164-550: Traditional Carnatic music or Karnataka Sangita (known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the Dravidian languages ) is a system of music commonly associated with South India , including the modern Indian states of Andhra Pradesh , Karnataka , Kerala , Tamil Nadu and portions of east and south Telangana and southern Odisha . It is one of three main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly
328-724: A raga . The features and rules of the raga (also known as the sanchaaraas of a raga) include how each note of the raga should be stressed, the scale of the raga, and so on. All varnams consist of lyrics, as well as swara passages, including a pallavi , an anupallavi , muktayi swaras , a charanam , and chittaswaras . Known for their complex structure, varnams are a fundamental form in Carnatic music. Varnams are practised as vocal exercises in multiple speeds by performers of Carnatic music, to help develop voice culture, and maintain proper pitch and control of rhythm. In Carnatic music concerts, varnams are often performed by musicians as
492-445: A beautiful face in a soiled mirror, Seeing that reflection I wish myself you, an individual soul, as if I could be finite! A finite soul, an infinite Goddess – these are false concepts, in the minds of those unacquainted with truth, No space, my loving devotee, exists between your self and my self, Know this and you are free. This is the secret wisdom. The concept of moksha , according to Daniel Ingalls , represented one of
656-558: A common, non- Indo-European ancestor. He supported his argument with a detailed comparison of non-Sanskrit vocabulary in Telugu, Kannada and Tamil, and also demonstrated that they shared grammatical structures. In 1844, Christian Lassen discovered that Brahui was related to these languages. In 1856, Robert Caldwell published his Comparative Grammar of the Dravidian or South-Indian Family of Languages , which considerably expanded
820-522: A concept common in Buddhism, is accompanied by the realization that all experienced phenomena are not self ; while moksha , a concept common in many schools of Hinduism, is acceptance of Self (soul), realization of liberating knowledge, the consciousness of Oneness with Brahman, all existence and understanding the whole universe as the Self. Nirvana starts with the premise that there is no Self, moksha on
984-631: A connection between the Dravidian languages with other language families, including Indo-European , Hurrian , Basque , Sumerian , Korean , and Japanese . Comparisons have been made not just with the other language families of the Indian subcontinent ( Indo-European , Austroasiatic , Sino-Tibetan , and Nihali ), but with all typologically similar language families of the Old World. Nonetheless, although there are no readily detectable genealogical connections, Dravidian shares several areal features with
1148-509: A fixed time cycle or metre, set for a particular composition, which is built from groupings of beats. Tala s have cycles of a defined number of beats and rarely change within a song. They have specific components, which in combinations can give rise to the variety to exist (over 108), allowing different compositions to have different rhythms. Carnatic music singers usually keep the beat by moving their hands up and down in specified patterns, and using their fingers simultaneously to keep time. Tala
1312-639: A generic appellation for the South Indian people and their languages, and it is the only single term they ever seem to have used in this manner. I have, therefore, no doubt of the propriety of adopting it. The origin of the Sanskrit word drāviḍa is the Tamil word Tamiḻ . Kamil Zvelebil cites the forms such as dramila (in Daṇḍin 's Sanskrit work Avantisundarīkathā ) and damiḷa (found in
1476-403: A hint of the song to be performed. Theoretically, this ought to be the easiest type of improvisation, since the rules are so few, but in fact, it takes much skill to sing a pleasing, comprehensive (in the sense of giving a "feel for the ragam") and, most importantly, original raga alapana. Niraval, usually performed by the more advanced performers, consists of singing one or two lines of text of
1640-634: A long time in Sri Lanka, Carnatic music was associated with Indian immigrants, and was often derogatorily referred to as " thosai kade music" ("music from the dosa shop"), in reference to the South Indians-owned restaurants and eateries that typically played this kind of music. From the 20th century, Carnatic music gained significant popularity among certain social strata of the Sri Lankan population , who were then heavily influenced by
1804-405: A middle Upanishadic-era script dated to the second half of the first millennium BCE, is among the earliest expositions about saṃsāra and moksha . In Book I, Section III, the legend of boy Naciketa queries Yama , the lord of death to explain what causes saṃsāra and what leads to liberation. Naciketa inquires: what causes sorrow? Yama explains that suffering and saṃsāra results from a life that
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#17327981040611968-462: A people of south India (presumably Tamil); damilaraṭṭha - was a southern non-Aryan country; dramiḷa -, dramiḍa , and draviḍa - were used as variants to designate a country in the south ( Bṛhatsamhita- , Kādambarī , Daśakumāracarita- , fourth to seventh centuries CE) (1989: 134–138). It appears that damiḷa - was older than draviḍa - which could be its Sanskritization. Based on what Krishnamurti states (referring to
2132-592: A person to be more truly a person in the full sense; the concept presumes an unused human potential of creativity, compassion and understanding which had been blocked and shut out. Moksha is more than liberation from a life-rebirth cycle of suffering ( samsara ); the Vedantic school separates this into two: jivanmukti (liberation in this life) and videhamukti (liberation after death). Moksha in this life includes psychological liberation from adhyasa (fears besetting one's life) and avidya (ignorance or anything that
2296-475: A process of Sanskritisation of the masses started, which resulted in a language shift in northern India. Southern India has remained majority Dravidian, but pockets of Dravidian can be found in central India, Pakistan, Bangladesh and Nepal. The Kurukh and Malto are pockets of Dravidian languages in central India, spoken by people who may have migrated from south India. They do have myths about external origins. The Kurukh have traditionally claimed to be from
2460-586: A prominent cultural movement known as the Hindu revival. Carnatic music was thus appropriated and highly promoted during the 1920s and 1930s as a cultural and identity marker of the Colombo and Jaffna bourgeoisies, and by extension of the Sri Lankan Tamils . The place given to Carnatic music in the construction of a modern Sri Lankan Tamil identity has reached significant proportions, such as its rise in
2624-500: A repeated process of rebirth. This bondage to repeated rebirth and life, each life subject to injury, disease and aging, was seen as a cycle of suffering. By release from this cycle, the suffering involved in this cycle also ended. This release was called moksha , nirvana , kaivalya , mukti and other terms in various Indian religious traditions but as per Hindu scripture veda one can attain mokhsha by giving up shadripu ( kama, lobha, krodha, moha, mada and matsarya). A desire for
2788-424: A rhythm accompaniment (usually a mridangam ), and a tambura , which acts as a drone throughout the performance. Other typical instruments used in performances may include the ghatam , kanjira , morsing , venu flute, veena , and chitraveena . The greatest concentration of Carnatic musicians is to be found in the city of Chennai . Various Carnatic music festivals are held throughout India and abroad, including
2952-568: A scholarly paper published in the International Journal of Dravidian Linguistics ), the Sanskrit word draviḍa itself appeared later than damiḷa , since the dates for the forms with -r- are centuries later than the dates for the forms without -r- ( damiḷa , dameḍa -, damela - etc.). The Dravidian languages form a close-knit family. Most scholars agree on four groups: There are different proposals regarding
3116-428: A single note), rāga (the mode or melodic formulae), and tala (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung through compositions, especially the kriti (or kirtanam) – a form developed between the 14th and 20th centuries by composers such as Purandara Dasa , and
3280-481: A song repeatedly, but with a series of melodic improvised elaborations. Although niraval consists of extempore melodic variations, generally, the original patterns of duration are maintained; each word in the lines of text stay set within their original place ( idam ) in the tala cycle. The lines are then also played at different levels of speed which can include double speed, triple speed, quadruple speed and even sextuple speed. The improvised elaborations are made with
3444-587: A strong correlation between Dravidian and the Ancestral South Indian (ASI) component of South Asian genetic makeup . Narasimhan et al. (2019) argue that the ASI component itself formed in the early 2nd millennium BCE from a mixture of a population associated with the Indus Valley civilization and a population resident in peninsular India. They conclude that one of these two groups may have been
