Sangeetanubhava
TRADITIONAL ASPECTS - III

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Carnatic music has predominantly been a part of the culture of the Southern states of India, namely, Tamilnadu, Andhra Pradesh, Karnataka and Kerala. Over the years, other major cities in India like Mumbai, Delhi and Calcutta also have many organisations that sponsor Carnatic music concerts. Some musicians and teachers from the South, who have settled in these places, have also been responsible for the propagation of this system in these places and other frontiers of the country.

Today, Carnatic music also has a global presence. Many musicians perform at the international level. Awareness about this music system has been rapidly growing in various countries such as USA, Canada, France, Germany, UK, South Africa, Australia, Singapore, Malaysia, Hong Kong, etc., thanks to the initiative taken by South Indians living in these countries. Several foreigners have also begun to keenly appreciate and learn this traditional art form, in addition to writing about it.

Famous Seats of Music - Past to Present

Past

Present

Vijayanagara - 14th - 15th century onwards Tamilnadu ( Madras) - 19th and 20th century (1850s)  
Tanjavur - 15th century onwards Karnataka ( Bangalore) - 20th century (1950s)
Travancore - 18th century onwards Kerala ( Trivandrum) - 20th century (1950s)  
Tirupati - 15th century onwards Andhra Pradesh (Hyderabad) and Mumbai (Bombay) - 20th century (1960s)
Mysore - 17th century onwards

Delhi - 20th century (1970 onwards)  

 

Singapore, Malaysia and Sri Lanka (1960s onwards)

  United States of America - 1965 onwards
  Australia & Europe - 1975 onwards

Other elements

The traditional outlook of Carnatic music is also seen in the dress code, place of performance, occasions and such other aspects.

  • Dress code: The dress code adopted by the Carnatic music performers is typically traditional South Indian style. Male performers usually wrap a dhoti around their waists, and wear a kurta on top. Female performers wear silk sari-s and blouses, with typical South Indian jewellery to go with it. They also usually wear flowers in their hair. This dress code has been maintained over several years.
       

  • Place of performance: In olden days, Carnatic music was performed in temples. That culture has been carried on to this day. Apart from this, performances are held in Sabhas (organisations), which preserve this traditional art through a professional set up.
       

  • Occasions: It is customary for most of the South Indian temples and other organisations to have Carnatic music concerts during major Hindu festivals. Apart from this, it is a regular practice to have the traditional wind instrument of South India, Nagaswaram in temples (for the daily temple rituals and processions). Carnatic music concerts are also performed in marriages and other Hindu rituals.
      

  • Musicians and music lovers: Carnatic musicians and music lovers are considered pretty orthodox in their general outlook. They take great pride in their heritage and do their best to maintain the purity of the art and spread these values to the next generations.

All the above factors strongly emphasise the traditional aspects of Carnatic music. This does not mean that Carnatic music is not flexible or has stagnated over the years. There is always scope for innovations and the best of other systems are also incorporated. However, this does not affect the traditional framework or the classicism associated with South Indian music.

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