BC), mention the musical notes and gives other musical references.
Musical instruments like the Vina and Dundubhi are mentioned in the
Brihadaranyaka Upanishad.

* The two great epics, Ramayana (circa 40 BC) and Mahabharata, also have several
musical references.
* There is also a mention of Gandharvas [(demi-gods) (600 - 500 BC)], who were
exceptionally versatile in music. Bharata in his Natyasastra, also acknowledges
saying that music belonged to the Gandharvas.

Bharata's Natyasastra (The 2nd - 4th century AD)

This is the earliest treatise to extensively elaborate on the science of music and
dance. Music is dealt only partly in this treatise. Yet, various aspects like the
ancient melodies (Jaatis) which are the archetypes of Ragas, their characteristic
features, structure and the classification of the ancient instruments have been
made in this work. The notes (swaras), their varieties, combination (varnas) and
other such aspects are also elaborately described.
Bharata has given the fundamentals of music as comprising Swara, Tala and Pada.
The music till Bharatas period was known as Marga (literally meaning way).
In the ancient period, the native Dravidians of the south had their own style,
which is generally called Tamil music, owing to the native regional language of the
area. The Sangam literature till 3rd AD, in particular, has many references to this
style. Works like Silappadikaram of Ilango Adigal, and its commentaries, describe
the logical derivations of the important scales through the modal shift of tonic.
The Tamil names of these notes have also been mentioned. Other works like
Tolkappiam, Pattupattu, etc. also give musical references. Some of these
descriptions and references correspond to contemporary Carnatic music concepts.
(Also see Tamil music).
MEDIEVAL PERIOD (5th - 16th Century AD)
During this period, many important musical concepts evolved in clear terms and in
this period, more care was taken to put into record, some of the important
musical developments by several music scholars, to enable us to have proper

historical links. Several musical composers and luminaries have also lived during
this period.
* The work of Matanga (6th - 7th Century A.D.), Brihaddesi, is the first to mention
the word, Raga. This text also gives the names of the then popular Ragas, with
their suitable structures, and a basic classification system. The other notable
feature during that period was the gradual development of the art of music as an
independent form, breaking away from being overly dependent on forms of dance
and drama.
* The Kudimiyanmalai inscriptions in a cave, near Pudukottai (Tamilnadu), has an
array of musical diction (notation) of South Indian music in the 7th century AD.
The Tevarams (6th - 9th century AD), songs in praise of Lord Siva, used more than
20 scales with Tamil names, which were equivalent to the present system of
Carnatic music. Many of these Tevarams are still rendered as musical pieces in
concerts. This corpus, along with the Divya Prabandham (compositions of the
Vaishnavite Azhwars, 6th - 8th century AD), have been a significant contribution of
the Tamil speaking region to Carnatic music.
* The Tiruppugazh of Arunagirinathar, who lived around the 15th century, is
another inspiring Tamil work which significantly affected Carnatic music. This has
complex rhythmic meters, which remain unique and unsurpassed in their
grandeur.
* The Gita Govinda of Jayadeva (12th century) is a monumental work of the
medieval period in Sanskrit, consisting of 24 songs, each set to a particular Raga.
The rhythmic meter is determined by the meter of the verse. These were,
probably, the earliest examples close to the regular musical compositions and are
called Ashtapadis (ashta meaning eight and padi meaning foot). These are popular
throughout India even today, though the original tunes are lost. Contemporary
musicians from both the Carnatic and Hindustani traditions have set these songs to
music independently.

Sangeeta Ratnakara

An important musical treatise was written by Sarngadeva (1210-1247). This work

contains five thousand couplets in Sanskrit written in nine chapters,
comprehensively covering Swaras, Ragas, Prabandhas (musical form of this
period), Tala-vadyas (percussion instruments), Gamakas (ornamentations) and
other such aspects. This work establishes the complete growth of Indian music
from the period of the Natya Sastra (2nd century) to the 13th century. This work
stands out particularly as a link between the two new systems that gradually split
and evolved separately after his period, namely, the Hindustani music and
Carnatic music. The music between the period of Brihaddesi and the Sangeeta
Ratnakara was known as the Desi system.
Sarngadevas work inspired many later scholars who wrote musicological treatises.
The Sangeeta Sara, attributed to Vidyaranya (1320-1380) was the first to classify
ragas as Melas (Parent) and Janya ragas. After this work, there seems to have been
a lull in the theoretical development for almost two centuries. Ramamatya wrote
his treatise, Swaramela Kalanidhi, in the 16th century. The clear exposition of
Mela, Raga and Vina technique must be accredited to him. His effort served as a
firm and fitting foundation to the growth of the modern music system and may be
considered as the milestone in the scientific development of our music.