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#17327981040613608-438: A system called the melakarta , which groups them according to the kinds of notes that they have. There are seventy-two melakarta ragas , thirty six of whose madhyama ( subdominant ) is shuddha ( perfect fourth from the tonic), the remaining thirty-six of whose madhyama (subdominant) is prati (an augmented fourth from the tonic). The ragas are grouped into sets of six, called chakras ("wheels", though actually segments in
3772-399: A total of 108 tala s. Improvisation in raga is the soul of Indian classical music – an essential aspect. " Manodharma Sangeetam " or " kalpana Sangeetam " ("music of imagination") as it is known in Carnatic music, embraces several varieties of improvisation. The main traditional forms of improvisation in Carnatic music consist of the following: An alapana, sometimes also called ragam,
3936-589: A type of musical sound that is a single note, which defines a relative (higher or lower) position of a note, rather than a defined frequency. Svara s also refer to the solfege of Carnatic music, which consist of seven notes, "sa-ri-ga-ma-pa-da-ni" (compare with the Hindustani sargam : sa- re -ga-ma-pa- dha -ni or Western do-re-mi-fa-so-la-ti). These names are abbreviations of the longer names shadja , rishabha , gandhara , madhyama , panchama , dhaivata and nishada . Unlike other music systems, every member of
4100-438: A valid subgroup, splitting it into Northeast (Kurukh–Malto) and Northwest (Brahui). Their affiliation has been proposed based primarily on a small number of common phonetic developments, including: McAlpin (2003) notes that no exact conditioning can be established for the first two changes, and proposes that distinct Proto-Dravidian *q and *kʲ should be reconstructed behind these correspondences, and that Brahui, Kurukh-Malto, and
4264-542: A verse at the end of the charana , called the madhyamakāla . It is sung immediately after the charana , but at double speed. There are many composers in Carnatic music. Purandara Dasa (1484–1564) is referred to as the Pitamaha (the father or grandfather) of Carnatic music as he formulated the basic lessons in teaching Carnatic music, and in honour of his significant contribution to Carnatic music. He structured graded exercises known as Swaravalis and Alankaras , and at
4428-423: A view of outlining the raga, the tempo, and the theme of the composition. Kalpanaswaram, also known as swarakalpana, consists of improvising melodic and rhythmic passages using swaras (solfa syllables). Like niraval, kalpanaswaras are sung to end on a particular swara in the raga of the melody and at a specific place ( idam ) in the tala cycle. Kalpanaswaras have a somewhat predictable rhythmical structure;
4592-507: A way to liberation ( moksha ). In Sāmkhya literature, liberation is commonly referred to as kaivalya . In this school, kaivalya means the realization of purusa , the principle of consciousness, as independent from mind and body, as different from prakrti . Like many schools of Hinduism, in Sāmkhya and Yoga schools, the emphasis is on the attainment of knowledge, vidyā or jñāna , as necessary for salvific liberation, moksha . Yoga's purpose
4756-572: A wider area, perhaps into Central India or the western Deccan which may have had other forms of early Dravidian/pre-Proto-Dravidian or other branches of Dravidian which are currently unknown. Since 1981, the Census of India has reported only languages with more than 10,000 speakers, including 17 Dravidian languages. In 1981, these accounted for approximately 24% of India's population. In the 2001 census , they included 214 million people, about 21% of India's total population of 1.02 billion. In addition,
4920-527: Is Karma Yoga , the way of works. The fourth mārga is Rāja Yoga , the way of contemplation and meditation. These mārgas are part of different schools in Hinduism, and their definition and methods to moksha . For example, the Advaita Vedanta school relies on Jñāna Yoga in its teachings of moksha . The marga s need not lead to all forms of moksha, according to some schools of Hinduism. For example,
5084-411: Is 'Dravidian', from Drāviḍa , the adjectival form of Draviḍa . This term, it is true, has sometimes been used, and is still sometimes used, in almost as restricted a sense as that of Tamil itself, so that though on the whole it is the best term I can find, I admit it is not perfectly free from ambiguity. It is a term which has already been used more or less distinctively by Sanskrit philologists, as
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5248-689: Is a central concept and the utmost aim of human life; the other three aims are dharma (virtuous, proper, moral life), artha (material prosperity, income security, means of life), and kama (pleasure, sensuality, emotional fulfillment). Together, these four concepts are called Puruṣārtha in Hinduism. In some schools of Indian religions, moksha is considered equivalent to and used interchangeably with other terms such as vimoksha , vimukti , kaivalya , apavarga , mukti , nihsreyasa , and nirvana . However, terms such as moksha and nirvana differ and mean different states between various schools of Hinduism, Buddhism, and Jainism. The term nirvana
5412-450: Is a common enough phenomenon in Dravidian phonology". Bhadriraju Krishnamurti states in his reference book The Dravidian languages : Joseph (1989: IJDL 18.2:134–42) gives extensive references to the use of the term draviḍa , dramila first as the name of a people, then of a country. Sinhala BCE inscriptions cite dameḍa -, damela - denoting Tamil merchants. Early Buddhist and Jaina sources used damiḷa - to refer to
5576-524: Is a compound word of sara and sva , meaning "essence of self". After the prayer verses, the Upanishad inquires about the secret to freedom and liberation (mukti). Sarasvati's reply in the Upanishad is: It was through me the Creator himself gained liberating knowledge, I am being, consciousness, bliss, eternal freedom: unsullied, unlimited, unending. My perfect consciousness shines your world, like
5740-523: Is a soul or after life moksha . Both Sāmkhya and Yoga systems of religious thought are mokshaśāstras , suggests Knut Jacobsen , they are systems of salvific liberation and release. Sāmkhya is a system of interpretation, primarily a theory about the world. Yoga is both a theory and a practice. Yoga gained wide acceptance in ancient India, its ideas and practices became part of many religious schools in Hinduism, including those that were very different from Sāmkhya. The eight limbs of yoga can be interpreted as
5904-492: Is a term in Hinduism , Buddhism , Jainism , and Sikhism for various forms of emancipation, liberation, nirvana , or release. In its soteriological and eschatological senses, it refers to freedom from saṃsāra , the cycle of death and rebirth . In its epistemological and psychological senses, moksha is freedom from ignorance: self-realization, self-actualization and self-knowledge. In Hindu traditions, moksha
6068-594: Is adept enough to perform at a concert. Dravidian languages The Dravidian languages (sometimes called Dravidic ) are a family of languages spoken by 250 million people, mainly in South India , north-east Sri Lanka , and south-west Pakistan , with pockets elsewhere in South Asia . Dravidian is first attested in the 2nd century BCE, as inscriptions in Tamil-Brahmi script on cave walls in
6232-719: Is adept in tala, attains liberation ( moksha ) without doubt"). Contemporray Carnatic music is based on musical concepts (including svara , raga , and tala ) that were described in detail in several ancient works, particularly the Bharata 's Natya Shastra and Cilappatikaram by Ilango Adigal . Owing to Persian and Islamic influences in North India from the 12th century onwards, Indian classical music began to diverge into two distinct styles — Hindustani music and Carnatic music. Commentaries and other works, such as Sharngadeva 's Sangita Ratnakara , further elaborated on
6396-459: Is because a guru can help one develop knowledge of maya (the illusionary nature of the world), a critical step on the path to moksha. Shankara cautions that the guru and historic knowledge may be distorted, so traditions and historical assumptions must be questioned by the individual seeking moksha . Those who are on their path to moksha (samnyasin), suggests Klaus Klostermaier , are quintessentially free individuals, without craving for anything in
6560-496: Is considered timeless, eliminating the cycle of birth and death ( samsara ). Advaita Vedanta emphasizes Jnana Yoga as the means of achieving moksha . Bliss, claims this school, is the fruit of knowledge (vidya) and work (karma). The Dvaita (dualism) traditions define moksha as the loving, eternal union with God and considered the highest perfection of existence. Dvaita schools suggest every soul encounters liberation differently. Dualist traditions (e.g. Vaishnava ) see God as
6724-412: Is constantly increasing. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as gāyaki ). Like Hindustani music , Carnatic music rests on two main elements: rāga , the modes or melodic formulae, and tāḷa , the rhythmic cycles. Today, Carnatic music
