A friend of mine who is trained Carnatic Singer had this to say as well. Carnatic music evolved in Temples where as Hindustani music evolved in the courts of Rajas and Sultans .
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.
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.
Maharashtra is probably the only state that follows both the Hindustani and Carnatic tradition of shastriya sangeet. Marathi as a language also has a huge pool of vocabulary to choose from, it can be from Sanskrit, can be from Kannada or it can be from Persian, so it’s a very friendly language for poets too.
India is the only country which has such a rich culture of music having 'Two Immortal Stream of Classical Music' i.e. 'Hindustani Shastriya Sangeet'(North Indian style) & 'Carnatic Sangeet'(South Indian style)....which reflects the Real Essence of India...I feel very proud to be Indian and a Student of Indian Classical Music as I am born & brought up in a Musical Family.....though I am trained in Hindustani......but I love Carnatic too and I am happy to learn it.....I love to sing songs in Different regional languages.. though my mother tongue is Marathi.....I would like to say that......Every Indian must l learn Indian Classical Music first whether Hindustani of Carnatic ....then other music like western or jazz etc......🎵🎵
Ma'am, I have been hearing hindustani music from last 7 years and have always wondered about Carnatic music and the difference between the two. This is a breathtaking attempt to answer my queries. Such videos should come much more in number.🙏
in short carnatic music still holds true to its vedic origins while hindustani music has a lot of persian , turkic and arabic influences on it and is secular in nature
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
You should also add some historical context to the differences. Both systems emanated from the same origins but appears to have deviated around the 11th century, just when India was starting to be invaded by foreign forces. These invasions impacted North India a lot more than the South. In the North, almost all the temples were destroyed. These temples were not just places of worship but important centers for the arts. The lives and livelihoods of the usual patrons of the arts were destroyed. Many of the rulers of the invaders were against art forms such as music. Musicians had nowhere to go and had to closet themselves in close and hidden communities. This is what eventually led to the different gharanas. To earn a living as a musician, you had to please the ruling sultan and this invariably meant switching your religion, except during times of broad and open minded rulers such as Akhbar. So Hindustani musicians had a real tough time. Although some wonderful melodies were brought in from Persia and other places, Hindustani music was somewhat stifled with little opportunity to grow. Contrast this what happened in the south. Yes, the South too underwent tough periods of conquest but generally these were pretty brief. As a result, the great temples, the center for development of so many arts, were largely left untouched. Many of them are still proudly standing today. Much of the time, pockets of the south, such as the Kaveri delta, were agriculturally very rich. Most had enough to eat and there was plenty of time to develop the creative arts, which was encouraged by many local patrons. There was a tremendous growth in compositions, theory and practice. In the 1500s, Purandaradasa, apart from being a prolific composer, laid out the structure for learning CM which is still in use. It was his student, Haridas who migrated to Varnasi and became Tansen's guru. Venkatamakhi and others in the 1600 laid out the melakarta raga classification system (it took another 300 years for HM to come up with a classification system that is still not as comprehensive as the melakarta scheme). This era was followed by a galaxy of composers, Tyagaraja, Dikshitar and Syama Shastry being among the most prolific. So in many ways, CM is much more developed than HM.
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 🙏❤️🇨🇦🇹🇼
as someone who is a fan of indian classical music but doesn't understand much about the theory, i appreciate this explanation. i was curious about this topic and you made it easy to understand :)
Karnataka is the only state which fallows both the classical musics... Father of Carnatic music (Karnataka shastriya Sangeeta) purandara dasa.. Only Hindustani musician to get Bharata ratna is also from the state of Karnataka (Bhimsen Joshi) Kannada is the only language in which songs can be sang in both the classical music.
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?
It is wonderful that india has two systems of great shastriya Sangeet : Hindustani shastriya Sangeet of North India and Karnatik Shastriya Sangeetam of South India and produced great artists like bharat Ratna pundit bhimsen Joshi, bharat Ratna MS subbulakshmi, Sangeet martand pundit jasraj, Vidwan Balamuralikrishna, Pundit Ravishankar, etc... And many others... Pranams 🙏🙏🙏
Your videos are do clear and to the point! Thanks. - A music lover from Bangladesh living in Australia, with children learning Hindustani classical music and western classical music.
