Carnatic music

music genre originating in southern India

Manikkavacakar was a 3rd-century Tamil saint and poet who wrote Thiruvasagam and Thirukkovaiyar, books of Shaiva hymns. Tamil scholars and researchers share that he was a minister to the Pandya king Nedunjeliyan II (3rd Century CE) and lived in Madurai (or) he was a minister to the Pandya king Arikesari (6th Century CE).

plucked string instrument

Sanskrit musicological text

art school

Konnakol (also spelled Konokol, Konakkol, Konnakkol) ( koṉṉakkōl) () is the art of performing percussion syllables vocally in South Indian Carnatic music. Konnakol is derived from Telugu (koni - to recite), it translates to “reciting the rhythmic syllables”. Konnakol is the spoken component of solkattu, which refers to a combination of konnakol syllables spoken while simultaneously counting the tala (meter) with the hand. It is comparable in some respects to bol in Hindustani music, as both allow for the composition, memorization, communication, and performance of rhythms. A similar concept in

The Haridasa Bhakti Sahitya devotional movement (sampradaya) originated in Karnataka, India, after Madhvacharya, and spread to eastern states such as Bengal and Assam of medieval India. Over a span of nearly six centuries, several saints and mystics helped shape the culture, philosophy and art of South India in general and Karnataka in particular by exerting considerable spiritual influence over the masses and kingdoms that ruled South India.

Svara in the Hindustani classical music and Carnatic Classical Music

Kuthiramalika () is a Travancore Kingdom palace built by Swathi Thirunal Rama Varma on the south-eastern side of Padmanabhaswamy temple, Thiruvananthapuram. Kuthira Malika translates to 'Mansion of horses', and it has been named so because of the 122 horses that adorn the many pillars that support the southern roof of this majestic structure.

Indian Music award

Instrument

The yazh (, also transliterated yāḻ, ) is a harp used in ancient Tamil music. It was strung with gut strings that ran from a curved ebony neck to a boat or trough-shaped resonator, the opening of which was a covered with skin for a soundboard. At the resonator the strings were attached to a string-bar or tuning bar with holes for strings that laid beneath of the soundboard and protruded through. The neck may also have been covered in hide.

Svara in the Hindustani classical music and Carnatic Classical Music

A pallavi is a refrain in carnatic music, commonly associated with South India. It is the first part of any formal composition (Krithi) which has three segments – Pallavi, Anupallavi and Charanam (which can be one or more). Pallavi is usually also an abbreviation of Ragam Thanam Pallavi. It is considered as the opening verse of Varnam.

Svara in the Hindustani classical music and Carnatic Classical Music

concept in Hindustani music theory

South Indian music academy

Varṇam is a type of composition in the Carnatic music system that encapsulates the key features of a raga, and considered as a foundational element in the learning path. Varnams capture the essence of the ragam in terms of typical swara patterns used, vishesha prayogas, highlighting the main notes (jeeva swaras), etc. This forms the basis for creative presentation (manodharma) of the raga in the form of raga aalapana, kalpana swarams and neraval.

thumb|Madhyam (Ma) Madhyam is the fourth svara from the seven svaras of Hindustani music and Carnatic music. This article is written from the Hindustani perspective. Madhyam is the long form of the syllable म. For simplicity in pronouncing while singing the syllable, Madhyam is pronounced as Ma (notation - M). It is also called as मध्यम in the Devanagri script.

thumb|Shadaj (Sa) Shadja ( ) is the first of the seven svaras in Hindustani and Carnatic music. Shadaj is the long form of the syllable सा (Sā).