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6888-467: Is continuous and everywhere. Moksha , suggests Shankara, is a final perfect, blissful state where there can be no change, where there can be no plurality of states. It has to be a state of thought and consciousness that excludes action. He questioned: "How can action-oriented techniques by which we attain the first three goals of man ( kama , artha and dharma ) be useful to attain the last goal, namely moksha ?" Scholars suggest Shankara's challenge to
7052-410: Is difference between these ideas, as explained elsewhere in this article, but they are all soteriological concepts of various Indian religious traditions. The six major orthodox schools of Hinduism have had a historic debate, and disagree over whether moksha can be achieved in this life, or only after this life. Many of the 108 Upanishads discuss amongst other things moksha . These discussions show
7216-526: Is essential to Buddhist nirvana. Realization of atman (atta) is essential to Hindu moksha . Ancient literature of different schools of Hinduism sometimes use different phrases for moksha . For example, Keval jnana or kaivalya ("state of Absolute"), Apavarga , Nihsreyasa , Paramapada , Brahmabhava , Brahmajnana and Brahmi sthiti . Modern literature additionally uses the Buddhist term nirvana interchangeably with moksha of Hinduism. There
7380-473: Is formed with three basic parts (called anga s) which are laghu , dhrtam , and anudhrtam , though complex talas may have other parts like plutam , guru , and kaakapaadam . There are seven basic tala groups which can be formed from the laghu , dhrtam , and anudhrtam : A laghu has five variants (called jaathi s) based on the counting pattern. Five jaathis times seven tala groups gives thirty-five basic tala s, although use of other anga s results in
7544-584: Is freedom. Kathaka Upanishad also explains the role of yoga in personal liberation, moksha . The Svetasvatara Upanishad , another middle-era Upanishad written after Kathaka Upanishad , begins with questions such as why is man born? what is the primal cause behind the universe? what causes joy and sorrow in life? It then examines the various theories, that were then existing, about saṃsāra and release from bondage. Svetasvatara claims that bondage results from ignorance, illusion or delusion; deliverance comes from knowledge. The Supreme Being dwells in every being, he
7708-569: Is given in his book Deciphering the Indus Script . Although in modern times speakers of the various Dravidian languages have mainly occupied the southern portion of India, in earlier times they probably were spoken in a larger area. After the Indo-Aryan migrations into north-western India, starting c. 1500 BCE , and the establishment of the Kuru kingdom c. 1100 BCE ,
7872-488: Is indigenous to India. As a proto-language , the Proto-Dravidian language is not itself attested in the historical record. Its modern conception is based solely on reconstruction. It was suggested in the 1980s that the language was spoken in the 4th millennium BCE, and started disintegrating into various branches around the 3rd millennium BCE. According to Krishnamurti , Proto-Dravidian may have been spoken in
8036-418: Is integral to Ragam Tanam Pallavi. Originally developed for the veena, it consists of expanding the raga with syllables like tha, nam, thom, aa, nom, na, etc. Ragam, Tanam, and Pallavi are the principal long form in concerts, and is a composite form of improvisation. As the name suggests, it consists of raga alapana, tanam, and a pallavi line. Set to a slow-paced tala , the pallavi line is often composed by
8200-468: Is lived absent-mindedly, with impurity, with neither the use of intelligence nor self-examination, where neither mind nor senses are guided by one's atma (soul, self). Liberation comes from a life lived with inner purity, alert mind, led by buddhi (reason, intelligence), realization of the Supreme Self ( purusha ) who dwells in all beings. Kathaka Upanishad asserts knowledge liberates, knowledge
8364-465: Is more common in Buddhism, while moksha is more prevalent in Hinduism . Moksha is derived from the Sanskrit root word, muc , which means to free, let go, release, liberate. According to Jain scriptures, it is a combination of two Sanskrit words, moh (attachment) and kshay (its destruction) The definition and meaning of moksha varies between various schools of Indian religions. Moksha means freedom, liberation, but from what and how
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#17327981040618528-454: Is not true knowledge). Many schools of Hinduism according to Daniel Ingalls , see moksha as a state of perfection. The concept was seen as a natural goal beyond dharma . Moksha , in the epics and ancient literature of Hinduism, is seen as achievable by the same techniques necessary to practice dharma . Self-discipline is the path to dharma , moksha is self-discipline that is so perfect that it becomes unconscious, second nature. Dharma
8692-534: Is often cited as evidence of substrate influence from close contact of the Vedic speakers with speakers of a foreign language family rich in retroflex consonants. The Dravidian family is a serious candidate since it is rich in retroflex phonemes reconstructible back to the Proto-Dravidian stage . In addition, a number of grammatical features of Vedic Sanskrit not found in its sister Avestan language appear to have been borrowed from Dravidian languages. These include
8856-457: Is presented by musicians in concerts or recordings, either vocally or through instruments. Carnatic music itself developed around musical works or compositions of phenomenal composers (see below). Śruti commonly refers to musical pitch. It is the approximate equivalent of a tonic (or less precisely a key) in Western music; it is the note from which all the others are derived. It is also used in
9020-464: Is release from such avidya, towards the intuition and eternal union with God. Among the Samkhya, Yoga and Vedanta schools of Hinduism, liberation and freedom reached within one's life is referred to as jivanmukti , and the individual who has experienced this state is called jivanmukta (self-realized person). Dozens of Upanishads, including those from middle Upanishadic period, mention or describe
9184-451: Is seen as a final release from illusion, and through knowledge ( anubhava ) of one's own fundamental nature, which is Satcitananda . Advaita holds there is no being/non-being distinction between Atman , Brahman , and Paramatman . True knowledge is a direct, permanent realization that the Atman and Brahman are one. This realization instantly removes ignorance and leads to moksha , and
9348-594: Is the Northern branch, with around 6.3 million speakers. This is the only sub-group to have a language spoken in Pakistan – Brahui . The smallest branch is the Central branch, which has only around 200,000 speakers. These languages are mostly tribal, and spoken in central India. Languages recognized as official languages of India appear here in boldface . Researchers have tried but have been unable to prove
9512-439: Is the exposition of a raga or tone – a slow improvisation with no rhythm, where the raga acts as the basis of embellishment. In performing alapana, performers consider each raga as an object that has beginnings and endings and consists somehow of sequences of thought. The performer will explore the ragam and touch on its various nuances, singing in the lower octaves first, then gradually moving up to higher octaves, while giving
9676-485: Is the primal cause, he is the eternal law, he is the essence of everything, he is nature, he is not a separate entity. Liberation comes to those who know Supreme Being is present as the Universal Spirit and Principle, just as they know butter is present in milk. Such realization, claims Svetasvatara, come from self-knowledge and self-discipline; and this knowledge and realization is liberation from transmigration,
9840-517: Is then seen as a means to remove the avidyā – that is, ignorance or misleading/incorrect knowledge about one self and the universe. It seeks to end ordinary reflexive awareness ( cittavrtti nirodhah ) with deeper, purer and holistic awareness ( asamprājñāta samādhi ). Yoga, during the pursuit of moksha , encourages practice ( abhyāsa ) with detachment ( vairāgya ), which over time leads to deep concentration ( samādhi ). Detachment means withdrawal from outer world and calming of mind, while practice means
10004-406: Is thus a means to moksha . The Samkhya school of Hinduism, for example, suggests that one of the paths to moksha is to magnify one's sattvam . To magnify one's sattvam , one must develop oneself where one's sattvam becomes one's instinctive nature. Many schools of Hinduism thus understood dharma and moksha as two points of a single journey of life, a journey for which the viaticum
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#173279810406110168-401: Is traditionally taught according to the system formulated by Purandara Dasa . This involves sarali swaras (graded exercises), alankaras (exercises based on the seven talas), geetams or simple songs, and Swarajatis . After the student has reached a certain standard, varnams are taught and later, the student learns kritis . It typically takes several years of learning before a student
