Maarg Manthan · Topic 4.1

Classical Indian Music

Art & Culture › Music · Topic 4.1

Classical Indian music is the art music tradition of the subcontinent, built on raga (melodic framework), tala (rhythmic cycle) and swara (musical note), with a drone and improvisation at its core. It has two main streams: Hindustani music of North India and Carnatic music of South India. Its roots lie in Vedic chanting of the Samaveda, and the theory was set out in the Natya Shastra and later in the Sangita Ratnakara of Sharngadeva (13th century). The two streams separated after the arrival of Persian and Turkic influences in the north from about the 13th century, and the term Marga sangita (the formal path) is used for the classical ideal.

6 min read · UPSC Prelims · Art & Culture · Music

At a Glance

Two streams Hindustani (north) and Carnatic (south)
Earliest root Chanting of the Samaveda
Key texts Natya Shastra, Brihaddeshi, Sangita Ratnakara
Core elements Raga, tala, swara
Split From about the 13th century
Exam link UPSC Prelims, Art and Culture: Music

Where Does It Fit?

This is the opening topic of the macro on music. It gives the shared base of the two classical traditions, and the following topics take each tradition, its pillars, forms, instruments and institutions in turn. Previous topic: Company School Painting (Colonial Era). Next topic: Hindustani Music (Gharanas – Gwalior, Kirana, Agra, Jaipur-Atrauli, Patiala).

How Did Indian Classical Music Develop?

Phase	Key developments
Vedic period	Chanting of the Samaveda with three, then more, notes is the root of Indian music. The Samaveda verses were set to melody for sacrifices
Epic and Natya Shastra period	Bharata Muni described swaras, shrutis, jatis and the system of 22 shrutis in the Natya Shastra, dated roughly 200 BCE to 200 CE
Early medieval	Matanga wrote the Brihaddeshi (about 6th to 8th century) which first used the word raga in a technical sense and separated Marga and Desi music
Sultanate and Mughal period	Amir Islam Khan from 1608; Dacca made capital Mewar Settlement with…">Khusrau (13th to 14th century) is credited with new forms like khayal and qawwali and, by tradition, with the sitar and tabla, though this is debated. Court patronage grew under Akbar, whose court had Tansen
Sangita Ratnakara	Sharngadeva, at the Yadava court of Devagiri in the 13th century, wrote this text. It names both Hindustani and Carnatic ideas in one scheme
Late medieval south	Purandaradasa (1484 to 1564) is called the father of Carnatic music for organising its teaching, and the Trinity of the 18th century fixed its repertoire
Modern period	Vishnu Narayan Bhatkhande and Vishnu Digambar Paluskar systematised notation and teaching in the early 20th century

What Separates Hindustani and Carnatic Music?

Feature	Hindustani	Carnatic
Region	North and central India, Pakistan, Bangladesh	Tamil Nadu, Karnataka, Andhra, Telangana, Kerala
Influences	Persian and Central Asian influence from the medieval period	Largely indigenous, temple and court tradition
Emphasis	Elaborate improvisation of a raga, slow expansion	Composed songs (kriti) with fixed text, with improvisation within them
Raga system	Thaat system of ten parent scales (Bhatkhande)	Melakarta system of 72 parent scales (Venkatamakhin)
Main vocal forms	Dhrupad, khayal, thumri, tappa, tarana	Varnam, kriti, kirtana, tillana, javali
Key instruments	Sitar, sarod, tabla, santoor, shehnai	Veena, violin, mridangam, ghatam, nadaswaram
Terminology	Alap, jod, jhala, bandish	Alapana, niraval, kalpana swara, ragam tanam pallavi

What Else Should You Remember?

Alternate names: classical Indian music is also called Bharatiya Shastriya Sangeet or Marga Sangeet, Hindustani music is also called North Indian classical music, and Carnatic music is also spelt Karnatic, Karnatak or Karnataka Sangeetham. Shruti is also written sruti and swara as svara
Meaning of sangita: in classical Indian music theory sangita covers three arts together: vocal music, instrumental music and dance
Marga and Desi: Marga is the formal, codified music said to follow the Natya Shastra, while Desi is regional and popular music. Over time Desi forms became part of the classical canon
Nada: the Indian view of sound as the base of music, divided into anahata (unstruck, inner) and ahata (struck, audible) sound
Shruti and swara: a shruti is the smallest audible pitch step, with 22 in the traditional octave, and swara is a note of the scale. The seven notes are sa, re, ga, ma, pa, dha, ni
Drone: a continuous background pitch, played on the tanpura, which fixes the tonic for the performer
Guru-shishya: learning through direct oral teaching from a master, the main way knowledge was passed on
Gharana: a lineage-based school of Hindustani music with its own style, as in Hindustani Music (Gharanas – Gwalior, Kirana, Agra, Jaipur-Atrauli, Patiala)
Trinity: the three great composers of the south, as in Carnatic Music (Trinity – Tyagaraja, Muthuswami Dikshitar, Syama Sastri)
Dravidian and folk links: many raga names and forms in both streams grew out of regional folk and devotional singing
Bhakti influence: saints like Kabir, Surdas, the Alvars and the Nayanars shaped song forms and made music a tool of devotion
Patronage: temples, courts and later radio, concert halls and festivals sustained music. Maharajas of Mysore and Travancore were noted patrons
Raga and time: Hindustani ragas are linked to a time of day or season, a link that is much weaker in Carnatic practice

Why Does It Matter for the Exam?

