Indian Music System

               Indian classical music is rich in history and diversity, with two of the most prominent styles being Carnatic and Hindustani music. While both styles have their roots in Indian classical music, they are distinct in their traditions, instruments, and styles.
 
    Indian music has its origins in the Vedas, a collection of four sacred texts containing thousands of hymns dating back to 4000-1000 BC. These hymns formed the basis of Hindu religion, culture, and philosophy. From these hymns, music evolved and became widespread throughout India until the 12th century. Before the 13th Century, there was only one classical music in India.
 
    During this period, Islamic influences brought about significant changes in the music of North India. Post 13th Century Classical Music has been separated into two different styles. In North India, Persian and Mughal influence began creating its place very intensely with Amir Khusro. Tansen and his contemporary musicians mostly performed in Dhrupad sort and later Khayal singing was promoted by Sadarang and Adarang. However, in the South, music continued to develop along the same lines without external influences. Carnatic Music was evolved mainly by Shyama Shastri, Tyagraja, Muthuswamy Dikshitar, and Saint Purandardas - most of the classical training revolves around Kritis composed by these great saint musicians. The history of Indian music can be derived from Natya Shastra, written by Bharatha Muni, a Musicologist. The Natyashastra deals with the basic theory of Music, dance and drama called “Natya Shastra’. Under this, there were 22 notes in an octave. The idea of ‘ Sruti ’ was presented to permit individuals to select a suitable reference ‘ root ’ pitch based on the musicians’ ease. A set of ‘Rasas’ and ‘Bhavas’ or expressions were recognized.

    This resulted in the emergence of two distinct music systems : Carnatic or South Indian, and Hindustani or North Indian. Although these systems share the same roots and similar concepts, they have distinct differences and unique characteristics. The terms “Carnatic” and “Hindustani” were first mentioned in Haripala’s Sangita Sudhakara (1309-1312 AD).
 