Musical Forms
This period gradually traces the evolution from Gandharvagana forms like
Dhruvagana of Bharatas period, through the different kinds of Prabandhas, to the
present day forms. Several important forms were composed during this period Tevaram, Divyaprabandham, Tiruppavai (is a part of Divyaprabandham),
Ashtapadis, Padams, Kritis, Gitams, apart from the Abhyasa gana, Alankara and
Swaravalis for beginners.
Tallapakkam Annamacharya (1425 - 1503 AD), composed in a new form called Kriti,
having three sections, namely the Pallavi, Anupallavi and Charanam. This pattern
became widely accepted and was popularised by later composers, in particular,
the Trinity. This stands out as an outstanding contribution of Annamacharya to the
practical side of our music. He is credited to have composed about thirty two
thousand compositions of which around twelve thousand have been traced and

some of these have been still preserved in copper plates. The Kritis were not as
complicated as the earlier Prabandha forms.
Purandaradasa (1484 - 1564 AD) is known as the Sangeeta Pitamaha (the
grandfather of Carnatic music). A prolific composer, he laid the foundation for the
systematic learning of the system and he is credited to have formulated the swara
exercises for practice, apart from composing simple songs, Gitams, and a number
of compositions (Kritis) with high philosophical import.
In short, during the medieval period, one can say that Carnatic music gradually
attained its individuality built over a historically strong foundation. In particular,
after the 13th century, no major treatise is seen from the North. Tanjavur and
Vijayanagara emerged as the major seats of Carnatic music, with a number of
classic monumental works being produced in both the theoretical and practical
aspects of music
MODERN PERIOD (17th century to present day)
The 17th century can be considered as a golden age of Carnatic music. It marks
several important milestones of Carnatic music in diversified angles, thus,
enriching this traditional art form, while preserving the past glories. Some of the
most important developments in both Lakshana (theoretical) and Lakshya
(practical) aspects took place during this period.

Theoretical aspects

The well structured 72 Melakarta scheme was formulated by Venkatamakhi in his

treatise Chaturdandi Prakasika in 1660 AD. This scheme is the proud heritage of
our music, and is not simply of academic interest, but also has immense practical
value to all musicians, musicologists and students. Other important treatises on
music written during this period are the Sangeeta Saramrita of Tulaja (1729 - 1735
AD), Sangeeta Sudha of Govinda Dikshita and the Sangraha Choodamani of Govinda
(1750 A.D).

By the end of the 19th century, notational schemes were developed, for written
representation of musical compositions. These were published in works like
Subbarama Dikshitars Sangeeta Sampradaya Pradarsini in Telugu and Manikka
Mudaliars Tamil work, Sangeeta Chandrikai. A M Chinnasami Mudaliar published
south Indian music compositions written in western staff notation. These early
pioneers in recent times have paved the way for a research-oriented
understanding of this practical art form.
While the theoretical works were trying to keep pace with the practical music, the
practical music itself was evolving continuously and a number of luminaries have
made a tremendous impact on refinement of this art form, to keep it fresh and
alive.
Practical aspects

In the 18th century, within a short period from 1763 - 1775 AD, were born the
three great composers of Carnatic music, who were later to be celebrated as the
Musical Trinity (Trimurti) - Syama Sastri (1762 - 1827) Tyagaraja (1767-1847) and
Muthuswami Dikshitar (1776-1835). All of them combined their immense
knowledge, deep spirituality and profound traditional musicianship with an
amazing sense of creativity and innovative spirit. This has made their contribution
to Carnatic music invaluable. The art of musical composition was elevated to great
heights at their hands. It can confidently be asserted that all later composers have
tried to live up to the standards set by these three bright stars. Other great
composers who have contributed to the vast repertoire of Carnatic music
compositions include Swati Tirunal (1813-1847), Vina Kuppayyar, Subbaraya Sastri,
Gopalakrishna Bharati, Ghanam Krishna Iyer, Patnam Subramanya Iyer, Koteeswara
Iyer, Muthaiah Bhagavatar, Mysore Vasudevachar and Papanasam Sivan. (Also see
Galaxy of Composers)
Musical concepts

The 72 Melakarta scheme was responsible for the transformation in the Raga
system of Carnatic music. Several new Ragas came into existence and were

popularised by means of compositions tuned by the Trinity of composers along

with others who followed the 72 Melakarta scheme. Many different kinds of
musical compositions developed, having different structural arrangements
(musical forms). These include the Varnam, Kriti, Padam, Javali, Tillana, Swarajati
and other varieties. These forms have continued to remain popular in the 20th
century.
Till the end of the 19th century, the patronage of Carnatic music and musicians
was mostly limited to the major temples and royal courts, as also a few rich
landowners, who arranged concerts for various events. In the 20th century, the
patronage has taken a different shape, with the advent of a number of
organisations (Sabhas) and corporate sponsors who have brought a more
professional outlook to this traditional art-form. As a result, Carnatic music is now
heard in all major Indian cities, as also in major centers in Asia, Europe and
America.
Music Education