10332-411: Is unworldly understanding, a state of bliss. "How can the worldly thought-process lead to unworldly understanding?", asked Nagarjuna. Karl Potter explains the answer to this challenge as one of context and framework, the emergence of broader general principles of understanding from thought processes that are limited in one framework. Adi Shankara in the 8th century AD, like Nagarjuna earlier, examined
10496-422: Is usually only one variant of each note present. The exceptions exist in "light" ragas, in which, for artistic effect, there may be two, one ascending (in the arohanam ) and another descending (in the avarohanam ). A raga in Carnatic music prescribes a set of rules for building a melody – very similar to the Western concept of mode . It specifies rules for movements up ( aarohanam ) and down ( avarohanam ),
10660-405: Is where the schools differ. Moksha is also a concept that means liberation from rebirth or saṃsāra . This liberation can be attained while one is on earth ( jivanmukti ), or eschatologically ( karmamukti , videhamukti ). Some Indian traditions have emphasized liberation on concrete, ethical action within the world. This liberation is an epistemological transformation that permits one to see
10824-520: The bhakti schools of Hinduism, is devoted to the worship of God, sings his name, anoints his image or idol, and has many sub-schools. Vaishnavas (followers of Vaishnavism) suggest that dharma and moksha cannot be two different or sequential goals or states of life. Instead, they suggest God should be kept in mind constantly to simultaneously achieve dharma and moksha , so constantly that one comes to feel one cannot live without God's loving presence. This school emphasized love and adoration of God as
10988-430: The divya prabandham , thevaram and ugabhoga are often performed similarly, however, these forms can also have a set melody and rhythm like the devaranama , javali , padam , thillana and thiruppugazh forms. The most common and significant forms in Carnatic music are the varnam and the kriti (or kirtanam ). Varnams are short metric pieces which encapsulate the main features and requirements of
11152-620: The Deccan Peninsula , more specifically Karnataka . The same tradition has existed of the Brahui, who call themselves immigrants. Holding this same view of the Brahui are many scholars such as L. H. Horace Perera and M. Ratnasabapathy. The Brahui population of Pakistan's Balochistan province has been taken by some as the linguistic equivalent of a relict population, perhaps indicating that Dravidian languages were formerly much more widespread and were supplanted by
11316-681: The Ekasarana dharma denies the sayujya form of mukti, where the complete absorption in God deprives jiva of the sweetness and bliss associated with bhakti . Madhavadeva begins the Namghoxa by declaring his admiration for devotees who do not prefer mukti . The three main sub-schools in Vedanta school of Hinduism – Advaita Vedanta , Vishistadvaita and Dvaita – each have their own views about moksha . The Vedantic school of Hinduism suggests
11480-710: The Indo-Aryan languages , which have been attributed to the influence of a Dravidian substratum on Indo-Aryan. Dravidian languages display typological similarities with the Uralic language group, and there have been several attempts to establish a genetic relationship in the past. This idea has been popular amongst Dravidian linguists, including Robert Caldwell , Thomas Burrow , Kamil Zvelebil , and Mikhail Andronov. The hypothesis is, however, rejected by most specialists in Uralic languages, and also in recent times by Dravidian linguists such as Bhadriraju Krishnamurti . In
11644-547: The Madras Music Season , which has been considered to be one of the world's largest cultural events. Like all art forms in Indian culture , Indian classical music is believed to be a divine art form which originated from the devas and devis ( Hindu gods and goddesses), and is venerated as symbolic of nāda brāhman . Ancient treatises also describe the connection of the origin of the svaras , or notes, to
11808-466: The Madurai and Tirunelveli districts of Tamil Nadu . The Dravidian languages with the most speakers are (in descending order of number of speakers) Telugu , Tamil , Kannada and Malayalam , all of which have long literary traditions. Smaller literary languages are Tulu and Kodava . Together with several smaller languages such as Gondi , these languages cover the southern part of India and
11972-471: The Samaveda . (The other two are Hindustani music and Odissi music .) The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style. Although there are stylistic differences, the basic elements of śruti (the relative musical pitch), svara (the musical sound of
12136-816: The Trinity of Carnatic music include Sripadaraja , Vyasatirtha , Kanakadasa , Vadiraja Tirtha , Arunachala Kavi , Annamacharya , Narayana Theertha , Vijaya Dasa , Jagannatha Dasa , Gopala Dasa , Bhadrachala Ramadas , Sadasiva Brahmendra and Oottukkadu Venkata Kavi . Other composers are Swathi Thirunal , Gopalakrishna Bharathi , Neelakanta Sivan , Patnam Subramania Iyer , Mysore Vasudevachar , Koteeswara Iyer , Muthiah Bhagavathar , Subramania Bharathiyar , Kalyani Varadarajan , M. Balamuralikrishna and Papanasam Sivan . The compositions of these composers are rendered frequently by artists of today. Composers of Carnatic music were often inspired by religious devotion and were usually scholars proficient in one or more of
12300-400: The Trinity of Carnatic music . Carnatic music is also usually taught and learned through compositions. Telugu language predominates in the evolution of Carnatic music. Most Carnatic compositions are in Telugu and Sanskrit. Carnatic music is usually performed by a small ensemble of musicians, consisting of a principal performer (usually a vocalist), a melodic accompaniment (usually a violin ),
12464-605: The colonial period in India , Dravidian speakers were exploited by the colonial empires and sent as indentured servants to Southeast Asia , Mauritius , South Africa , Fiji and the Caribbean to work on plantations, and to East Africa to work on British railroads. There are more-recent Dravidian-speaking diaspora communities in the Middle East , Europe , North America and Oceania . The reconstructed proto-language of
12628-499: The gerund , which has the same function as in Dravidian. Some linguists explain this asymmetrical borrowing by arguing that Middle Indo-Aryan languages were built on a Dravidian substratum. These scholars argue that the most plausible explanation for the presence of Dravidian structural features in Indic is language shift , that is, native Dravidian speakers learning and adopting Indic languages due to elite dominance . Although each of
12792-440: The scale of which notes should figure more and which notes should be used more sparingly, which notes may be sung with gamaka (ornamentation), which phrases should be used or avoided, and so on. In effect, it is a series of obligatory musical events which must be observed, either absolutely or with a particular frequency. In Carnatic music, the sampoorna ragas (those with all seven notes in their scales) are classified into
12956-512: The veena as an accompaniment to vocal recitations. References to Indian classical music are made in many ancient texts, including epics like the Ramayana and the Mahabharata . The Yajnavalkya Smriti states, " vīṇāvādana tattvajñaḥ śrutijātiviśāradaḥ tālajñaścāprayāsena mokṣamārgaṃ niyacchati" (The one who is well versed in veena , one who has the knowledge of srutis and one who
13120-494: The "father ( pitamaha ) of Carnatic music", formulated the system that is commonly used for the teaching of Carnatic music. Venkatamakhin invented and authored the formula for the melakarta system of raga classification in his Sanskrit work, the Chaturdandi Prakasika (1660 AD). Govindacharya is known for expanding the melakarta system into the sampurna raga scheme – the system that is in common use today. By
13284-657: The 16th century, Indian classical music split into two styles: Hindustani in the North and Karnataka (later called Carnatic) in the South. The term "Karnataka" music originated from the Vijayanagara Empire, historically known as the Karnataka Empire. The British later influenced the change in name to "Carnatic" music, and the term is only about 150–200 years old. In the 18th and 19th centuries, Carnatic music
13448-561: The 18th century, South Indian immigrant communities abroad increased, especially in Southeast Asia and Sri Lanka . Communities such as the Nattukottai Chettiars participate in the extension of the Carnatic cultural scene abroad, thanks to their rich patronage activity. Carnatic music artists therefore perform abroad among South Indian communities who request their coming, in order to enliven local community life. For
13612-566: The 8th century AD, until the arrival of a Mimamsa scholar named Kumarila . Instead of moksha , the Mimamsa school of Hinduism considered the concept of heaven as sufficient to answer the question: what lay beyond this world after death. Other schools of Hinduism, over time, accepted the moksha concept and refined it over time. It is unclear when the core ideas of samsara and moksha developed in ancient India. Patrick Olivelle suggests these ideas likely originated with new religious movements in