Fascinating. I knew there were significant differences between North and South Indian music styles but wasn't aware of all the nuances. I guess this encompasses the non-vocal instrument performances as well.
This was brilliant. I think that instruments do play a major role also : harmonium and tabla for hindustani and violin and mridunga for carnatic right ?
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..
Mam, can u do a vid on differences between Carnatic and Odissi music? As Odisha has recently filed a petition for recognition of Odissi music, which is different frm both Hindustani and Carnatic music, it has it's own ragas as well.
I have spent an enormous part of my life listening to the music of Mali, Bala Murali, MS Gopalakrishnan, Nedunuri, MS, Mandolin Srinivas et al before moving on to Bhimsen Joshi, Hari Prasad Chaurasia, Jasraj, Nikhil Banerjee, Amir Khan, Bismiallah Khan et al... I still love Carnatic music (CM), but... 1) Gamakam: I recently watched Dr. TS Saytavati's lecdem on "Musical Excellence in the compositions of Dikshitar" where she demonstrates that the beauty and genius of his compostions are influenced by the Hindustani style vilambit sancharas (meend?), lamenting at the excessive use of gamakas and speed in CM... 2) Language/compositions: If sahityam is so important in CM, why is that pronunciation, accent and articulation (of other languages) routinely sacrificed ? 3) Theme: Given the predominantly divine/devotional nature of compositions in CM, can an atheist be a true Carnatic musician/listener? I used to complain to my CM friend "there is only so much devotion I can muster".... 4) Carnatic music concerts: After listening to a month long Ram Navami series of CM concerts recently, I find technical gimmickry (gamackry, if I may say so), one-upmanship, speed take precedence over aesthetics and musicality... Your thoughts?
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.
4:18 “You should at least be comfortable enough to understand the gist of the compositions so that you can feel more connected to it and express the emotions appropriately.” 😂 True and hilarious! Great advice! Thank you wonderful, knowledgeable and proper instructor. ❤
It was interesting to know this mam. I would urge you to make another video displaying the differences between Odissi music and Hindustani or Carnatic music. Odissi music has some very different ragas as well.
Hey Prathibha. This was brilliant. There are many videos on youtube that claim to tell the difference between both styles but they fail to tell the differences you site in these videos. Most of them concentrate on swara sthanas and basic differences like the language of the compositions. Your descriptions are good.
Very nice explanation. Was looking for a comprehensive crisp video like this before but then I slowly figures these points out by myself by watching many videos and articles. But still this is very nice.
@@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.
A very important point that she makes- when you learn learn the meaning of the song, you will be able to sing it well. I would add that one should learn about the composer as well so one can bring out the right emotions.
Hariharan is a singer who has straddled both streams with elan..a trained Ghazal singer with equal mastery over Carnatic music. Likewise Shankar Mahadevan.
The right way of writing Carnatic music is 'Karnataka classical music'. It is British who called it 'Carnatic music' as the English people use 'C' for every 'Ka' sounding words and we Indians use 'K' for all 'Ka' sounding words. And this type of classical music was mainly developed by Purandara Dāsaru during Vijayanagara empire. Original name of this empire was 'KARNATA EMPIRE' hence the name for music viz 'Karnataka Shastreeya Sangeeta- ಕರ್ಣಾಟಕ ಶಾಸ್ತ್ರೀಯ ಸಂಗೀತ. And Purandara Dāsaru is widely regarded as the Grand old father of Karnatic music. Most of his works are in Kannada and some are in Sanskrita. If anyone has to learn some ragas in Karnatic music and then one has to learn some Kannada musical works of Purandara Dāsaru which are basically designed and written for that by Him.
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.
@@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.
I have started learning hindustani music recently. Could you please give tips and ways to improve musical knowledge and also to strengthen vocal fluency
Thank you Madam for this informative video. I have always wondered what the differences could be. Now you have clarified it. As I am student of flute, I observe that the Hindustani swara is one note lower than Carnatic. For example, the Sa in Hindustani is actually Kaishiki Nishadam of Carnatic (I am referring to the finger position). Is my observation correct?