The learning and teaching processes have also adopted themselves to the changes
in the living style, over the years. The traditional Gurukula system has given way
to an institutional system of training in the 20th century. Several good musicians
have taken to teaching as their profession. Modern educational tools have been
pressed into service, with the growth of recording technology. From analog tape
recorders to state of the art computers and internet connections are being put to
use in imparting musical education worldwide.
The written musical notation system has undergone several changes over the
years and has been used as a reference material for learning. Research oriented
study and documentation of musical forms have also increased over the years. A
number of books in different languages, by musicians and musicologists, have also
been useful to understand the different concepts of this system of music. The
involvement of mass media and communications has been a vital factor in the
increase in interest of the unexposed, to this traditional art form. Through all this
change, Carnatic music has not only gained new vigour, but has also retained its
freshness within the traditional framework of this system.

Serial
Name of Name of the Tala
No.
1
Kanakaangi
2

Rathnaangi

Ganamurthi

Vanaspathi

Maanavathi

Dhanarupi

Senaavathi

Hanumathodi

Dhenuka

10
11

Natakapriya
Kokilapriya

12

Rupaavathi

13

Gayakapriya

14

Vagulabharanam

Angas
1-Anudhrutha,1-Dhrutha,1Guru,1-Laghu
1-Guru,1-Anudhrutha,1Laghu,1-Dhrutha Sekara
Viraamam,1-Laghu
1-Laghu,2-Anudhruthas,1Laghu,1-Dhrutha Sekara
Viraamam,1-Guru,1Anudhrutha
1-Laghu,2-Anudhruthas,1Guru,1-Anudhrutha,1-Laghu,1Dhrutha Sekara Viraamam
1-Laghu,1-Dhrutha Sekara
Viraamam,1-Anudhrutha,1Laghu,1-Anudhrutha,1Laghu,1-Dhrutha Sekara
Viraamam
1-Guru,1-Anudhrutha,1Laghu,1-Dhritha
1-Gurus,1-Dhrutha Sekara
Viraamam,1-Dhrutha,1Laghu,1-Anudhrutha,1Laghu,1-Dhrutha Sekara
Viraamam
1-Guru,2-Anudhruthas,1Laghu,1-Dhrutha,1-Pluta,1Dhrutha,1-Laghu
1-Pluta,2-Anudhruthas,1Dhrutha
3-Dhruthas,1-Laghu,1-Dhrutha
1-Guru,1-Anudhrutha,1Dhrutha,2-Laghus,1-Dhrutha
1-Laghu,1-Dhrutha Sekara
Viraamam,1-Laghu,1Anudhrutha,1-Laghu,1Dhrutha Sekara Viraamam
1-Laghu,1-Anudhrutha,2Dhruthas,1-Laghu,1-Dhrutha
1-Laghu,1-Anudhrutha,2Dhruthas,1-Laghu,1Anudhrutha,1-Dhrutha Sekara

Total
Aksharas
15
20

22

22

20

15
25

34

16
12
21
19

15
28

15

Mayamalavagoulam

16

Chakravaham

17

Suryakantham

18

Haatakambari

19

Jankaradhwani

20

Natabhairavi

21

Keeravani

22

Karaharapriya

23

Gowrimanohari

24

Varunapriya

25

Maararanjani

Viraamam,1-Gurus,1-Dhrutha
Sekara Viraamam
1-Laghu,2-Dhrutha Sekara
Viraamam,1-Laghu,1-Dhrutha
Sekara Viraamam,1Anudhrutha,1-Laghu,1Anudhrutha,1-Laghu,1Dhrutha Sekara Viraamam,1Anudhrutha
1-Laghu,1-Dhrutha Sekara
Viraamam,2-Laghus,1Dhrutha,1-Laghu,1-Dhrutha
Sekara Viraamam
1-Guru,1-Dhrutha Sekara
Viraamam,1-Dhrutha,1-guru,1Pluta
1-Guru,2-Dhruthas,1-Guru,1Laghu,1-Dhrutha Sekara
Viraamam
1-Pluta,3-Dhrutha Sekara
Viraamams, 1-Pluta,1Dhrutha,1-Anudhrutha
1-Anudhrutha,1-Dhrutha
Sekara Viraamam,1-Laghu,2Dhrutha Sekara Viraamams,1Laghu,1-Anudhrutha
2-Dhrutha Sekara
Viraamams,1-Laghu,1Dhrutha,1-Laghu,1-Dhrutha
2-Dhrutha Sekara
Viraamams,1-Guru,1Anudhrutha,1-Dhrutha Sekara
Viraamam,1-Laghu,1-Dhrutha
1-Laghu,1-Dhrutha Sekara
Viraamam,2-Laghus,1dhrutha,2-Gurus,1Anudhrutha,1-Dhrutha Sekara
Viraamam
1-Laghu,1-Anudhrutha,1Dhrutha Sekara Viraamam,1Laghu,1-Dhrutha,1-Laghu,1Dhrutha
1-Laghu,2-Dhrutha Sekara
Viraamams,2-Gurus,2-

