Difference between Carnatic and Hindustani | VoxGuru ft. Pratibha Sarathy 

No, both have originated from Samaveda.

No. The differences only started around the 11th century when North India was starting to be invaded by outsiders. Up to that point, both used the same important text books such as Bharata's Natya Shastra or the Sangeetha Ratnakara.

@@ho4250 what’s there to claim superiority complex ? Just stating an obvious fact. Not sure if you have listened to Carnatic music. 100% of them are bhakti or devotional.

@HellbrokeL It's called Carnatic because Purandhara Dasa was from Karnataka... If you see most of the Kritis are in Telugu and Sanskrit..

@HellbrokeL it was there before Islam even came into existence. Btw music is haraam in Islam.

ok

Same here in north.

Same man .

I'm from Bangalore in South Karnataka where Carnatic music is more prevalent with Tyagaraja and Purandaradasa aradhanas every year. In North Karnataka under the rule of Marathas and other Sultans Hindustani became more popular.

True

Exactly! Carnatic Music is from the Sama Veda.

LOL who told you that it has a lot of arabic and Turkish influence? There is but not a lot of. However before the 13 century, India had only one classical music prevalent in the entire country

@@annantporwal4970 sitar , tabla ,sarangi, santoor all are a result of mixing ancient indian culture with turko- persian culture. Hindustani music was more about celebration while carnatic is more about devotion.the ancient indian version( carnatic version) of tabla is mridangam and sitar is veena but ya this doesnt mean carnatic is 100 percent pure ancient indian classical music, carnatic does have foreign influences but they r very few and r majority from the west like violen is used in place of sarangi in carnatic music

@@annantporwal4970 thats basically whats makes hindustani culture, hindustani culture( the Culture of north India and pakistan) , its ancient indian culture mixed with the turko persian influences brought by the sultans

Mr Byron you are 💯 right sir thank you for your truthful words

Hey Is't possible to learn hindustani Or carnatic music in the age of 18? I'm very passionate about to lear singing Please reply

​@@zzaynnnn Yeah ! Of course you could have study* 🎁

Hindustani is persian music which blended into sub continent

​@@vishnumohan9384nope

Oh

Actually you are given reference in the theoretical books in the syllabus that what are the differences between two..

@@SERJACINESCOPES Yes of course but a practical demonstration is much better to understand than reading texts.

@@bhavyakumarsaini1639 yep

@andrei r please go to sentinel Ireland.

@@bhavyakumarsaini1639 Bro can you tell mee any good source of learning HC music online for a begginer?! 🙏

Thanks for such a detailed explanation. As a north Indian, i completely agree that carnatic music is way more detailed, elaborate and comprehensive than HM. But at the same time, the beauty of HM lies in it's heistancy in using only ancient styles and instead coming up with a completely new styles. The isolation indeed pushed for more variations and development of independent styles. I wouldn't give much credit to North Western influence rather innovations like thumri, Gazal etc were purely indigenous. Converting mridang to tabla is one thing we're perticularly proud of.

@@abhisheksoni2980 No doubt HM has its own areas of strength. However, I want to dispute a commonly held fallacy which is that CM uses "only ancient styles". It is some of the theoretical advances such as the development of the melakarta scheme that opened the way for lots of new ragas to be introduced. In Chemistry, the development of the Periodic Table led to the seeking and discovery of new elements. One can think of the melakarta table as having a similar influence - only it was 250 years earlier.

Brothers me a musically illiterate person has just learned so much from you guys! This is the true essence of comment section where ideas are discussed but without hate and Bias . ♥️ ThankYou

Hindustani music always had Rajput Patrons. Sitar is Three stringed veena which predates any persian influence. Ragas are from classical indian music only. Apart from urdu & persian songs impact of muslims on hindustani music is limited. Tansen learnt it near a Shiva Temple near Gwalior right next to Akbar (no he didn't convet that's a myth). Baijo Bawara never went to Akbar's court he was a great Hindustani musician he was the court musician of Man Singh Tomar of Gwalior so in a way Gwalior Gharana has nothing to do with Islam or Persia for that matter . Even pandit Ravi Shanka after examining both styles said the same thing. Same thing I find it with Kathak people are quick to jump to point out Salwar in Kathak ( Lucknow gharan) whilst ignoring the purer Benares & Jaipur gharanas.

Thank you, Erwin, for such a detailed explanation 🙏 I'm a Taiwanese Canadian trained in Western classical music, but love and appreciate global music. CM and HM are so soothing for me to listen to, and I'll listen while working, studying, or driving. It's just so beautiful and unique. The history gives the music so much meaning, so thank you again 🙏❤️🇨🇦🇹🇼

Same

Wow

That’s awesome I’m a Carnatic singer. And I have learned many purandara data songs !

@@prateekshahasfun1639 purandara dasa

ನಮಸ್ಕಾರ 🙏

You Kannada people have this Tamil gene where you have to boast about how great your state or language or ethnicity is. How about stating those facts in a non-boastful way?

