MUSIC 1SI: Introduction to Indian Classical Music Lecture 1 – History and Culture

Background

Indian classical music (ICM) has two main branches: Carnatic & Hindustani.

4 ORIGINS OF INDIAN CLASSICAL MUSIC

Divine origin – most Indian art forms are thought to have divine origins. Similarly, ICM is thought to be from the
Gods.

Natural origin - Many musical sounds are naturally produced and man carefully observed them and reproduced them.
For example, the first flute was made in an effort to reproduce sound of wind through hollow bamboo. Several
treatises link the origin of swaras (notes in ICM) to the sounds of birds and animals.

Folk influence- Folk music of India is said to have influenced ICM structure. Several folk tunes correspond to
melodies and scales in ICM. In fact, some artists perform folk tunes toward the end of their classical concerts.

Vedic Origins- Vedas, meaning knowledge, are generally said to be an important source of ICM. The Vedas consist
of thousands of hymns dedicated to the gods and Hindu rituals. There are four Vedas, rig veda, yajur veda, sama
veda, and artharvana veda. Sama veda is closely linked to classical music and probably laid the foundations for ICM
music as is consists of hymns recited with musical tunes.

LITERARY REFERENCES

There also are several literary references to classical Indian music and its instruments. Two prominent works are
the Ramayana and Mahabharatha epics circa 40BCE.

LINKS TO HINDU CULTURE

Carnatic music is closely associated with Hindu mythology and culture and its origins are often linked to Gods and
Goddesses. In fact, certain gods and goddesses are associated with specific instruments. Krishna is typically
portrayed with a bamboo flute and Saraswathi, the goddess of knowledge, is portrayed with a veena. Many epics
also closely associate music with divinity.

Also, many believe music is the greatest form of penance (tapasa) and the easiest way to attain salvation and
enlightenment. Some even think music is divine itself and perfect synchronization between the musician and music,
nada, is true supernatural bliss. Most of the musical compositions are steeped in Hindu tradition and are either
philosophical or devotional, describing deities or incidents from Hindu mythology.

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MUSIC 1SI: Introduction to Indian Classical Music Lecture 1 – History and Culture

Timeline of Ancient ICM

VEDIC PERIOD (~700BCE to 4th century CE)

There are several references to music of instruments in the Vedas. Sama Veda is considered as the main source for
the development of ICM 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 ragas that exist today.

Rik Pratisakya (400BCE) mentions musical theory and the evolution of the seven notes

Bharatha’s Natysarka (200-400CE) is the first treatise to delve into musical theory and describes fundamentals of
raga, tala, and pada.

MEDIEVAL PERIOD (Prior to split, 5th-13th century CE)

An important musical treatise Sangetha Rthnakara 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.

Sangetha Rathnakara 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.

Timeline of Carnatic Music (Post-Split)

MEDIEVAL PERIOD CONTINUED (13th-16th century CE)

Several important forms were composed during this period – including Tevaram, Divyaprabandham, Tiruppavai (is a part
of Divyaprabandham), Ashtapadis, Padams, Kritis, & Gitams.

Famous contributors from this time include -

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 popularized by later composers, in
particular, the Trinity. This stands out as the most common and popular musical form today in Carnatic music.

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. He also crafted simple githams and kritis.

MODERN PERIOD (17th century –present)

The 17th century can be considered as a golden age of Carnatic music.

The well structured 72 Melakarta scheme was formulated by Venkatamakhi in his treatise Chaturdandi Prakasika in
1660 AD. This scheme is the basis of Carnatic music’s melodic structure.

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MUSIC 1SI: Introduction to Indian Classical Music Lecture 1 – History and Culture

Carnatic music always has been an aural art form, passed down by word of mouth, but in this period various
methods of notation were developed.

Trinity: 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. Many composers have lived after them and strive to live up to their high standards. In fact,
they are known as saints and People even worship Saint Thyagaraja. Each year there are festivals across the globe
commemorating his life and genius.

New Forms: Many new forms of music also developed, including varnams, swarajathis, javalis, thillanas, etc.

Concerts: 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.

Timeline of Hindustani Music (Post-Split)

DELHI SULTANATE (13th – 16th Century)

- First Islamic influences on Hindustani Music

- Musicians become court musicians for Muslim Rulers
- Lyrics become less devotional, more focused on themes Muslim Kings would like to hear (love, poetry)
- Amir Khusrau (1253-1325 AD)
o Recognized as father of Hindustani music
o Composed in four languages: Turkish, Arabic, Persia, and Brij Basha (related to Hindi)
o Created qawwali

MUGHAL EMPERORS (16th century – 19th Century)

- More Islamic Influence, court musicians

- Tansen (lived sometime in 16th century)
o Famous musician from Emperor Akbar’s court
o Many popular ragas are said to be composed by him
o Legends (rain, fire, etc.)
- Nimayat Khan (1670-1748)
o Created Khayal (Most prevalent type of Hindustani music performed today)

MUGHAL EMPMIRE DISSOLVES (19th century)

- Court music continues in small kingdoms (Lucknow, Benares)

o Predecessor to Gharanas
- Dhrupad becomes less popular, Khayal becomes more popular

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MUSIC 1SI: Introduction to Indian Classical Music Lecture 1 – History and Culture

MODERN HINDUSTANI MUSIC (20th century)

- Vishnu Digambar Paluskar (1872-1931)

o Increased respect for Hindustani musicians
o Helped exposed Hindustani music to the public
- Vishnu Narayan Bhatkande (1860-1936)
o Created Thaat system (organizes Hindustani Raags)
o Created a four-volume treatise on Hindustani music called Hindustani Sangeetha Padhathi

Similarities between Carnatic & Hindustani music

- Basic melodic structure (swaras)

- Concept of raga
- Concept of tala
- Improvisation plays a central role
- Some instruments (violin, etc.)
- Learning System – Guru/Shishya relationship

Differences between Carnatic & Hindustani music

- Specific Ragas
- Ways ragas are played
- Specific Talas
- Ways Talas are played
- Styles of compositions
- Styles of improvisation
- Organization of concerts
- Instruments

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