31

24

33

27

36

19

18

24

37

20

28

26

Charukesi

27

Sarasaangi

28

Harikamboji

29

Dheerasankarabharanam

30

Nagaanandhini

31

Yagapriya

32

Ragavardhini

33

Gangeyabhushani

34

Vagadheeshwari

35

Soolini

36

ChalaNaata

37

Chalagam

Anudhruthas
1-Guru,1-Dhrutha Sekara
Viraamam,1-Laghu,1Anudhrutha,1-Laghu,1Dhrutha
1-Guru,1-Dhrutha Sekara
Viraamam,1-Pluta,1Dhrutha,1-Laghu
1-Guru,1-Anudhrutha,1Dhrutha Sekara Viraamam,1Guru,1-Pluta,1-Guru,1Anudhrutha
1-Guru,2-Dhrutha Sekara
viramams,1-Guru,1-Dhrutha
Sekara Viraamam,1-Dhrutha,2Laghus,1-Anudhrutha,1Dhrutha Sekara Viraamam,1Guru,1-Dhrutha Sekara
Viraamam
1-Dhrutha,1-Laghu,1Anudhrutha,1-Laghu,1Dhrutha,1-Guru,2Anudhruthas
1-Dhrutha Sekara Viraamam,2Laghus,1-Dhrutha
3-Laghus,1-Anudhrutha,1Guru,1-Dhrutha,1-Anudhrutha
1-Guru,1-Dhrutha,1-Laghu,1Dhrutha Sekara Viraamam,1Dhrutha,1-Laghu,1-Dhrutha,1Laghu,1-Dhrutha Sekara
Viraamam,1-Laghu,1-Dhrutha
1-Laghu,1-Dhrutha,1-Laghu,1Guru,1-Dhrutha Sekara
Viraamam,1-Guru,1Dhrutha,1-Dhrutha Sekara
Viraamam
1-Laghu,1-Dhrutha Sekara
Viraamam,1-Laghu,1Anudhruthas
1-Laghu,1-Dhrutha Sekara
Viraamam,1-Laghu,2-Dhruthas
1-Guru,1-Anudhrutha,1-

22

29

41

50

23

13
24
38

34

12

15
22

38

Jalaarnavam

39

Jaalavarali

40

Navaneetham

41

Paavani

42

Raghupriya

43

Kavaambothi

44

Bhavapriya

45

Subhapanthuvarali

46

Shadvithamaargini

47

Swarnaangi

48

Divyamani

49

Davalaambari

Laghu,1-Guru,1-Anudhrutha
1-Guru,1-Anudhrutha,1Laghu,1-Anudhrutha, 2Gurus,1-Dhrutha
1-Guru,1-Dhrutha Sekara
Viraamam,2-Laghus,1Anudhrutha,1-Laghu,1Anudhrutha
1-Anudhrutha,1-Laghu,1Anudhrutha,1-Dhrutha,1Laghu,1-Dhrutha Sekara
Viraamam
1-Dhrutha Sekara Viraamam,1Laghu,2-Anudhruthas
1-Dhrutha Sekara Viraamam,1Laghu,1-Anudhrutha,1Laghu,1-Dhrutha
1-Laghu,1-Guru,1-Dhrutha
Sekara Viraamam,1-Pluta,1Guru,1-Anudhrutha
1-Laghu,1-Anudhrutha,1Laghu,1-Anudhrutha,1Laghu,1-dhrutha
1-Laghu,1-Dhrutha,1-Laghu,1Anudhrutha,1-Laghu,1Dhrutha Sekara Viraamam,1Laghu,1-Dhrutha Sekara
Viraamam,1-Laghu,1Anudhrutha,1-Laghu,1Anudhrutha
1-Guru,1-Dhrutha,1-Laghu,1Anudhrutha,1-Guru,1Dhrutha,1-Laghu,1-Dhrutha
Sekara Viraamam,1-Laghu,1Dhrutha,1-Laghu,1-Dhrutha
1-Guru,1-Laghu,1-Dhrutha,1Pluta,1-Dhrutha,1-Laghu
1-Guru,1-Anudhrutha,1Laghu,1-Dhrutha,1-Laghu,1Dhrutha,1-Laghu,1-Dhrutha
1-Guru,1-Anudhrutha,1Laghu,1-Anudhrutha,1Laghu,1-Dhrutha Sekara