Don't you have any interest in Bengali folk music?

I am Latin American and I am learning Odissi dance so a video with those differnces would be great!!

Yes I agree!!

Yes

From my (very) limited knowledge, putting my thoughts.... 1)The first thing that a learner learns while using gamakams is that they are "embellishments" only to be used when required along with a warning not to use them excessively.To very experienced "enjoyers" , the variety of gamakams brings them ecstasy, maybe not so much to others.Its a personal choice, on what to listen, and what to sing.The Dr you had mentioned is no different.Another person excelled in gamakams would definitely have a different take on the same kritis of Dikshitar. Appreciating both, without lament seems like a wise way to proceed, unless one has an agenda. 2)The pronounciations , acccents and articulations are not meant to be sacrificed.And a lot of people , do correct the juniors when they try to sacrifice those, imitating the ones who does.The ones who sacrifice them are either too proud (fame does that to most), or just simply too immersed in the music to a point that the sahithyam means no more.When one is one with the one,what more is there than one?It happens with the hindustani people too. 3)Again, the devotion in these is not he same as religion.This has been a culture that always accepted.Even atheism is a part of Sanathana Dharma.When you say Krishna, it isnt a person thats signified, its what that word means to one,maybe love, maybe adoration...A reason why there are so many Kritis...The same reason there are so many gods, when all of them say they are the same as you.Its to understand that concept, the path of devotion is used. 4)Sadly, thats true...Also in the case of any other music.The technical gimmickry(Gamackry) is what that draws a lot of people in, even though its to satisfy their ego.Maybe money is factor?Maybe pride is?But yes, its prevalent in all music, Even Hindustani. I listen to both Hindustani and Carnatic as well, But I dare not judge any with the flaws that few people creates.The same singer.Some one had told me Carnatic music is Focused on Bhakthi rasa, Whereas Hindustani is on Prema rasa.I do believe they both are one and the same.

@@amrita5988 Thanks for your thoughts. You do make some very valid points, but: 1. Agenda: Dr. Satyavati is a eminent musicologist, a performer and a Sanskrit scholar who has also done sessions of "Musical Excellence in the compositions" of Thyagaraja, Swati Tirunal, Muthiah Bhagavathar et al... Notwithstanding all that, I am not quite certain she has an anti-gamakam agenda... However, I will admit I have an agenda... Gamak and gimmick for all I care, but not at the cost of musicality and service of the raga... The avirbhava and rasa anubhava are paramount... 2. You said it well 'When one is one with the one, what more is there than one?'. In all my years of listening to Carnatic and Hindustani music, I have never paid reasonable attention to the lyrics, language and the sahityam of a composition... It is as if the krithi requires a raga, not the other way round... 3. Like I said in my first comment, I spent a whole month listening to Ram Navami concerts mostly featuring Carnatic music... Much as I tried to appreciate it, they neither evoked devotion nor had compelling raagdaari... They would sing krithi after krithi, but the divine seemed to be 'missing in action' and the melodic appeal questionable ;-) The beautiful 'Bantu reethi' was briefly played in passing and the wonderful 'Rama Bhakthi Samraajya' wasn't even mentioned by any of them... :( Instead, one of them was peddling the superiority of Vaishnavism using the Ajamila anecdote :( Rama, Rama... ;-) 4. Many a prominent Carnatic musician profess, and often express the view that 'if you know carnatic music well, you can play anything'.. Dr. N. Rajam said it candidly in an interview: 'even with the best of techniques from the south, I was not able to reproduce vocal rendering of Hindustani music the way it ought to have been done'... I like carnatic music, but listen to a Hamsadhwani rendered by Pt. Hariprasad Chaurasia, a Charukeshi played by Nikhil Banerjee, a Saraswati delivered by Pt.. Manilal Nag or Pt. Ram Narayan or a Kalavati sung by Dr. Prabha Atre... All allegedly Carnatic ragas, but what a true delight when presented in Hindustani style... I have known the magic of Mali's flute, beauty/bhava of Bala Murali's voice, impeccable precision of MS. Gopalakrishnan's violin... And yet, miss the serenity, the synergy and the spirit of jugalbandhi... Apologies for the longish response...

@@swarsur Thanks for the response! Simply put..One enjoys What they understands. Bias exists where there is lack of Knowledge, maybe in lack of Experience. Doesnt the same words invoke different levels of experience with different people, or the same person in a different time? Maybe DR Rajam wasnt able to render music in the way he wanted, But that doesnt mean there are no people who can. The serenity, the synergy and the spirit is present in Music, either Hindustani or Carnatic.Its our state of mind at that time, that renders us incapable to understand the intricacies of any music

@@amrita5988 I have no need to 'understand' music... I don't listen to the words, lyrics and language... “Music expresses that which cannot be put into words and that which cannot remain silent" said Victor Hugo... An American friend once asked me if I meditate and I replied "No, I listen to music"... I hope you get my drift... Dr. N. Rajam isn't a he... If you don't know who she is, check out her musical pedigree... Music, I think should elevate and exalt... not belittle us with its "oh, so complex, complete and comprehensive that we are incapable to cope with its intricacies" kind of schlep ;-)

That's what differentiates good musicians from the rest. Did the musician bring out the essence of the song as envisioned by its creator? The combination of sahityam and sangeetham in my opinion the most powerful communication medium. You convey the message, mood, rasa, urgency, etc etc using this combination. Losing sight of this and in the name of creativity showing off Isa great disservice to the creator of that krithi.

