Music has many definitions; an art form, a culture, a medium of expression, or a thread of rhythm that ties people of different tongue, race, gender and nationality together.
Carnatic music owes its name to the Sanskrit term Karnâtaka Sangîtam which denotes “traditional” or “codified” music.
What I intend to impart through these classes:
1. Get an understanding of the different types and genres in Carnatic music.
2. Become familiar with the context of “devotional” music which eventually diversified into “art music” and “dance music”.
3. Grasp the concept of “raga” and the system of 72 “melakarta” or reference scales.
4. Distinguish between the main items and genres of South Indian music.
5. Gain an insight into those facets that attract musicians and listeners to Carnatic music.
6. Appreciate the many facets of raga-based music.
7. Learn more about the rhythmic dimensions underlying Carnatic music.
8. Discuss Carnatic music from an international perspective.
9. Helps gain complete knowledge & confidence to perform individually on stage.
10. Help students build professional career in the stream of Carnatic music by Facilitating to get valid certificates through universities.
Evolution of the art:
The origin of Caranatic music dates back to around the 15th and 16th century AD. Carnatic music (original name is Karai naattu isai) is a system of music associated with the southern part of India and the style is followed largely in four south Indian states of Andhra Pradesh, Karnataka, Kerala & Tamil Nadu. Caranatic classical music is mostly vocal unlike Hindustani classical music. There are 72 basic scales on the octave and constitutes a rich variety of melodic motion. The basic form of a song is monophonic in variation.
Sri Purandara Dasa (1484-1564), a prolific poet-composer and mystic of Vijayanagar, introduced a music course that is followed to the present day. Sri Venkatamahi, who laid down the structure of 72 melakarta ragas with the publication of his famous book Chathurdhandi Prakasika in 1660, the Carnatic music scene witnessed the virtual explosion of hundreds of new ragas, unheard of till then. Sri Govindacharya, an eminent and path-breaking composer, published his famous work "Sangraha Chudamani", laying down the" sampoorna melakarta" scheme and structuring 294 janya ragas, unheard till then.
The type of song prevailing today, known as kriti (lit. “creation“), was popularized by the most revered poet-composer of South India, Sri Thyagaraja (1767-1847), his contemporaries Sri Syama Sastri and Sri Muttusvami Dikshitar (together known as the “Trinity” of Carnatic music), and their disciples. Their songs built on the kirtana tradition – lilting, easy to remember tunes suited for the congregational singing of South and North Indian lyrics.
Comprising two or three melodic themes (pallavi, anupallavi and charanam), these songs continue to kindle creativity, even displays of virtuosity, among today’s singers and instrumentalists. The Three basic concepts are essential for daily practice as well as proper appreciation: raga (tuneful rendition with minute intervals and rich in embellishments), tala (rhythmic order marked by mathematical precision), and bhava (feeling, expressivity).
♥ Helps People Come Together
♥ Helps People Work Better In Teams
♥ Enhances Higher Brain Function
♥ Helps Higher Intelligence
♥ Enhances Our Creative Ability
♥ Helps Us To Relax
♥ Music Is A Great Stress Buster
♥ Music Helps Mathematical, Numerical & Linguistic Ability
♥ Music Makes Us Healthy (Mentally, Emotionally, Physically)
Through our music lessons, education programmes and courses we bring to our students musical experience and memories.
All students of Sri Raagam Music classes get assessed through our Internal Examinations.
Sri Raagam Music classes conducts workshops, training programmes, short courses, events and concerts to children, teenagers, youth and adults.
Sri Raagam Music Class works for the promotion and propagation of Indian Classical Music and Art. We aim to nurture and propagate the priceless heritage of Indian music. We feel that it is the responsibility of the institution to take a larger overview of the art and its potentiality of Assimilating Social and Cultural changes.Know More