32

25

15

9
14

36

16

35

44

32
27

28

50

Naamanarayani

51

Kaamavartha

52

Raamapriya

53

Gamanapriya

54

Viswambari

55

Syamalangi

56

Shanmukhapriya

57

Simhendramadhyamam

58

Hemaavathi

59

Dharmavathi

60

Neethimathi

61

Kaanthamani

Viraamam,1-Laghu,1-Dhrutha
Sekara Viraamam
1-Dhrutha,1-Laghu,2Dhruthas,1-Laghu,1Dhrutha,1-Laghu,1-Dhrutha
1-Dhrutha Sekara Viraamam,1Laghu,1-Dhrutha,1-Laghu,1Anudhrutha,1-Pluta,1Anudhrutha
2-Laghus,1-Dhrutha,1-Laghu,1Dhrutha
2-Laghus,1-Dhrutha,1Anudhrutha,1-Laghu,1Dhrutha
1-Laghu,1-Anudhrutha,1Pluta,1-Dhrutha Sekara
Viraamam,1-Laghu,1-Dhrutha
Sekara Viraamam
1-Guru,1-Laghu,1-Dhrutha,1Laghu,1-Dhrutha Sekara
Viraamam,1-Laghu
1-Pluta,1-Laghu,1-Dhrutha,1Dhrutha Sekara Viraamam,1Laghu,1-Dhrutha
1-Guru,1-Kakapada,1-Laghu,1Dhrutha,1-Guru,1-Dhrutha
Sekara Viraamam,1-Laghu,1Dhrutha,1-Guru,1-Dhrutha
Sekara Viraamam,1-Guru,1Dhrutha Sekara Viraamam
1-Pluta,1-Laghu,1-Dhrutha,1Laghu,1-Anudhrutha,1Laghu,1-Dhrutha Sekara
Viraamam
1-Pluta,1-Laghu,1-Dhrutha,1Laghu,1-Anudhrutha,1Laghu,1-Dhrutha Sekara
Viraamam
1-Dhrutha,1-Laghu,1-Dhrutha
Sekara Viraamam,1-Laghu,1Dhrutha,1-Laghu,1-Dhrutha
Sekara Viraamam
2-Gurus,1-laghu,1-Dhrutha,1-

22

27

16
17

27

25

27

69

30

30

22

28

62

Rishabhapriya

63

Lathaangi

64

Vachaspathi

65

Mecha Kalyani

66

Chithraambari

67

Sucharithra

68

Jyothiswarupini

69

Dathuvardhani

70

Naasikhabhushani

71

Kosalam

72

Rasikapriya

Laghu,1-Dhrutha
1-Dhrutha Sekara Viraamam,1Laghu,1-Dhrutha Sekara
Viraamam,1-Laghu,1Anudhrutha,1-Laghu,1Dhrutha
1-Laghu,1-Pluta,1Anudhrutha,1-Laghu
1-Laghu,1-Dhrutha,1-Laghu,1Dhrutha Sekarar Viraamam,1Guru,1-Anudhrutha,1-Laghu,1Dhrutha Sekara Viraamam
1-Guru,1-Anudhrutha,1Laghu,1-Dhrutha Sekara
Viraamam,1-Dhrutha,1Laghu,1-Dhrutha,1-Laghu,1Dhrutha
1-Laghu,1-Dhrutha Sekara
Viraamam,1-Pluta,1-Dhrutha
Sekara Viraamam,1-Laghu,1Dhrutha Sekara Viraamam
1-Guru,1-Laghu,2-Dhrutha
Sekara Viraamams,1-Guru,1Anudhrutha
1-Kakapada,1-Anudhrutha,1Laghu,1-Dhrutha Sekara
Viraamam,1-Pluta,1-Laghu,1Dhrutha,1-Laghu,1-Dhrutha
1-Guru,1-Dhrutha Sekara
Viraamam,1-Laghu,1-Dhrutha
Sekara Viraamam,1-Laghu,1Anudhrutha,1-Pluta,1Anudhrutha
1-Dhrutha,1-Guru,1-Dhrutha
Sekara Viraamam,1-Laghu,1Dhrutha,1-Laghu,1-Dhrutha
Sekara Viraamam,1-Laghu,1Dhrutha
1-Guru,1-Anudhrutha,2Gurus,1-Anudhruthas
1-Dhrutha Sekara Viraamam,1Guru,1-Dhrutha Sekara
Viraamam,1-Laghu,1-Dhrutha

21

21
29

`30

29

27

48

36

`32

26
20

Chapu Talas
1. Tisra Chapu has 1 1/2 Aksharakalas

2. Khanda Chapu has 2 1/2 Aksharakalas

3. Misra Chapu has 3 1/2 Aksharakalas
4. Sankeerna chapu has 4 1/2 Aksharakalas
5. undefined

6.

