Gallery
Concert Excerpt
Excerpted from “Sree Naathaadi Guruguho Jayathi.”
This album of traditional Carnatic compositions was released as a funded initiative of the United Arts Council, North Carolina, USA.
Smitha's Published Pieces
The following articles have appeared in a monthly publication over the years- I have reproduced the articles in their entirety in an effort to make this information accessible to students as well as those interested in Carnatic music:
1. A Gentle introduction to Carnatic Music
This set of articles (2,3) introduces some basic terminologies used in Carnatic Music:
2. Basic Principles of Carnatic Music- Part I
3. Basic Principles of Carnatic Music- Part II
4. FAQ about learning Carnatic Music
5. Format of a Carnatic Music Concert
Evolution of Carnatic Classical Music
The next set of articles (6-33) discusses the evolution of Carnatic music and its response to the changing social and political environments through the centuries. The evolution discussion starts with the Veerashaiva movement of the 11th and 12th centuries and then looks at the Bhakti movement in both North India (Surdas and Meerabai) and South India.
The main proponents of the Bhakti movement in South India were the Haridasas including composer saints such as Purandaradasa and Kanakadasa, among others.
9. Bhakti Movement in South India
10. Bhakti Movement Purandara Dasa – I
11. Bhakti Movement- Purandara Dasa- II
12. Bhakti Movement- Kanaka Dasa- I
13. Bhakti Movment- Kanaka Dasa – II
Continuing the journey in time, we reach a point in time where India was ruled by the British and observe the influence of the British Raj on Carnatic music.
14. Influence of British- Introduction of violin
15. Influence of British- Carnatic Compositions
16. Influence of Hindusthani Music and folk music on Carnatic Music
In the pre-independence era in India, Carnatic music enjoyed great patronage in the royal courts of South India. Apart from being patrons, a number of kings were also composers of repute; the most famous perhaps being Maharaja Swathi Tirunal and Sri Jayachamaraja Wodeyar.
17. Influence of Royal Patronage on Carnatic Music
18. Influence of Royal Patronage on Carnatic Music – Mysore Kings
19. Influence of Royal Patronage on Carnatic Music- Sri Swathi Thirunal
20. Changes in Kutcheri Paddhathi (format of a concert)
The next segment in time leads to a discussion on Indian independence and its influence on Carnatic music. Composers, such as Subramanya Bharatiyar, and Carnatic musicians, such as Smt. D.K. Pattammal, are synonymous when discussing Indian independence.
21. Indian Independence and Carnatic Music
22. Gandhiji and Carnatic Music
Role of Women in Carnatic Music
It is interesting to observe the role that women have played in Carnatic music, and how that role has undergone its own revolution as a response to societal changes. Women, both composers and performers, have contributed richly to Carnatic music. A number of women, such as Bangalore Nagarathnamma and D.K. Pattammal, among others, were trail-blazers in Carnatic music. Contrary to expectation, they were quite revolutionary!
23. Women Composers- Aandal (Godai)
24. Women Composers- Bhakti Saints
25. Contemporary Women Composers
26. Women Performers- M.S. Subbulakshmi
27. Women Performers- M.L. Vasanthakumari
28. Women Performers- D.K. Pattammal
29. Changes in Carnatic Music in the Post-Independence Era
Despite being a traditional art form, Carnatic music has been extremely responsive in adapting to technology– be it the introduction of a sound system or the electronic tanpura. The use of Skype– and now Zoom, post-pandemic– has revolutionized the world of teaching.
30. Technology and Carnatic Music
31. Technology and Carnatic Music- Impact of the Internet
Along with a changing landscape, newer formats in Carnatic Music presentations such as thematic concerts, jugalbandhis have gained popularity among audiences.
32. Newer Presentation Formats in Carnatic Music – I
33. Newer Presentation Formats in Carnatic Music – II
This concludes the series on the evolution of Carnatic Music and its response to changes in the socio-political landscape.
34. Readers Questions Answered- I
35. Readers Questions Answered – II
36. Readers Questions Answered – III
37. Classification of Ragas – Mela and Janya
38. Classification of Ragas – Upanga Raga and Bhashanga Raga
39. Classification of Ragas – Ghana Raga and Rakthi Raga
40. Classification of Ragas – other classification criteria
41. Mudras in Musical Compositions
42. Carnatic Music- Role in Indian Independence
45. Hindusthani music in Karnataka
47. Components of a Carnatic concert
48. Sahitya in Carnatic music- Part I
References:
To a large extent, my reference texts have been the volumes of “South Indian Music” by Prof. P. Sambamoorthy. I have additionally referenced “Theory of Music” by Vid. Vasanthamadhavi.
Notes and snippets that I have picked up while attending various lecture-demos, music magazines, and of course the Internet!