I would like to start, but maybe Hindustani. I don't speak hindi (I am from Spain) but I like very much the sound. Hindi... Punjabi... Can you help me to start to learn a simple song, please? They are so beautiful.
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.
Good explanation, ma'am. I've noticed one thing... there are a few Carnatic singers who have learnt Hindustani music, but never come across a Hindustani music singer learning Carnatic music. (Enough to give a performance) What could be the reason? Just wondering...
It's a very interesting question. You'll hear a lot of Hindustani musicians in Carnatic sabhas but not the other way around. I've heard some disparaging remarks from Hindustani artists on this about the lack of focus on shruti shuddham in Carnatic due to its focus on gamaks, which may be true, but then Carnatic is also harder to learn because of that.
@@elborrador333 As a longtime student।of hindusthani classical music, I disagree that CM is harder to learn. In fact Hindustani is way more abstract and hence very hard to master.
@@kkbhatta That's true, probably a result of lower emphasis on composition. Carnatic is more structured for sure, but you'll need to memorize a lot more compositions, languages and usually more ragas than Hindustani. But still I think it'd be easier for a Carnatic musician to replicate a Hindustani phrase than vice versa if nothing else purely because there's often more "stuff" happening in Carnatic that you have to be attuned to.
@@elborrador333 yes agreed - in HM it's more like jazz, where there is a head tune and improvisation around it. Of course, within the framework of raga and tala. I feel the overall context of CM and HM are markedly different, in spite of their similarities. CM is far more institutionalized and tightly guarded and bound to a specific cultural context. My son is a Mridangam student. I find it's almost impossible for someone outside the culture to fully understand the context of CM. Hindusthani is far more dependent on an individual's accomplishment and personal expression. Hence we find a far better average standard in CM, compared to HM, but a few stalwarts like Ravi Shankar, Ali Akbar who is globally known among the masses.
@@kkbhatta You make a good point about HM being better known outside India. But let us accept that it is due to circumstances more then anything else. First, it was violist Yehudi Menuhin who was exposed to Ali Akbar Khan and Ravi Shankar and became the ambassador to the West for Indian classical music. This was then followed by George Harrison and his association with Ravi Shankar. CM has not had this kind of exposure and association but I am sure this will come in time.
For the music learners , i suggest you to listen to these Ar Rahman songs to find the difference between hindustani and carnatic music Sunn bhavara - Hindustani Malargal ketten - Carnatic
You've really come a long way. There's not another person out there who is doing the things that you're doing. Very good that you're using technology to your advantage. I don't really sing but I play the guitar and one day maybe to explore Indian music, I will learn from you. Thanks, For what? For existing I guess....
No particular one is better.Each have its own beauty.If you start with carnatic you can easily learn hindustani as carnatic music is little tougher to learn
Very great video to explain the essential differences. 👏 👏👏. Two things however many Carnatic compositions also use sanskrit. Its important to note that. Second: while carnatic music belings to the bhakti tradition the equivalent to that in the north is Sufi music. Why that is not considered classical us another big question. But if we dont note that it may make someone think k only in the south people werw devotional. But i think these two points are very important as people just watch on internet and repeat. They may misinterpret your video.
Teacher, if I want to be a bollywood vocal artist(singer), what should I learn to build my music base?? Carnatic music or Hindustani music? Or something else? Please tell me kindly.🙂please help me. 🙂 
As a bansuri player, both meend and kampitam are both used interchangably during rendition. Especially, during the exploration of a raag, most bansuri player at the beginning of a rendition, float around some notes to place emphasis on the vadi and samvadi. However, before, I learned bansuri, I used to learn hindustani classical music from a Carnatic teacher so as a result, some Carnatic features were also taught. So, it might be a result of that.