Glossary of Terms - Relating to

Talas
7.

8.

A C D E F G J K L M

N P R S T V

9.

The definitions given in this page are taken as

reference by www.babylon.com
10. Adhi Tala
11. Adhi

Tala is actually Chatusra Jaathi Triputa Tala in

the Suladi Sapta Talas contains 1 Chatusra Laghu and 2
Dhrutams with 8 Aksharas.

12.

Ahatha Naada

13.
Artificial sound produced by man. As opposed to
Natural Sound.
14.

See Anahatha Naada

15.

Akshara Kala

16.
Unit of time in music. The basic unit of reckoning
the rhythm in Carnatic Music.
17.

Anaahatha Naada

18.
This is the natural sound of any music. As opposed
to Artificial Sound.
19.

See Ahatha Naada

20.

Anga

21.
The parts of a tala are called angas. There are six
angas
viz., Laghu,Dhrutam,Anudhrutam, Guru, Plutam,Kaka
padam.
22.

Anudhrutam

23.
One of the six angas used in reckoning musical
time. This consists of a single beat with one akshara
kala. The Jhampa Tala of Suladi Sapta Tala contains
this Anga.

24.

Ata Tala

25.
One of the Suladi Sapta Talas. This is the sixth tala
and consists two laghus and two dhrutams.
26.

Aavartha or Aavarthana

27.

One cycle of any Tala is called an Aavartha. For

example if we take Adhi Tala or Chatusra Jaathi
Triputa Tala then completing one time its cycle is called
an aavartha or in other words the angas represented by
a particular tala is performed once.

28.

Chatusra Laghu

29.
A variety of Laghu consisting of 4 Akshara kalas
represented by a beat followed by three finger counts.
30.

Chaturtha Kala

31.
Fourth degree of Speed. In the first speed one
syllable is uttered per beat, in the second speed two
syllables are uttered per beat, in the third speed four
syllables are uttered and in the fourth speed eight
syllables are uttered per beat.
32.

See also Dvithiya Kala,Trithiya Kala

33.

Dhruva Tala

One of the Suladi Sapta Talas and first in the order. It

contains one Laghu,one Dhrutam and two Laghus.
34.

Dhuritha Kala

35.
Faster tempo or speed as opposed to Madhyama
Kala and Vilamba Kala.
36.

Dhrutam

37.
One of the six angas in reckoning musical time.
This consists of two akshara kalas represented by a beat
and waving of the hand by showing the palm upwards.
38.

Dvithiya Kala

39.
Second degree of speed. See also Trithiya
KalaChathurtha kala.
40.

Eka Tala

41.
One of the Suladi Sapta Talas and last in the rank.
This consists of only one laghu as its anga.
42.

43.

44.

Farans

45.
Faran is a fast-paced rhythmic syllable
combination played just before Mohara

46.

47.

48.

Guru

49.
One of the six angas used in reckoning musical
time. The Guru is represented by a beat and a circling
movement of the right hand with closed fingers in the
clockwise direction. Duration of the anga is eight
aksharakalas.
50.

51.

52.

Jaathi

53.
Refers to the variety of representing the Laghu
based on the five types viz., Thisra Laghu, Chatusra
Laghu, Khanda Laghu,Misra Laghu and Sankeerna
Laghu.
54.

Jhampa Tala

55.
One of the Suladi Sapta Talas and fourth in the
order. The angas for this tala are one laghu, one
anudhrutam and one dhrutam.
56.

57.

58.

Kakapadam

59.
One of the six angas used in reckoning musical
time. This anga is represented by a
beat, patakam , krushya and sarpini . The duration of
each of these kriyas is four aksharakalas.
60.

Khanda Laghu

61.
One of the variety of laghu consisting of 5
aksharakaalas with a beat and four finger counts.
62.

Korvai

63.
Korvai is a Tamil word which means "Patterns" or
in other words aesthetically made artistic patterns. The
Korvai at the base has pure mathematics and it is made
interesting by either notes by a vocalist and by rhythmic
syllables by percussion artistes.
64.

Kriya

65.
One of the Tala Dasa Pranas which is a mode of
reckoning musical time. It may be explained as the
representation of a tala by waving hand or tapping the
finger etc.,
66.

Krushya

67.
One of the modes of counting musical time.
Its kriya is waving the right hand to the left.
68.

69.

70.

Laghu

71.
One of the six angas used in reckoning musical
time or beat. Consists of a beat and a variable number
of finger counts according to its jaathi which may be
one of the following :
thisra
chatusra
khanda
misra
sankeerna
72.