   Hindustani and Carnatic music systems developed from a common ancestor. Carnatic Music originated in the Bhakti movement, while Hindustani music originated during the Vedic period. Therefore both have a great link with religion. Both the music developed with Sanskrit language scripts in itself and through Vedic traditions. 
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Similarities Between Karṇāṭaka and Hindūsthāni Sangeeta
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  1. Both music systems are based on sapta swaras.
  2. Both systems use the same swaras and symbols “s r g m p d n”.
  3. Both systems use śhaḍja and madhyama as ādhāra shruti.
  4. Both systems have three octaves – mandra, madhya and tāra sthāyis.
  5. Tamboori is a drone instrument in both traditions. It is called Tānpura in Hindūsthāni.
  6. Both systems have their own swara exercises, compositional forms, and manōdharma Sangeeta (improvised music) with minimal commonality.
  7. Both systems have gāana (vocal) and vāadya (instrumental music) concerts.
  8. Violin, Harmonium, and rare instrument Jalataranga are the common instruments.
  9. Both music traditions have tata (chordophone), suśhira (wind), and avanaddha (percussion) musical instruments.
Differences Between Carnatic and Hindustani Music
Features
Carnatic Music
Hindustani Music
​Vocal usage
Using a nasal voice is common. ‘Gamaka’ - a style of swaying a voice on a ‘swara’ over and over is a significant ornamentation technique.
Singers completely shun the usage of nasal voice. The focus is on expressing solely through the vocal chord. It teaches to keep the voice steady on a particular ‘swara’
Melodic Improvisation and Ornamentation
​Words like ‘Na, Ra’ are used for the same purpose.
Carnatic music uses ‘gamaka’ and ‘kampita gamaka’ - where the voice is oscillated and vibrated on the same note. It has its own Sangeeta lipi, or music notation, to write the music. In Karṇāṭaka music, we have shayli (styles, bāni or bāṇi).
​The ‘alaap’/ ‘alankaar’ - the elements used for the melodious improvisation in Hindustani music are mostly done through ‘Aa’kar’ with just one exception of ‘Nom-Tom ka alaap’ that is practiced in the Agra Gharana.Hindustani classical music uses ‘gamaka’ sparingly to create very mild shadowing effects on the notes. The more prevalent feature in Hindustani classical is ‘murki’. Murki is a way of making the voice go-round on a particular word or ‘bol’. Hindūsthāni has its own style of writing (lipi), though both are based on saptaswras. Hindūsthāni music has Gharānās {Gwalior (oldest, focuses on purity), Kirana (emphasizes the beauty of individual notes), Agra (blends dhrupad and khayal), and Jaipur-Atrauli (known for complex ragas)}
Swaras - refers to the tones and semi-tones in music. There are a total number of 22 ‘shrutis’. These form the basic structure of both the music traditions.
​16 swaras in Carnatic classical are used in a sthayi while teaching and also while practicing.  
12 swaras are used in a sthayi in Hindustani classical.
Pitch- In both traditions, the notes are sung at different pitches. They are classified as ‘Shuddha swara’ and ‘Vakra swara’. The only two ‘achal swara’ - ‘Sa or Shajda’ and ‘Pa or Pancham’ remain fixed and are sung in Suddha swara. All other notes are sung in Suddha as well as Vakra ​- that is one pitch higher or lower from the Suddha swara. 
The variation of pitches in Carnatic music, however, is a little more elaborate. Apart from the Suddha swara that is the same as it is sung in Hindustani classical music as well, the other varying pitches in Carnatic music include - 
Rishabh - Chaturshruti, and Shatshruti.  
Gandhara - Sadharan and Antara Gandhara 
Madhyama - Prati Madhyama
Dhaivata - Chaturshruti, and Shatshruti
Nishada - Kaishiki, and Kakali Nishadam 
In Hindustani classical, the Ma or Madhyama is also sung at a pitch higher by one note. It is called ‘Tivra Madhyam’. All other ‘swara’ Rishabh, Gandhar, Dhaivat, Nishaad are sung at a pitch lower by one note.    
Taal - The rhythmic beats or ‘bol’ are demonstrated with the help of claps, finger counting, and swaying of the hands. 
​Carnatic music uses Mridangam or Pakhawaj to maintain the rhythm and tempo throughout the rendition. Sooḷādi Sapta tāḷas and Ćhāpu tāḷas are used in the Karṇāṭaka tāḷa system. Tāḷa is shown through hand gestures by counting.
​Hindustani classical music uses Pakhawaj and Tabla as traditional instruments to maintain the rhythm and tempo throughout the rendition.Tāḷa is not demonstrated through hand gestures. There are 12 taal. Eg: Trital, Chautal, Japtal, Teental, etc
Language
Carnatic music is primarily written in Sanskrit and local languages - Kannada, Malayalam, Telegu, and Tamil. Some recent developments have also witnessed the inclusion of Marathi abhangas in Carnatic music recitals and also Bhajans written in Hindi.
​The musical compositions for Hindustan classical music are written in Sanskrit, Hindi, and Braj bhasha along with regional languages - Gujarati, Marathi, Odia, Bengali, Marwadi, and Punjabi
​Melakartha and Thaat - Both these terms refer to the same thing - the progenitor or parent raag that gives rise to a whole lot of other ragas in both traditions.
Melakarta- There are 72 melakarta compositions in Carnatic music. Classifications are based on janaka and janya ragas.
​Thaat - there are 10 thaat in Hindustani music. ​Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi, and Todi. Classification of rāgas are based on rāga- rāgiṇi and thāṭ systems.
Raga
The ragas of Carnatic music are based on 16 swaras. Ragas are more in number .The Carnatic compositions are structured based on pure mathematics. Though the ārōhaṇa and avarōhaṇa of a rāga are the same, the names, jeevaswara, amshaswara, and gamakas might be different. Mōhana, Hindōḷa, Chakravāka are the rāgas in Karṇāṭaka Sangeeta.
​Ragas are less in number. Hindustani music is led by inspiration from the surroundings. Eg: Bhoop, Malkauns, Ahirbhairav,.
Musical Forms And Instruments
​The musical forms presented here are Geeta, Jatiswara, Swarajati, Varṇa, Keertana, Kruti, Pada, Jāvaḷi, Tillāna, etc. The musical instruments used here are Veeṇa, Vēṇu (Flute), Violin, Goṭṭuvādya, Nāgaswara, Clarinet, Saxophone, Mandolin, Mrudanga, Ḍōlu (Tavil), Ghaṭa, Khanjira, Mōrsing, etc.,
The musical forms are called Bandeeśh and are presented here are Drupad, Dhamār, Tarāna, Khayāl, Ṭappa, Ṭuhmri, Ghazal, Bhajan, and others.
Sitār, Been, Sarōd, Dilrubā, Sārangi, Santoor, Bānsuri, Śhahanāy, Tabla, Pakhwāj, Ḍōlak, etc., are popular instruments in Hindūsthāni Sangeeta.

Other characters:

      Characteristics of Hindustani Music -

1. Emphasis on the moral construction of the song (Nadi and Samvadi swaras).
2. The singer recites the clap at a fast pace, which is known as ‘Joda’. Taal is not accompanied
afterwards.
3. Full swaras are considered to be complete, after which the distorted swaras are introduced.
4. The thaat of pure swars is called ‘Tilawal’.
5. There is range and flexibility in the swars.
6. Time limits are followed. There are different ragas for morning and evening.
7. Taals are normal.
8. Ragas are based on gender differentiation.
9. There is no ratio in Hindustani music while switching the ragas.
 
      Characteristics of Carnatic Music –
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1. The intensity of sound can be controlled in this style.
2. Use of helical (Kundali) swaras is evident.
3. Free and typical style of raga.
4. The singer recites the ‘aalap’ and ‘taanam’.
5. The distorted swaras are named according to the shrutis. They are started afterwards.
6. The purity of swaars are based on less shrutis, meaning high purity.
7. The thaat of pure swaras is called `mukhari’.
8. The time durations are well-defined in the Carnatic music. Madhya is twice of ‘Vilamba’ and
the ‘Dhruta’ is twice of Madhya.
The difficulty of Carnatic and Hindustani music is subjective and depends on the individual. Both styles have their own unique challenges and require a great deal of skill and dedication to master.
 
In conclusion, both Carnatic and Hindustani music are complex and challenging styles of Indian classical music. While they share some similarities, they are also distinct in their traditions, instruments, and styles. Whether one style is more difficult than the other is subjective and depends on the individual. However, both styles are a testament to the rich musical heritage of India and are well worth exploring for anyone interested in Indian classical music