13776-434: The Carnatic music repertoire. The performance of the Sanskrit sloka , Tamil viruttam , Kannada Ugabhoga and Telugu padyamu or sisapadya forms are particularly unique. Though these forms consist of lyric-based verses , musicians improvise raga phrases in free rhythm, like an alapana , so both the sound value, and the meaning of the text, guide the musician through elaborate melodic improvisations. Forms such as
13940-437: The Dravidian identification. Yuri Knorozov surmised that the symbols represent a logosyllabic script and suggested, based on computer analysis, an underlying agglutinative Dravidian language as the most likely candidate for the underlying language. Knorozov's suggestion was preceded by the work of Henry Heras, who suggested several readings of signs based on a proto-Dravidian assumption. Linguist Asko Parpola writes that
14104-467: The Dravidian language family was undertaken by Kolipakam, et al. (2018). They support the internal coherence of the four Dravidian branches South (or South Dravidian I), South-Central (or South Dravidian II), Central, and North, but is uncertain about the precise relationships of these four branches to each other. The date of Dravidian is estimated to be 4,500 years old. Speakers of Dravidian languages, by language Dravidian languages are mostly located in
14268-482: The Dravidian languages may have been brought to India by migrations from the Iranian plateau in the fourth or third millennium BCE, or even earlier, the reconstructed vocabulary of proto-Dravidian suggests that the family is indigenous to India. Despite many attempts, the family has not been shown to be related to any other. The 14th-century Sanskrit text Lilatilakam , a grammar of Manipravalam , states that
14432-518: The Dravidian languages were the most widespread indigenous languages in the Indian subcontinent before the advance of the Indo-Aryan languages. Though some scholars have argued that the Dravidian languages may have been brought to India by migrations from the Iranian plateau in the fourth or third millennium BCE or even earlier, reconstructed proto-Dravidian vocabulary suggests that the family
14596-519: The Dravidian umbrella and established Dravidian as one of the major language groups of the world. In 1961, T. Burrow and M. B. Emeneau published the Dravidian Etymological Dictionary , with a major revision in 1984. Caldwell coined the term "Dravidian" for this family of languages, based on the usage of the Sanskrit word Draviḍa in the work Tantravārttika by Kumārila Bhaṭṭa : The word I have chosen
14760-694: The Indus Valley Civilisation, John Marshall stated that (one of) the language(s) may have been Dravidic. Cultural and linguistic similarities have been cited by researchers Henry Heras , Kamil Zvelebil , Asko Parpola and Iravatham Mahadevan as being strong evidence for a proto-Dravidian origin of the ancient Indus Valley civilisation. The discovery in Tamil Nadu of a late Neolithic (early 2nd millennium BCE, i.e. post-dating Harappan decline) stone celt allegedly marked with Indus signs has been considered by some to be significant for
14924-570: The Indus civilization, suggesting a "tentative date of Proto-Dravidian around the early part of the third millennium." Krishnamurti further states that South Dravidian I (including pre-Tamil) and South Dravidian II (including Pre-Telugu) split around the 11th century BCE, with the other major branches splitting off at around the same time. Kolipakam et al. (2018) give a similar estimate of 2,500 BCE for Proto-Dravidian. Historically Maharashtra, Gujarat and Sindh also had Dravidian speaking populations from
15088-501: The Indus script and Harappan language are "most likely to have belonged to the Dravidian family". Parpola led a Finnish team in investigating the inscriptions using computer analysis. Based on a proto-Dravidian assumption, they proposed readings of many signs, some agreeing with the suggested readings of Heras and Knorozov (such as equating the "fish" sign with the Dravidian word for fish, "min") but disagreeing on several other readings. A comprehensive description of Parpola's work until 1994
15252-480: The Iranian part of the Fertile Crescent . (In his 2000 book, Cavalli-Sforza suggested western India, northern India and northern Iran as alternative starting points. ) However, linguists have found McAlpin's cognates unconvincing and criticized his proposed phonological rules as ad hoc . Elamite is generally believed by scholars to be a language isolate , and the theory has had no effect on studies of
15416-542: The Nirvana of Buddhism is same as the Brahman in Hinduism, a view other scholars and he disagree with. Buddhism rejects the idea of Brahman , and the metaphysical ideas about soul (atman) are also rejected by Buddhism, while those ideas are essential to moksha in Hinduism. In Buddhism, nirvana is 'blowing out' or 'extinction'. In Hinduism, moksha is 'identity or oneness with Brahman'. Realization of anatta (anatman)
15580-606: The Purusha from what one is not), but from Vedic studies, observance of the Svadharma (personal duties), sticking to Asramas (stages of life). The six major orthodox schools of Hindu philosophy offer the following views on moksha , each for their own reasons: the Nyaya, Vaisesika and Mimamsa schools of Hinduism consider moksha as possible only after death. Samkhya and Yoga schools consider moksha as possible in this life. In
15744-499: The Sri Lankan (Ceylonese) chronicle Mahavamsa ) and then goes on to say, "The forms damiḷa / damila almost certainly provide a connection of dr(a/ā)viḍa " with the indigenous name of the Tamil language, the likely derivation being "* tamiḻ > * damiḷ > damiḷa - / damila - and further, with the intrusive, 'hypercorrect' (or perhaps analogical) - r -, into dr(a/ā)viḍa . The - m -/- v - alternation
15908-454: The Vedanta school, the Advaita sub-school concludes moksha is possible in this life, while Dvaita, Visistadvaita, Shuddhadvait sub-schools of Vedanta tradition believes that moksha is a continuous event, one assisted by loving devotion to God, that extends from this life to post-mortem. Beyond these six orthodox schools, some heterodox schools of Hindu tradition, such as Carvaka, deny there
16072-427: The ancient scholars observed that people vary in the quality of virtuous or sinful life they lead, and began questioning how differences in each person's puṇya (merit, good deeds) or pāp (demerit, sin) as human beings affected their afterlife. This question led to the conception of an afterlife where the person stayed in heaven or hell, in proportion to their merit or demerit, then returned to earth and were reborn,
16236-416: The application of effort over time. Such steps are claimed by Yoga school as leading to samādhi, a state of deep awareness, release and bliss called kaivalya . Yoga, or mārga (meaning "way" or "path"), in Hinduism is widely classified into four spiritual approaches. The first mārga is Jñāna Yoga , the way of knowledge. The second mārga is Bhakti Yoga , the way of loving devotion to God. The third mārga
16400-506: The concept of moksha appears in three forms: Vedic, yogic and bhakti. In the Vedic period, moksha was ritualistic. Mokṣa was claimed to result from properly completed rituals such as those before Agni – the fire deity. The significance of these rituals was to reproduce and recite the cosmic-creation event described in the Vedas; the description of knowledge on different levels – adhilokam , adhibhutam , adhiyajnam , adhyatmam – helped
16564-609: The concept of moksha parallels those of Plotinus against the Gnostics , with one important difference: Plotinus accused the Gnostics of exchanging an anthropocentric set of virtues with a theocentric set in pursuit of salvation ; Shankara challenged that the concept of moksha implied an exchange of anthropocentric set of virtues ( dharma ) with a blissful state that has no need for values. Shankara goes on to suggest that anthropocentric virtues suffice. Vaishnavism , one of
16728-444: The conventional representation) grouped according to the supertonic and mediant scale degrees. There is a system known as the katapayadi sankhya to determine the names of melakarta raga s. Raga s may be divided into two classes: janaka raga s (i.e. melakarta or parent ragas) and janya raga s (descendant ragas of a particular janaka raga). Janya ragas are themselves subclassified into various categories. Tala refers to
16892-440: The curricula of most Jaffna colleges, where it gradually replaced from the mid-1930s the teaching of Western classical music , or its high esteem among the upper social classes of Colombo and Jaffna, where the learning of Carnatic music among young women is expected as a sign of good education. Many people have travelled to India for improving their skills, and the flow of students to India from Sri Lanka or of Sri Lankan Tamil origin
17056-559: The cycle continuing indefinitely. The rebirth idea ultimately flowered into the ideas of saṃsāra , or transmigration – where one's balance sheet of karma determined one's rebirth. Along with this idea of saṃsāra , the ancient scholars developed the concept of moksha , as a state that released a person from the saṃsāra cycle. Moksha release in eschatological sense in these ancient literature of Hinduism, suggests van Buitenen , comes from self-knowledge and consciousness of oneness of supreme soul. Scholars provide various explanations of