Laya

73.
One of the Tala Dasa Pranas which reckons
musical time, tempo, rhythm and speed.
74.

Layagnanam

75.
Sound Sense of rhythm. Laya means rhythm and
gnanam means sense.
76.

77.

78.

Madhyama Kala

79.
Medium Speed or tempo, which is
inbetween Dhurita Kala and Vilamba Kala.
80.

Matya Tala

81.
One of the Suladi Sapta Talas which is second of
the seven principal talas. It consists of a laghu, drutam
and laghu.
82.

Misra Laghu

83.
A variety of Laghu consisting of a beat and six
finger counts. Total counts for Misra Laghu is 7.
84.

Mohara

85.
Mohara is a sort of crescendo played by a
percussion artiste at the end of a solo piece called
"Thani Avarthanam" it is usually preceeded
by Faran and then succeeded by a Korvai. Mohara is
played four times and a korvai is played three times
after which generally a vocalist starts off the song from
where he left.
86.
87.

88.

89.

Naada

90.
It is musical sound. There are two varieties
viz., Ahata Naada and Anahata Naada. Naada also
means tonal variation produced by an instrument which
is pleasing to the ears.
91.
92.

Nissabdha Kriya

93.
A mode of reckoning musical time without the
sound. The Dhrutam which contains one beat and a
wave of hand, the wave of the hand is Nissabdha Kriya
or Visarjitam.
94.

95.

96.

Patakam

97.
One of the modes of counting musical time.
Its kriya consists of lifting up the right hand.
98.

Plutam

99.
One of the Six Angas used in reckoning musical
time; It consists of a beat, a Krushya and a Sarpini.
Total aksharakalas is 12.
100.

101.
102.

Rupaka Tala

103. The third of the seven prinpipal talas. It consists of

a Dhrutam and a Laghu

104.
105.

Sankeerna Laghu

106. A variety of Laghu consisting of a beat and 8 finger

counts. Total aksharakalas is 9.
107.

Saptha Talas

108. The seven principal Talas. (Saptha in sanskrit

means seven). The seven talas are:Dhruva
Matya
Rupaka
Jhampa
Triputa

Ata
Eka
109.

Sarpini

110. One of the modes of counting musical time. The

method of representing this mode is by waving the right
hand from left to right.
111.

Sasabda Kriya

112. A mode of reckoning musical time accompanied by

sound. Ex: a Beat of hand.Opposite of Nissabda Kriya .
113.

114.
115.

Triputa Tala

116. This is the fifth of the seven principal talas. It

consists of a Laghu and two Dhrutams. The famous
Adhi Tala consists of 1 Laghu and 2 Dhrutams is
actually called Chatusra Jaathi Triputa Tala.
117.

Thisra Laghu

118. A variety of Laghu consisting of a beat and two

finger counts. Total number of aksharakalas is 3.
119.

Trithiya Kala

120. Third Degree of Speed. Next Speed to Dvithiya

Kala.
121.

122.
123.

Veechchu

124. Waving of the Hand . It is also called Visarjitam . It

is a mode of reckoning musical time. It is a part of
Dhrutam.
125.

Vilambita Kala or Vilamba Kala

126. Slow Tempo or speed as opposed to Dvitiya Kala or

Tritiya Kala.
127.

Visarjitam

128. One of the modes of reckoning musical time which

consists of waving of hand also called Veechchu.
129.

Mridhangam is a South Indian

Percussion Instrument used for
Classical Music Concerts as an
accompanying Instrument. It has got

two sides viz, the right side and the

left side for a normal right handed
person. The Mridhangam is made of
wood and the wood used are Jack fruit
tree wood, Mango tree wood and
others. The skin used to prepare the
mridhangam is goat skin, cow's skin
and buffalos skin. The right side
contains three layers called "Vettu
Thattu" (outer layer), "Kottu thattu"
(bottom layer) and "Ultharai Thattu"
(innermost layer). The first two
leathers are visible from outside
whereas the bottom layer is not
visible from outside. The left side
contains two layers. The right side and
left side are tied to each other by a
thread like buffallo's skin. On the right
side there is a black patch made out
of a powdered special stone brought

from the river beds of Kaveri (a river

in Tanjore, Tamil Nadu, India). The
black powder (which is manganese
oxide basically) is mixed with cooked
rice and made into a paste and
applied on the place provided for it
and polished with polishing stone. The
process of applying the paste takes
nearly 3 - 4 hours and the repairer
then allows it to dry. The paste is
applied to the desired level on the
Mridhangam according to the Pitch.
Later on after the mridhangam has
dried, in between the "vettu thattu"
and "Kottu thattu" layer on the right
hand side he inserts a small piece cut
flat broom stick on all the points
where the rope meets the "Vettu
Thattu" or the outer skin. In other
words this stick is placed in between

