Performances of Carnatic music

=Concerts =

Carnatic music concerts are usually performed by a small ensemble of musicians, who sit on an elevated stage. This usually consists of at least one of the following; a principal performer, a melodic accompaniment, a rhythm accompaniment, and a drone. [cite journal | last = L'Armand |first = A. K.
title = One Hundred Years of Music in Madras: A Case Study in Secondary Urbanization| journal = Ethnomusicology |volume = 27 |pages = 411-438 |year = 1983] The lead-musician must also choose a signature octave based on his/her (vocal) range of comfort. However, it is expected that a musician maintains that same pitch once it is selected, and so to help all the performers maintain the selected pitch, the "tambura" is the traditional drone instrument used in concerts. However, tamburas are increasingly being replaced by "śruti" boxes, and now more commonly, the "electronic "tambura"".

Carnatic music concerts can be vocal recitals, accompanied by supporting instruments, or purely instrumental concerts, but irrespective of whether it is a vocal or purely instrumental concert, what is featured in a typical concert are compositions which form the core of this music.

In a vocal recital, a concert team may have one or more vocalists, accompanied by instrumentalists as melodic and rhythmic accompaniments. Instruments, such as the veena and/or flute, can be occasionally found as a rhythmic accompaniment, but usually, a vocalist is supported by a violin player (who sits on his/her left). The rhythm accompanist is usually a mridangam player (who sits on the other side, facing the violin player). However, other percussion instruments such as the ghatam, "kanjira" and "morsing" frequently also accompany the main percussion instrument and play almost in a contrapuntal fashion along with the beats. The objective of the accompanying instruments is far more than following the melody and keeping the beats. The accompaniments form an integral part of every composition presented, and they closely follow and augment the melodic phrases outlines by the lead singer. The vocalist and the violinist take turns while elaborating or while exhibiting creativity in sections like raga, niraval and kalpanaswaram. Unlike Hindustani music concerts, where an accompanying tabla player can keep beats without following the musical phrases at times, in Carnatic music, the accompaniments have to know follow intricacies of the composition since there are percussion elements such as eduppu, in several compositions. Some of the best concerts feature a good bit of interaction with the lead musicians and the accompaniments exchanging notes, and accompanying musicians predicting the lead singer musical phrases.

Content

A contemporary Carnatic concert (called a "kutcheri") usually lasts about three hours, and usually comprises a number of varied compositions. Carnatic songs are composed in a particular "raga", which means that they do not deviate from the notes in the "raga". Each composition is set with specific notes and beats, but performers improvise extensively. Improvisation occurs in the melody of the composition as well as in using the notes to expound the beauty of the "raga".

Concerts usually begin with a "varnam" or an invocatory item which will act as the opening piece. The "varnam" is composed with an emphasis on "swaras" of the raga, but will also have lyrics, the "saahityam". It is lively and fast to get the audience's attention. An invocatory item, may alternatively, follow the "varnam".

After the "varnam" and/or invocatory item, the artist sings longer compositions called "kirtanas" (commonly referred to as "kriti"s). Each kriti sticks to one specific "raga", although some are composed with more than one raga; these are known as "ragamalika" (a garland of "ragas").

After singing the opening "kriti", usually, the performer sings the "kalpanaswaram" of the "raga" to the beat. The performer must improvise a string of "swaras" in any octave according to the rules of the raga and return to beginning of the cycle of beats smoothly, joining the "swaras" with a phrase selected from the "kriti". The violin performs these alternately with the main performer. In very long strings of "swara", the performers must calculate their notes accurately to ensure that they stick to the "raga", have no awkward pauses and lapses in the beat of the song, and create a complex pattern of notes that an experienced audience can follow.

Performers then begin the main compositions with a section called "raga alapana" exploring the "raga". In this, they use the sounds "aa, ri, na, ta", etc. instead of "swaras" to slowly elaborate the notes and flow of the raga. This begins slowly and builds to a crescendo, and finally establishes a complicated exposition of the "raga" that shows the performer's skill. All of this is done without any rhythmic accompaniment, or beat. Then the melodic accompaniment (violin or veena), expounds the "raga". Experienced listeners can identify many ragas after they hear just a few notes. With the "raga" thus established, the song begins, usually with lyrics. In this, the accompaniment (usually violin, sometimes veena) performs along with the main performer and the percussion (such as a mridangam). In the next stage of the song, they may sing "niraval" or "kalpanaswaram" again.

In most concerts, the main item will at least have a section at the end of the item, for the percussion to perform solo (called the "tani avartanam"). The percussion performers perform complex patterns of rhythm and display their skill. If multiple percussion instruments are employed, they engage in a rhythmic dialogue until the main performer picks up the melody once again. Some experienced artists may follow the main piece with a "ragam thanam pallavi" mid-concert, if they do not use it as the main item.

Following the main composition, the concert continues with shorter and lighter songs. Some of the types of songs performed towards the end of the concerts are "tillanas" and "thukkadas" - bits of popular "kriti"s or compositions requested by the audience. Every concert that is the last of the day ends with a "mangalam", a thankful prayer and conclusion to the musical event.

Audience

The audience of a typical concert has a reasonable understanding of Carnatic music. It is also typical to see the audience tapping out the "tala" in sync with the artist's performance. As and when the artist exhibits creativity, the audience acknowledge it by clapping their hands. With experienced artists, towards the middle of the concert, requests start flowing in. The artist usually plays the request and it helps in exhibiting the artist's broad knowledge of the several thousand kritis that are in existence.

Modern concerts

Every December, the city of Chennai in India has its six week-long Music Season, which has been described as the world's largest cultural event. [cite web
url=http://www.hindu.com/2005/02/03/stories/2005020301281000.htm
title=Musical Musings
publisher=The Hindu
accessdate=2007-01-13] The Music Season was started in 1927, to mark the opening of the Madras Music Academy. It used to be a traditional month-long Carnatic music festival, but since then it has also diversified into dance and drama, as well as non-Carnatic art forms.

Artists

Carnatic artists often have to have had several years of intense training, and practice, before being qualified as a musician that may perform on stage.

The most popular and prominent Carnatic musicians are considered the most versatile and effective performers. They have often been a disciple to at least one legendary artist, or have learnt under such a disciple.