17220-420: The difference between the world one lives in and moksha , a state of freedom and release one hopes for. Unlike Nagarjuna, Shankara considers the characteristics between the two. The world one lives in requires action as well as thought; our world, he suggests, is impossible without vyavahara (action and plurality). The world is interconnected, one object works on another, input is transformed into output, change
17384-463: The differences between the schools of Hinduism, a lack of consensus, with a few attempting to conflate the contrasting perspectives between various schools. For example, freedom and deliverance from birth-rebirth, argues Maitrayana Upanishad, comes neither from the Vedanta school's doctrine (the knowledge of one's own Self as the Supreme Soul) nor from the Samkhya school's doctrine (distinction of
17548-486: The early 1970s, the linguist David McAlpin produced a detailed proposal of a genetic relationship between Dravidian and the extinct Elamite language of ancient Elam (present-day southwestern Iran ). The Elamo-Dravidian hypothesis was supported in the late 1980s by the archaeologist Colin Renfrew and the geneticist Luigi Luca Cavalli-Sforza , who suggested that Proto-Dravidian was brought to India by farmers from
17712-399: The emergence of Proto-Indo-European 4,000–6,000 BCE. However, the general consensus is that such deep connections are not, or not yet, demonstrable. The origins of the Dravidian languages, as well as their subsequent development and the period of their differentiation are unclear, partially due to the lack of comparative linguistic research into the Dravidian languages. It is thought that
17876-529: The evidence of place names (like -v(a)li, -koṭ from Dravidian paḷḷi, kōṭṭai ), grammatical features in Marathi, Gujarati, and Sindhi and Dravidian like kinship systems in southern Indo–Aryan languages. Proto-Dravidian could have been spoken in a wider area, perhaps into Central India or the western Deccan which may have had other forms of early Dravidian/pre-Proto-Dravidian or other branches of Dravidian which are currently unknown. Several geneticists have noted
18040-476: The family is known as proto-Dravidian . Dravidian place names along the Arabian Sea coast and clear signs of Dravidian phonological and grammatical influence (e.g. retroflex consonants and clusivity ) in the Indo-Aryan languages suggest that Dravidian languages were spoken more widely across the Indian subcontinent before the spread of the Indo-Aryan languages. Though some scholars have argued that
18204-405: The final goal of the Upanishad. Starting with the middle Upanishad era, moksha – or equivalent terms such as mukti and kaivalya – is a major theme in many Upanishads . For example, Sarasvati Rahasya Upanishad, one of several Upanishads of the bhakti school of Hinduism, starts out with prayers to Goddess Sarasvati. She is the Hindu goddess of knowledge, learning and creative arts; her name
18368-549: The first millennium BCE. The concepts of mukti and moksha , suggests J. A. B. van Buitenen , seem traceable to yogis in Hinduism, with long hair, who chose to live on the fringes of society, given to self-induced states of intoxication and ecstasy, possibly accepted as medicine-men and "sadhus" by ancient Indian society. Moksha to these early concept-developers, was the abandonment of the established order, not in favor of anarchy, but in favor of self-realization, to achieve release from this world. In its historical development,
18532-399: The first step towards mokṣa begins with mumuksutva , that is desire of liberation. This takes the form of questions about self, what is true, why do things or events make us happy or cause suffering, and so on. This longing for liberating knowledge is assisted by, claims Adi Shankara of Advaita Vedanta, a guru (teacher), study of historical knowledge and viveka (critical thinking). This
18696-512: The formal varieties of the so-called "literary" Dravidian languages (except Tamil) today, but may be rare or entirely absent in less formal registers, as well as in the many "non-literary" Dravidian languages. At one extreme, Tamil , like Proto-Dravidian, does not phonemically distinguish between voiced and voiceless or unaspirated and aspirated sounds, even in formal speech; in fact, the Tamil alphabet lacks symbols for voiced and aspirated stops. At
18860-470: The incoming Indo-Aryan languages . However, it has been argued that the absence of any Old Iranian ( Avestan ) loanwords in Brahui suggests that the Brahui migrated to Balochistan from central India less than 1,000 years ago. The main Iranian contributor to Brahui vocabulary, Balochi , is a western Iranian language like Kurdish , and arrived in the area from the west only around 1000 CE. Sound changes shared with Kurukh and Malto also suggest that Brahui
19024-732: The individual transcend to moksa. Knowledge was the means, the ritual its application. By the middle to late Upanishadic period, the emphasis shifted to knowledge, and ritual activities were considered irrelevant to the attainment of moksha . Yogic moksha replaced Vedic rituals with personal development and meditation, with hierarchical creation of the ultimate knowledge in self as the path to moksha . Yogic moksha principles were accepted in many other schools of Hinduism, albeit with differences. For example, Adi Shankara in his book on moksha suggests: अर्थस्य निश्चयो दृष्टो विचारेण हितोक्तितः | न स्नानेन न दानेन प्राणायमशतेन वा || १३ || By reflection, reasoning and instructions of teachers,
19188-731: The innovative traits in Indic could be accounted for by internal explanations, early Dravidian influence is the only explanation that can account for all of the innovations at once; moreover, it accounts for several of the innovative traits in Indic better than any internal explanation that has been proposed. Proto-Dravidian, unlike Sanskrit and other Indo-Iranian languages languages of South Asia, lacked both an aspiration and voicing contrast. The situation varies considerably amongst its daughter languages and often also between registers of any single language. The vast majority of modern Dravidian languages generally have some voicing distinctions amongst stops; as for aspiration, it appears in at least
19352-619: The language of the Rigveda (c. 1500 BCE), which also includes over a dozen words borrowed from Dravidian. Vedic Sanskrit has retroflex consonants ( ṭ / ḍ , ṇ ) with about 88 words in the Rigveda having unconditioned retroflexes. Some sample words are Iṭanta , Kaṇva , śakaṭī , kevaṭa , puṇya and maṇḍūka . Since other Indo-European languages , including other Indo-Iranian languages , lack retroflex consonants, their presence in Indo-Aryan
19516-602: The language. In 2012, Southworth suggested a "Zagrosian family" of West Asian origin including Elamite , Brahui and Dravidian as its three branches. Dravidian is one of the primary language families in the Nostratic proposal, which would link most languages in North Africa , Europe and Western Asia into a family with its origins in the Fertile Crescent sometime between the Last Glacial Period and
19680-436: The languages Kannada , Malayalam , Sanskrit , Tamil , or Telugu . They usually included a signature, called a mudra , in their compositions. For example, all songs by Tyāgarāja (who composed in Sanskrit and Telugu) have the word Tyagaraja in them, all songs by Muttuswāmi Dīkṣitar (who composed in Sanskrit and Maṇipravāl̥am) have the words Guruguha in them; songs by Śyāma Śāstri (who composed in Sanskrit and Telugu) have
19844-506: The large numbers of loanwords from Sanskrit and other Indo-Iranian languages , though some are found in etymologically native words as well, often as the result of plosive + laryngeal clusters being reanalysed as aspirates (e.g. Telugu నలభై nalabhai , Kannada ಎಂಬತ್ತು / ಎಂಭತ್ತು emb(h)attu , Adilabad Gondi phōṛd ). Moksha Traditional Moksha ( / ˈ m oʊ k ʃ ə / ; Sanskrit : मोक्ष , mokṣa ), also called vimoksha , vimukti , and mukti ,
20008-404: The largest Dravidian-speaking group outside India, Tamil speakers in Sri Lanka, number around 4.7 million. The total number of speakers of Dravidian languages is around 227 million people, around 13% of the population of the Indian subcontinent. The largest group of the Dravidian languages is South Dravidian, with almost 150 million speakers. Tamil , Kannada and Malayalam make up around 98% of
20172-403: The late 19th century, the city of Madras (now known as Chennai) emerged as the locus for Carnatic music. With the dissolution of the erstwhile princely states and the Indian independence movement reaching its conclusion in 1947, Carnatic music went through a radical shift in patronage into an art of the masses with ticketed performances organised by private institutions called sabhās . From
20336-541: The many expansions in Hindu Vedic ideas of life and the afterlife. In the Vedas, there were three stages of life: studentship, householdship and retirement. During the Upanishadic era, Hinduism expanded this to include a fourth stage of life: complete abandonment . In Vedic literature, there are three modes of experience: waking, dream and deep sleep. The Upanishadic era expanded these modes to include turiyam –