Texts: questions ask who wrote the Natya Shastra, Brihaddeshi or Sangita Ratnakara
Differences: statements comparing Hindustani and Carnatic systems, such as 10 thaats against 72 melakartas
Persons: Amir Khusrau, Tansen, Purandaradasa, Bhatkhande
Terms: shruti, nada, marga, desi, gharana, drone
Common errors: giving Amir Khusrau the invention of Carnatic forms, or saying Hindustani music is entirely Persian in origin

As an analytical point, the two streams are best seen as branches of one tree that grew apart through different patronage and contact. Their shared grammar of raga and tala shows continuity, while their differences show how cultural exchange shapes art.

Why Is This Topic Important?

Texts Authors and dates are asked as facts
Streams Comparison statements are common
Persons Composers and reformers

What Came Next?

The next topic takes up Hindustani music and its great gharanas. Next topic: Hindustani Music (Gharanas – Gwalior, Kirana, Agra, Jaipur-Atrauli, Patiala).

Key People and Terms

Sangita Vocal, instrumental and dance together
Shruti Smallest pitch step
Swara Musical note
Marga Formal codified music
Desi Regional music
Tanpura Drone instrument

Exam Corner

Points to Remember

Roots: Samaveda chanting.
Theory text: Natya Shastra of Bharata Muni.
13th century text: Sangita Ratnakara of Sharngadeva.
North: 10 thaats; South: 72 melakartas.
Father of Carnatic music: Purandaradasa.

Do Not Confuse With

Hindustani and Carnatic North and South streams with different emphasis
Marga and Desi Codified versus regional music
Shruti and swara Pitch step versus note

Memory Hook

Samaveda sows, Natya Shastra frames, Sharngadeva joins, then north and south part.

Mains Angle

Questions ask about continuity and change in Indian music. These points give a frame.

Continuity Common base of raga and tala
Change Foreign contact and patronage shifts
Preservation Gharanas, institutions, documentation

A Question You May Face

An original practice question, not a past paper question.

“Indian classical music shows both unity and diversity. Discuss with reference to Hindustani and Carnatic traditions.”

How to Answer

Unity Common roots and shared grammar.
Diversity Compare features and forms.
Cause Patronage and contact.
Way Support learning and archives.

GS Relevance

Prelims: origins, texts, the two traditions, key terms. GS Paper 1: Indian heritage and culture, salient aspects of art forms from ancient to modern times.

Frequently Asked Questions

What are the two main traditions of Indian classical music?

The two main traditions are Hindustani music of North India and Carnatic music of South India. Both use raga, tala and swara and rely on improvisation, but Hindustani music stresses elaboration of the raga, while Carnatic music stresses composed songs called kritis.

Which text is the oldest source of Indian music theory?

The Natya Shastra, attributed to Bharata Muni and dated roughly between 200 BCE and 200 CE, is the earliest major work with a theory of music. It describes swaras, shrutis and scales. The musical roots, however, lie earlier in the chanting of the Samaveda.

Who wrote the Sangita Ratnakara?

The Sangita Ratnakara was written by Sharngadeva in the 13th century at the Yadava court of Devagiri in present-day Maharashtra. It is a major text that covers ragas, talas, instruments and dance, and it is used by both the Hindustani and Carnatic traditions.

How many shrutis are there in Indian music theory?

Traditional theory counts 22 shrutis in an octave. A shruti is the smallest audible step in pitch that a trained ear can distinguish. The seven swaras of the scale, sa re ga ma pa dha ni, are placed on selected shrutis among these twenty-two.

Who is called the father of Carnatic music?

Purandaradasa, a Haridasa saint of Karnataka who lived from 1484 to 1564, is called the father of Carnatic music. He set up a graded system of teaching with exercises such as sarali and janta varisai and composed thousands of devotional songs in Kannada.

Why is classical Indian music important for UPSC?

Prelims asks about the Natya Shastra, Brihaddeshi and Sangita Ratnakara, the thaat and melakarta schemes, and persons such as Amir Khusrau, Purandaradasa and Bhatkhande. Mains asks about continuity and change in art forms, patronage and institutions such as the Sangeet Natak Akademi under GS Paper 1.

What is the difference between Hindustani and Carnatic music?

Hindustani music of North India stresses slow elaboration of a raga, uses ten thaats and shows Persian and Central Asian influence. Carnatic music of South India stresses composed kritis, uses 72 melakartas and is mainly a temple and court tradition. Both share raga, tala, swara and a drone.

PYQ Practice — Statement Analysis

1 The Natya Shastra is attributed to Bharata Muni.

True

It covers drama, music and dance.

2 The Sangita Ratnakara was written by Tansen.

False

It was written by Sharngadeva in the 13th century.

3 Carnatic music uses the Melakarta system of 72 parent ragas.