Karnataka > Music in Karnataka
Indian classical music consists of two systems called Hindustani and Karnatak. Interestingly both these systems are prevalent in Karnataka. The Tungabhadra river more or less divides the domaine of these two in this state. The word 'Karnatak' in the context of music denotes a system of music prevailing in all the four states of the South India, i.e. Karnataka. Andhra Pradesh, Tamilnadu and Kerala, in the evolution of music, the role of Karnataka has been very significant.
Music, like literature and other creative arts, has been cultivated in Karnataka from ancient times. It was an indispensable part of the social and religious life of the people. Texts on music generally mention ancient theoreticians but not the performers who gave shape to these musical ideas. Bharata's 'Natya Shastra,' perhaps the oldest treatise on the subject seems to have been known in Karnataka from early times. The most notable work is Matanga's 'Brihaddeshi. This work deals elaborately with the science of music of the folk songs of his time. Matanga was the first to use the work 'raga' for the melodies that were current in his time and this probably laid the foundation for the raga system of the present day music. Sharngadeva who was patronised by the Yadava (Sevuna) king of Devagiri, has given a total number of 26 'ragas' in his work, 'Sangeetharatnakara'. Between the 11th and 17th Centuries only 32 ragas were in use and this is evident from a Vachana of Basavanna. Venkatamakhi (1660 A.D.) formulated his scheme 72 melakartas and the classification of ragas was completed by him.
A large number of theoretical works on music and dance were written by authors of Karnataka origin. The prominent were 'Abhilashitartha Chintanmani' also called the 'Rajamanasollasa', 'Bharata Bhashya', 'Sangita Sudhakara' written by Haripala, 'Sangita Chudamani,' Vidyaranya's 'Sangita Sara', 'Bharatasara Sangraha', 'Viveka Chudamani', 'Sangita Suryodaya', 'Tala Deepika', 'Sangita Sudha,' 'Chatrudandi Prakashika,' 'Sadraga Chandrodaya.' 'Ragamanjari,' and 'Nartana Nirnay,' (these three by Pundalika Vithala), 'Shivatatva Ratnakara,' 'Geetagopala,' 'Sritattvanidhi.' 'Shruti Siddanta,' etc.
An abundant variety of instruments were in use in Karnataka. The Kannada poets were well aware of the classical four fold divisions of musical instruments into string, wind, percussion and solid. They also reveal familiarity with an astonishing number of these instruments which were in vogue. Among the stringed instruments kinnari, vellaki, vipanchi, ravanahasta, dandika, trisari, jantra, swaramandala and parivadini find a mention. Shankha, shringa, tittira, kahale, vamsa, bambuli are the wind instruments mentioned. Among the large number of percussion instruments ottu, karadi, mridanga, dhakka, patha, dundubhi, panava, bheri, dinidima, traivali, nissala, dhamaru, chambaka, dande, dollu and ranja are prominently mentioned. Some solid instruments used were ghanta, jayaghanta, kinkini, jhallari, tala and kamsala. Palkuriki Somanatha mentions about 32 types of veenas and 18 types of flutes.
Khanda, Shukasarika, Tripadi, Chatushpadi, Shatpadi, Varna, Dhavala, Suladi, Pada, Vachana, Kirtana, Tattva, Ugabhoga were the different types of composition. Karnataka had a great number of reputed composers whose compositions are popular and relevant even today. There were many composers of the Veerasaiva faith like Sakalesha Madarasa, Basavanna, Nijaguna Shivayogi, Muppina Shadakshari, Bala Leela Mahanta Shivayogi, Nagabhushana Ghanamatarya, Madivalappa Kadakola, Nanjunda Shivayogi, Karibasavaswamy and Sarpabhusana Shivayogi. The Haridasa Kuta is said to have been founded by Narahari Teertha, the disciple of Madwacharya. Sripadaraya was called Haridasa Pitamaha. The Haridasas composed songs in Kannada in praise of Lord Vishnu. Vyasaraya, Vadiraja, Purandaradasa, Kanakadasa and others composed Kirtanas. Mummadi Krishnaraja Wodeyar was also an able composer.
Purandara Dasa strode like a colossus in the musical history of Karnataka. 'Pillari geetas' composed by Purandarasa form the foundation for learning Karnataka music even today. Purandara Dasa is revered as the 'Karnataka Sangita Pitamaha' and is credited to have given a new direction to Karnatak music.
In the 19th and 20th centuries, there was a marked separation of the popular and classical compositions. Mysore Sadshiva Rao adorned the royal court of Mysore and was the guru of celebrities like Veena Subbanna, Sheshanna and others. Mysore Sadashiva Rao, Subbanna, Sheshanna. Sambaiah, Muthaih Bahgvathar, Mysore K. Vasudevacharya (composed in Kannada, Sanskrit and Telugu), Devottama Jois, Karigiri Rao, Bidaram Krishnappa, Mysore T. Chowdaiah, Jayachamaraja Wodeyar, Aliya Lingaraja, Veena Krishnacharya, Rudrapattnam Venkataramanayya, Tiruppanandal Pattabhiramaiah, Kolar Chandrashekara Sastry, Bellary Raja Rao and others have left behind a rich tradition of their compositons. Among the lady musicians mention may be made of Bangalore Nagarathamma who renovated the samadhi of Sri Tyagaraja at Thiruvaiyar.
The reign of the Wodeyar of Mysore may be considered the golden age of music in Karnataka. They extended patronage to local musicians and also musicians of other regions. Veena Bhakshi Venkatasubbayya, Shivaramaiah, Pallavi Ramalingaiah and Lakshminarayana were prominent among the musicians of the state who received royal patronage. Other eminent vocalists who lived elsewhere or graced the Mysore durbar were Sadashiva Rao, Lalgudi Ramayyar, Mugur Subbanna, Krishnayya, Karigiri Rao, Bhairavi Kempe Gowda, Rudrappa, Janjhamarutam Subbayya, Lalgudi Guruswamy Iyer, Bidaram Krishnappa, K. Vasudevacharya, Tiruvaiyaru Subramanya Iyer, Kolar Nagarathanamma, Shatkala Narasayya, Chikka Rama Rao, Belakavady Srinivasa lyengar, Chintalpalli Venkata Rao, B.Devendrappa and T. Chowdaiah. Hindustani Music
|