20500-420: The meaning of moksha in epistemological and psychological senses. For example, Deutsche sees moksha as transcendental consciousness, the perfect state of being, of self-realization, of freedom and of "realizing the whole universe as the Self". Moksha in Hinduism, suggests Klaus Klostermaier , implies a setting-free of hitherto fettered faculties, a removing of obstacles to an unrestricted life, permitting
20664-513: The means and the end, transcending moksha ; the fruit of bhakti is bhakti itself. In the history of Indian religious traditions, additional ideas and paths to moksha beyond these three, appeared over time. The words moksha , nirvana ( nibbana ) and kaivalya are sometimes used synonymously, because they all refer to the state that liberates a person from all causes of sorrow and suffering. However, in modern era literature, these concepts have different premises in different religions. Nirvana,
20828-570: The means of achieving moksha . The Vishistadvaita tradition, led by Ramanuja , defines avidya and moksha differently from the Advaita tradition. To Ramanuja, avidya is a focus on the self, and vidya is a focus on a loving god. The Vishistadvaita school argues that other schools of Hinduism create a false sense of agency in individuals, which makes the individual think oneself as potential or self-realized god. Such ideas, claims Ramanuja, decay to materialism, hedonism and self worship. Individuals forget Ishvara (God). Mukti, to Vishistadvaita school,
20992-443: The muddled mind and cognitive apparatus. For example, Patanjali 's Yoga Sutra suggests: After the dissolution of avidya (ignorance), comes removal of communion with material world, this is the path to Kaivalyam. Nirvana and moksha , in all traditions, represent resting in one's true essence, named Purusha or Atman, or pointed at as Nirvana, but described in a very different way. Some scholars, states Jayatilleke, assert that
21156-529: The musical concepts found in Indian classical music. By the 16th and 17th centuries, there was a clear demarcation between Carnatic and Hindustani music; Carnatic music remained relatively unaffected by Persian and Arabic influences. It was at this time that Carnatic music flourished in Vijayanagara , while the Vijayanagara Empire reached its greatest extent. Purandara Dasa , who is known as
21320-714: The musical element itself. This poses a special challenge for the musicians because rendering this music does not involve just playing or singing the correct musical notes; the musicians are expected to understand what was conveyed by the composer in various languages, and sing musical phrases that act to create the effect that was intended by the composer in his/her composition. There are many types/forms of compositions. Geethams and swarajatis (which have their own peculiar composition structures) are principally meant to serve as basic learning exercises. Compositions more commonly associated with Indian classical dance and Indian devotional music have also been increasingly used in
21484-423: The musician's interpretation. A Carnatic composition really has two elements, one being the musical element, the other being what is conveyed in the composition. It is probably because of this fact that most Carnatic music compositions are composed for singing. In addition to the rich musical experience, each composition brings out the knowledge and personality of the composer, and hence the words are as important as
21648-578: The northeast of Sri Lanka , and account for the overwhelming majority of speakers of Dravidian languages. Malto and Kurukh are spoken in isolated pockets in eastern India. Kurukh is also spoken in parts of Nepal , Bhutan and Bangladesh . Brahui is mostly spoken in the Balochistan region of Pakistan , Iranian Balochistan , Afghanistan and around the Marw oasis in Turkmenistan . During
21812-434: The object of love, for example, a personified monotheistic conception of Shiva , Vishnu or Adishakti . By immersing oneself in the love of God, one's karmas slough off, one's illusions decay, and truth is lived. Both the worshiped and worshiper gradually lose their illusory sense of separation and only One beyond all names remains. This is salvation to dualist schools of Hinduism. Dvaita Vedanta emphasizes Bhakti Yoga as
21976-468: The opening item – acting as a warm up for the musicians, and as a means of grabbing the attention of the audience. Carnatic songs (kritis) are varied in structure and style, but generally consist of three units: This kind of song is called a keerthanam or a kriti . There are other possible structures for a kriti , which may in addition include swara passages named chittaswara . A chittaswara consists only of notes, and has no words. Still others have
22140-531: The other end, Brahui is exceptional among the Dravidian languages in possessing and commonly employing the entire inventory of aspirates employed in neighboring Sindhi . While aspirates are particularly concentrated in the Indo-Aryan element of the lexicon, some Brahui words with Dravidian roots have developed aspiration as well. Most languages lie in between. Voicing contrasts are quite common in all registers of speech in most Dravidian languages. Aspiration contrasts are less common, but relatively well-established in
22304-470: The other hand, starts with the premise that everything is the Self; there is no consciousness in the state of nirvana, but everything is One unified consciousness in the state of moksha . Kaivalya, a concept akin to moksha , rather than nirvana, is found in some schools of Hinduism such as the Yoga school. Kaivalya is the realization of aloofness with liberating knowledge of one's self and disentanglement from
22468-600: The path of moksha include (1) vivekah (discrimination, critical reasoning) between everlasting principles and fleeting world; (2) viragah (indifference, lack of craving) for material rewards; (3) samah (calmness of mind), and (4) damah (self restraint, temperance ). The Brahmasutrabhasya adds to the above four requirements, the following: uparati (lack of bias, dispassion), titiksa (endurance, patience), sraddha (faith) and samadhana (intentness, commitment). The Advaita tradition considers moksha achievable by removing avidya (ignorance) by knowledge. Moksha
22632-513: The path to moksha , as: Beyond caste, creed, family or lineage, That which is without name and form, beyond merit and demerit, That which is beyond space, time and sense-objects, You are that, God himself; Meditate this within yourself. ||Verse 254|| Moksha is a concept associated with saṃsāra (birth-rebirth cycle). Samsara originated with religious movements in the first millennium BCE. These movements such as Buddhism, Jainism and new schools within Hinduism, saw human life as bondage to
22796-476: The path to "moksha" (salvation and release), rather than works and knowledge. Their focus became divine virtues, rather than anthropocentric virtues. Daniel Ingalls regards Vaishnavas' position on moksha as similar to the Christian position on salvation, and Vaishnavism as the school whose views on dharma , karma and moksha dominated the initial impressions and colonial-era literature on Hinduism, through
22960-402: The performer. Through niraval, the performer manipulates the pallavi line in complex melodic and rhythmic ways. The niraval is followed by kalpanaswarams. Tani Avartanam refers to the extended solo that is played by the percussionists in a concert, and is usually played after the main composition in a concert. The percussionist displays the full range of his skills and rhythmic imagination during
23124-410: The phonologies of the higher or more formal registers, as well as in the standard orthographies , of the "literary" languages (other than Tamil): Telugu, Kannada, and Malayalam. However, in colloquial or non-standard speech, aspiration often appears inconsistently or not at all, even if it occurs in the standard spelling of the word. In the languages in which aspirates are found, they primarily occur in
23288-409: The relationship between these groups. Earlier classifications grouped Central and South-Central Dravidian in a single branch. On the other hand, Krishnamurti groups South-Central and South Dravidian together. There are other disagreements, including whether there is a Toda-Kota branch or whether Kota diverged first and later Toda (claimed by Krishnamurti). Some authors deny that North Dravidian forms
23452-579: The release from pain and suffering seems to lie at the root of striving for moksha, and it is commonly believed that moksha is an otherwordly reality, only achievable at the end of life, not during. However there is also a notion that moksha can be achieved during life in the form of a state of liberation, known as jivan-mukti , although this is still reliant on personal and spiritual endeavours attributed to attaining moksha. Eschatological ideas evolved in Hinduism. In earliest Vedic literature, heaven and hell sufficed soteriological curiosities. Over time,
