Development of Carnatic music: Difference between revisions

It is estimated that only during the period of Bharatamuni (300 BC) were the theories of sangeeta documented for the first time, and this was termed as "Naatya Shaastra". For a considerable period of time it was one of the only authoritative treatise (PramaaNa Grantha) for the whole of India.{{Citation needed|date=February 2008}} After that, independent growth of classical music occurred across different parts of India, in different forms.{{citation needed|date=July 2020}}

Around 1200 CE, a scholar by name "Shaarjnadeva" wrote a treatise, which was named as "Sangeeta Ratnakara" - an Indian musical treatise that is considered to be the first documented work on South Indian classical music. He hailed from Devagiri, which was at the time a part of [[Karnataka]] (but is now [[Daulatabad, Maharashtra|Daulatabad]], province of [[Hyderabad, India|Hyderabad]]).  Later, in 1350 CE, South Indian classical music obtained a well-defined structure through the works of Maadhava and VidhyaraNya. Apart from strengthening the sangeeta shaastras (sangeeta shaastra pravartane) by writing "Sangeeta Saara", they were also ministers of the Vijayanagara Empire, and Heads of Shringeri Mutt.{{citation needed|date=July 2020}}

Carnatic music saw renewed growth during the [[Vijayanagar Empire]] by the Kannada [[Haridasa]] movement of [[Vyasatirtha|Vyasaraja]], [[Purandara Dasa]], [[Kanakadasa]] and others.<ref>{{Cite web |url=http://www.hinduonnet.com/2000/12/02/stories/0902070b.htm |title=The Hindu : Fountainhead of Carnatic music<!-- Bot generated title --> |access-date=2008-02-10 |archive-url=https://web.archive.org/web/20110420185130/http://www.hinduonnet.com/2000/12/02/stories/0902070b.htm |archive-date=2011-04-20 |url-status=usurped }}</ref> Among the Haridasa movement, [[Purandara Dasa]] who is known as the ''Sangeeta Pitamaha'' (the grandfather of Carnatic music), is credited with the founding of the system of teaching Carnatic music. Others of the Haridasa movement, helped shaped the music

the influence of [[Purandaradasa]]. Tulajaji, the Maharashtra ruler of Tanjore (1729-35 A.D.), writes of the music of Haridasas in his book Sangita Saramrita,{{Citation needed|date=February 2008}} and venerates Vyasaraya and [[Purandaradasa]] as great composers.{{citation needed|date=July 2020}}

Around 1650 AD, [[Thanjavur Nayak kingdom|Raghunatha Nayaka]] wrote "Sangeeta Sudha", where he has quoted a lot about "Sangeeta Saara" by Maadhava- VidhyaraNya.<ref>{{cite web | url=http://www.tamilartsacademy.com/journals/volume18/articles/article7.htm | title=Introduction to Sangitasudha }}</ref> Govinda Deekshit, who was a minister in the court of King Achyuta Nayaka of Tanjavore, is believed to have written an introduction to "Sangeeta Sudha".<ref>{{Cite book|url=https://books.google.com/books?id=GD_6ka-aYuQC&dq=Sangita+Sudha+Raghunatha&pg=PA108|title=The Nayaks of Tanjore|isbn=9788120609969|last1=Vriddhagirisan|first1=V.|year=1995}}</ref> Govinda Dikshita's son was the renowned [[Venkatamakhin]], who is credited with the classification of ragas in the Melakarta System, and he wrote his most important work; ''Chaturdandi Prakasika'' (c.1635 CE) in Sanskrit. Kshetrajna who wrote "Shrungaara padas" (which also deals with theory of Sangeeta Shaastra) was also living at this time (1650). During the time of VidhyaraNaya, there were 15 meLakarta raagas, which became 22 during the time of [[Venkatamakhin]]. Apart from above mentioned theorists, many other theorists like Kallinatha, Raamaamaatya, Somanatha, etc. have contributed a lot to the development of Carnatic music.{{citation needed|date=July 2020}}

The development of Carnatic music in [[Karnataka]], from [[Sarangadeva|Sharngadeva]] to [[Venkatamakhin]] (a duration of 650 years), resulted in further expansion and establishment of Carnatic music.{{citation needed|date=July 2020}}