Tala (rhythm or beat) is expressed in different ways in both carnatic and Hindustani. In carnatic, we express tala using the hands, while in Hindustani, it is expressed by the tabla.. also, harmonium is used in carnatic music, mostly in devotional songs.. again, violin can be used in Hindustani as well... mridanga is specific to carnatic..

@andrei r I request you to not spread religion on a video dedicated to something different

Yes and also, in Carnatic it's Ri and in Hindustani it's Re. Also Sitar and veena and Sarangi and Violin.

@andrei r Where is Jesus' address? I wanna say wassup

Not only violin but veena tamburu etc

Amazing suggestion!

The name 'Carnatic' or 'Karnatic' is originally a Tamil word derived from “Karai” = shore and “Nataka” = dance. Additionally, there are other theories on the origin of the term. It may have been derived from the Sanskrit word ‘karnatakam’ which combines the two Sanskrit words “Karna” (“ear” ) + “Atati” (“he pleases”) = “that which pleases the ear". Thus, the term Carnatic Music or “Karnataka Sangeetham” means “music that pleases the ears”. This term was coined by the 13th century musicologist Sarangadeva.

Purandara Dasa didn't find Carnatic music... He just formulated it ..

@@abhishekm2759 Purandaradas is the father of Carnatic music

@@srinidhi7140 what's about telugu telugu stands tall in Carnatic music

@@shreekrishna3693 it's pure Kannada word. Kari- black Naata- land Ka is added at the end when saying it in Sanskrita language. Exp - ganda - gandaka Moda - modaka. Ranja-ranjaka.. etc The original name of the Vijayanagar Empire was the Karnata Empire. Karnataka music originated from here. Similarly The word Chenai is derived from the Kannada word Chenna. In Tamil some words are written 'ai' in the end. The meaning of the word Chenna is Well.

Both are same but interpretation is different

@@narayanaswamy1188 dude ssly? That's the only word I can say for your statement ? They both are same ? Ssly dude ?

@@jayanthbharadwaj9490 hello Mr I respect carnatic, Hindusthani, and western also, I know carnatic notes ,Hindusthani notes and also I known western staff line notes . Music is same learning methods are different.

@@jayanthbharadwaj9490 in carnatic 72 melakartha ragas but in HINDUSTHANI ONLY 10 MELAKARTHA RAGAS. ULTIMATELY BOTH ARE THE MUSIC

@@jayanthbharadwaj9490 are you know about western music notes fully.

This might be a bit late but No, it's just that finger positions are different in hindustani flute because the number of holes are different.

And I am here! Wanting to learn Spanish and Arabic songs

There is no different types of shaastriya Sangeetas only one type of shaastriya Sangeetam. Demonstrated by majorly by Bharatha maha muni and before Bharatha maha muni sages and cellistal beings like Naaradha, Nandhi, Thubura, Bhardwaja maharshi son of Brihaspati, Brungi ect ect demonstrated shaastriya Sangeetam. Before them GOD Ganesha and Goddesses Saraswathi demonstrated shaastriya Sangeetam. Very beginning of universes Lord Vishnu and Shiva, Shakti , Chathurmukha Bramha demonstrated shaastriya Sangeetam. Shaastriya Sangeetam is Sanathana as Vedas and as Sanathana as GOD. The reason why shaastriya Sangeetam was divided into two styles because foringen Invaded Guys. Our Hindus used to sing and dance in certain set of syntax of shaastriya Sangeetam and shaastriya nrutyam . But Invaded kings want in their language and their language was not compatible with syntax of shaastriya Sangeetam. In order to make compact with their languages like Urdu, Arabic, Persian so they slightly changed the syntax of one and only one shaastriya Sangeetam . Like how Sanathana Dharma became Hindu culture Like how Samskrutham became Hindi language. In the same way Shaastriya Sangeetam became Hindusthaani But in Karnataka and Andhra Pradesh and Tamil Nadu this style syntax editing did not happen because of Strong Vijayanagara empire. Sri Krishna Deva Raya he himself was poet and scholar in many of shaastra. Hence there are no different types of shaastriya Sangeetam.

Hola

@@indiamalwa Hola 😊👋

@@Pepitagrilla dé dónde eres

There are actually 5 .

@@KakashiHatake-sw2sy Dhrupad?... and?