23616-474: The rest of Dravidian may be three coordinate branches, possibly with Brahui being the earliest language to split off. A few morphological parallels between Brahui and Kurukh-Malto are also known, but according to McAlpin they are analysable as shared archaisms rather than shared innovations. In addition, Glottolog lists several unclassified Dravidian languages: Kumbaran , Kakkala (both of Tamil-Malayalam) and Khirwar . A computational phylogenetic study of
23780-594: The same time, introduced the Raga Mayamalavagowla as the first scale to be learnt by beginners. He also composed Gitas (simple songs) for novice students. The contemporaries Tyagaraja (1767– 1847), Muthuswami Dikshitar , (1776–1835) and Syama Sastri , (1762–1827) are regarded as the Trinity of Carnatic music because of the quality of Syama Sastri's compositions, the varieties of compositions of Muthuswami Dikshitar, and Tyagaraja's prolific output in composing kritis . Prominent composers prior to
23944-407: The sense of graded pitches in an octave . While there are an infinite number of sounds falling within a scale (or raga) in Carnatic music, the number that can be distinguished by auditory perception is twenty-two (although over the years, several of them have converged). In this sense, while sruti is determined by auditory perception, it is also an expression in the listener's mind. Svara refers to
24108-500: The solfege (called a swara ) has three variants. The exceptions are the drone notes, shadja and panchama (also known as the tonic and the dominant ), which have only one form; and madhyama (the subdominant ), which has two forms. A 7th century stone inscription in Kudumiyan Malai in Tamil Nadu shows vowel changes to solfege symbols with ra, ri, ru etc. to denote the higher quarter-tones. In one scale, or raga , there
24272-408: The solo, which may take from two to twenty minutes. In contrast to Hindustani music of the northern part of India, Carnatic music is taught and learned through compositions, which encode many intricate musical details, also providing scope for free improvisation. Nearly every rendition of a Carnatic music composition is different and unique as it embodies elements of the composer's vision, as well as
24436-431: The sounds of animals and birds and man's effort to simulate these sounds through a keen sense of observation and perception. The Samaveda , which is believed to have laid the foundation for Indian classical music, consists of hymns from the Rigveda , set to musical tunes which would be sung using three to seven musical notes during Vedic yajnas . The Yajurveda , which mainly consists of sacrificial formulae, mentions
24600-517: The source of proto-Dravidian. An Indus valley origin would be consistent with the location of Brahui and with attempts to interpret the Indus script as Dravidian. On the other hand, reconstructed Proto-Dravidian terms for flora and fauna provide support for a peninsular Indian origin. The Indus Valley civilisation (3300–1900 BCE), located in the Indus Valley region, is sometimes suggested to have been Dravidian. Already in 1924, after discovering
24764-683: The southern and central parts of south Asia with 2 main outliers, Brahui having speakers in Balochistan and as far north are Merv, Turkmenistan and Kurukh to the east in Jharkhand and as far northeast as Bhutan, Nepal and Assam. Historically Maharashtra, Gujarat and Sindh also had Dravidian speaking populations from the evidence of place names (like -v(a)li, -koṭ from Dravidian paḷḷi, kōṭṭai ), grammatical features in Marathi, Gujarati, and Sindhi and Dravidian like kinship systems in southern Indo–Aryan languages. Proto-Dravidian could have been spoken in
24928-507: The speakers, with 75 million, 44 million and 37 million native speakers, respectively. The next-largest is the South-Central branch, which has 78 million native speakers, the vast majority of whom speak Telugu . The total number of speakers of Telugu, including those whose first language is not Telugu, is around 85 million people. This branch also includes the tribal language Gondi spoken in central India. The second-smallest branch
25092-490: The spoken languages of present-day Kerala and Tamil Nadu were similar, terming them as "Dramiḍa". The author does not consider the "Karṇṇāṭa" (Kannada) and the "Āndhra" (Telugu) languages as "Dramiḍa", because they were very different from the language of the "Tamil Veda" ( Tiruvaymoli ), but states that some people would include them in the "Dramiḍa" category. In 1816, Francis Whyte Ellis argued that Tamil , Telugu , Kannada , Malayalam , Tulu and Kodava descended from
25256-399: The stage beyond deep sleep. The Vedas suggest three goals of man: kama , artha and dharma . To these, the Upanishadic era added moksha . The acceptance of the concept of moksha in some schools of Hindu philosophy was slow. These refused to recognize moksha for centuries, considering it irrelevant. The Mimamsa school, for example, denied the goal and relevance of moksha well into
25420-430: The state of liberation, jivanmukti . Some contrast jivanmukti with videhamukti ( moksha from samsara after death). Jivanmukti is a state that transforms the nature, attributes and behaviors of an individual, claim these ancient texts of Hindu philosophy. For example, according to Naradaparivrajaka Upanishad, the liberated individual shows attributes such as: When a Jivanmukta dies he achieves Paramukti and becomes
25584-416: The swaras are sung to end on the samam (the first beat of the rhythmical cycle). The swaras can also be sung at the same speed or double the speed of the melody that is being sung, though some artists sing triple-speed phrases too. Kalpanaswaram is the most elementary type of improvisation, usually taught before any other form of improvisation. Tanam is one of the most important forms of improvisation, and
25748-536: The truth and reality behind the fog of ignorance. Moksha has been defined not merely as absence of suffering and release from bondage to saṃsāra. Various schools of Hinduism also explain the concept as presence of the state of paripurna-brahmanubhava (the experience of oneness with Brahman , the One Supreme Self), a state of knowledge, peace and bliss. For example, Vivekachudamani – an ancient book on moksha , explains one of many meditative steps on
25912-433: The truth is known, Not by ablutions, not by making donations, nor by performing hundreds of breath control exercises. || Verse 13 || Bhakti moksha created the third historical path, where neither rituals nor meditative self-development were the way, rather it was inspired by constant love and contemplation of God, which over time results in a perfect union with God. Some Bhakti schools evolved their ideas where God became
26076-603: The words Ś yāma Kr̥ṣṇa in them; all songs by Purandaradasa (who composed in Kannada and Sanskrit) have the words Purandara Vitthala ; while Gopalakrishna Bharathi (who composed in Tamil) used the signature Gopalakrishnan in his compositions. Papanasam Sivan, who has been hailed as the Tamil Tyagaraja of Carnatic music, composed in Tamil and Sanskrit, and used the signature Ramadasan in his compositions. Carnatic music
26240-520: The works of Thibaut, Max Müller and others. The concept of moksha appears much later in ancient Indian literature than the concept of dharma . The proto-concept that first appears in the ancient Sanskrit verses and early Upanishads is mucyate , which means "freed" or "released". In the middle and later Upanishads, such as the Svetasvatara and Maitri , the word moksha appears and begins becoming an important concept. The Katha Upanishad ,
26404-413: The worldly life, thus are neither dominated by, nor dominating anyone else. Vivekachudamani , which literally means "Crown Jewel of Discriminatory Reasoning", is a book devoted to moksa in Vedanta philosophy. It explains what behaviors and pursuits lead to moksha , as well what actions and assumptions hinder moksha . The four essential conditions, according to Vivekachudamani, before one can commence on
26568-435: Was discipline and self-training. Over time, these ideas about moksha were challenged. Dharma and moksha , suggested Nagarjuna in the 2nd century, cannot be goals on the same journey. He pointed to the differences between the world we live in, and the freedom implied in the concept of moksha . They are so different that dharma and moksha could not be intellectually related. Dharma requires worldly thought, moksha
26732-625: Was mainly patronised by the local kings of the Kingdom of Mysore , Kingdom of Travancore , and the Maratha rulers of Tanjore . Some of the royalty of the kingdoms of Mysore and Travancore were themselves noted composers and proficient in playing musical instruments, such as the veena , rudra veena , violin , ghatam , venu , mridangam , nadaswaram , and swarabat . Some famous court-musicians proficient in music were Veene Sheshanna (1852–1926) and Veene Subbanna (1861–1939), among others. During
26896-403: Was originally spoken near them in central India. Dravidian languages show extensive lexical (vocabulary) borrowing, but only a few traits of structural (either phonological or grammatical) borrowing from Indo-Aryan, whereas Indo-Aryan shows more structural than lexical borrowings from the Dravidian languages. Many of these features are already present in the oldest known Indo-Aryan language ,
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