"Vettu Thattu" and "Kottu Thattu"

where the leather rope meets the
"Vettu Thattu". There are generally 16
such sticks inserted and it produces a
nice vibrant sound. This type of
inserting sticks are called "Kuchi" type
of mridhangam. Some other people
use a special type of black grains
called "Kappi" (generally looks like the
mustard seed)that is inserted in
between the top most layer and the
bottom layer. This produces a different
vibrant sound than the "Kuchi" type of
mridhangam. It is only a matter of
individual mridhangist's preference
that a mridhangam is made either as
a "Kuchi" or "Kappi". One caution here
the "Moottu" is prepared earlier based
on the type of instrument a
mridhangist wants. Generally

intermingling of "Kuchi" and "Kappi" is

not done and moreover after a
"Moottu" has been prepared for a
particular Naada variety, it is
maintained throughout the life of the
"Moottu", which is normally 3-4 years
based on its use and also the number
of times the leather rope is tightened
or loosend. The life of the "moottu" is
also use-based than on time-based.
The life span is only arbitrary as it
differs from individual to individual
based on its proper maintenance.
The left side doesnt produce a bass sound by
itself. A paste has to be made out of "Rava" or
semolina and is applied to the desired level on it
and then only it produces a deep bass effect.
There are also other methods adopted to
produce the bass effect. They are applying a
synthetic material resembling semolina. This

material is reusable as compared to Semolina.

Semolina paste is removed after the concert is
over. One more method is adopted that is some
mridhangists apply the black patch to a desired
level, as it is being done on the right hand side.
This also produces a bass sound. This type was
widely used by Mridhangist
Shri.T.V.Gopalakrishnan.
The mridhangam varies in size according to the
pitch. The size varies from 18 inches to 26
inches. The more the size the lesser the pitch.
The pitch is also decided from the
circumferance of the mouth of the mridhangam.
It varies from 6 1/2 inches to 7 1/4 inches. The
more the circumferance the lesser the pitch and
the lesser the circumferance the higher the pitch.
The Male range voice generally ranges from a
little less than "C" to "D" or in other words, that
which is populary in vogue in the Carnatic

Music Circles, 3/4 to 2. The female voice

generally ranges from "F" to "A#" or in other
words 4 to 6 1/2.
The tuning of the mridangam is an art by itself
equivalent to learning to play it. It generally
comes by years of experience and constant
practice. One's ears should be tuned to the
tambura as well as the sound emanating from
the Mridhangam. Moreover the Instrument is
very sensitive and has lot of tuning difficulties.
Only a trained person can perfectly tune the
instrument and also maintain the pitch from
varying, till the end of the concert. Additionally,
the mridhangam being a wood instrument, is
also sensitive to the climatic conditions. Its
behaviour will change according to changes in
the weather. Even the slightest weather change
affects the instrument drastically. The care of the
instrument is a major task for any mridhangist.
The Meaning of Mridhangam

The word comes from the Sanskrit, an ancient Indian Language:

Mrit means clay
Anga means an instrument or body
So Mridhangam means an instrument made out of clay
Well you may have doubts here that another article in the same web page which
says that Mridhangam is made out of Jack wood etc., then how is it that the
name derived as above. In the olden days the instrument was actually made out
of Clay as it was cheaply available and also there were not too many artisans to
cut wood and carve them in to the shape of a mridhangam. But at a later stage
the instrument made out of clay made way to wood due to various factors like
Weight of the instrument and also its maintenance. The instrument made out of
clay, if handled carelessly, could break like a clay pot. So based on the necessity
wood replaced clay and it is still being used till date. Though there are still
further enhancements and researches are made to replace the wood with Fibre
Glass, yet there has been no comprehensive and convincing replacement to claim
universal acceptance amongst mridhangists. Some of the mridhangists now
prefer Fibre Glass instruments to wooden instruments mainly because of its
weight and easy handling. But traditionalists and puritans still believe in Jack
Wood instruments as it has brings the natural tone and sound to the instrument.
The choice is left to the individual.
Sthayi A series of swaras, beginning with Sa and ending with Ni, is called
Sthayi.
There are Five Sthayis.
1. Anumandra Sthayi
2. Mandra Sthayi
3. Madhya Sthayi
4. Tara Sthayi
5. Ati-Tara Sthayi
The Sthayi in which we normally sing is the madhya sthayi. The swaras
following the upper Shadjam of madhya shtayi are in Tara Sthayi, and the
swaras following upper shadjam of tara sthayi are in Ati-Tara Stayi. The Sthayi
preceding Madhya stayi is the Madhra sthayi, and the swaras preceding the
Mandhra Stayi Shadjam are in Anumandra stayi.