Hello Madam This is Anand J R I came to know the difference between Hindustani & carnatic classical songs. First of all I would thank you for that, I'm interested in joining my daughter for carnatic classical songs learning. I stay close by to Vidyaranyapura, I'll be thankful to you if you can help me in this. Thank you once again
Mam using hindustani or Carnatic vocals we can sing english songs . Also because I always believe that for english songs western vocals are good . Mam if you know western singing please can you put a video . 🥺🥺🤗
A very good intro to the difference even if it is too brief. There are so many points to make, but I will just select 2 of what I feel are the most important. 1. "Shruthi suddham" or pitch accuracy. HM quire correctly places a lot of emphasis on the accuracy of the pitch. Students spend much of their formative training in making sure that the basic swaras are in tune. Carnatic musical training seems to be more in a hurry to "just get on with it" because there is so much to learn and just spending so much time on the shruthi basics might bore the student enough to give up. There are so many compositions, so many more ragas, so many more talas and so much more theory to learn. There are pluses and minuses to both approaches. For some (the minority) "shruthi suddham" comes naturally, seemingly without any effort. For the most, it has to be learnt through a lot of hard work and practice. For the latter, the HM method is preferable and one can say almost necessary. The result of all this is that in HM top stage performances, you will hardly find anybody going out of shruthi. In CM, there are many who are naturally gifted with shruthi who will also always be in shruthi control, but you will find some even among the top performers who occasionally stray. IN CM however, because of the far greater variety of ragas and compositions usually learnt, there is greater scope for musicians who don't quite reach the top. IN HM, either you reach the top or you are burst as a professional. 2. Creativity. It is common to hear that there is more creativity in HM than CM. But let us be realistic. Creativity is not something that can be called at will. Otherwise Beethoven would have written a lot more compositions! You have to be in the correct correct frame of mind, correct environment, correct mood. It cannot be forced. This why in many HM concerts, the artist seems very repetitive. There is much "sameness" in their approaches to different ragas. This is where CM scores. A highly creative musician who is in the mood that day can be as creative as he wants - CM allows this flexibility. For most musicians, creativity can last in bursts of a few minutes here and there during a performance. The rest of the time can be filled with the many majestic compositions. Rendering these compositions themselves can stimulate creativity and bring the creativity within the bounds of the compositions.
Thanks for the explanation. Can I improve my singing Hindi songs after doing carnatic music ,ofcourse, I can read and write Hindi fluently and an average singer of Hindi songs
A friend of mine who is trained Carnatic Singer had this to say as well. Carnatic music evolved in Temples where as Hindustani music evolved in the courts of Rajas and Sultans .
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.
Here in Karnataka, we love both carnatic as well as Hindustani music.
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
Maharashtra is probably the only state that follows both the Hindustani and Carnatic tradition of shastriya sangeet. Marathi as a language also has a huge pool of vocabulary to choose from, it can be from Sanskrit, can be from Kannada or it can be from Persian, so it’s a very friendly language for poets too.
India is the only country which has such a rich culture of music having 'Two Immortal Stream of Classical Music' i.e. 'Hindustani Shastriya Sangeet'(North Indian style) & 'Carnatic Sangeet'(South Indian style)....which reflects the Real Essence of India...I feel very proud to be Indian and a Student of Indian Classical Music as I am born & brought up in a Musical Family.....though I am trained in Hindustani......but I love Carnatic too and I am happy to learn it.....I love to sing songs in Different regional languages.. though my mother tongue is Marathi.....I would like to say that......Every Indian must l learn Indian Classical Music first whether Hindustani of Carnatic ....then other music like western or jazz etc......🎵🎵
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
@@rahul_rah12 Yeah ! Of course you could have study* 🎁
Hindustani is persian music which blended into sub continent
@@vishnumohan9384nope
Oh
Ma'am, I have been hearing hindustani music from last 7 years and have always wondered about Carnatic music and the difference between the two. This is a breathtaking attempt to answer my queries. Such videos should come much more in number.🙏
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?! 🙏
in short carnatic music still holds true to its vedic origins while hindustani music has a lot of persian , turkic and arabic influences on it and is secular in nature
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
Mem.. i m from Assam.. i clear my visharad in hindustani music.. and now I want to learn carnatic music...
Can you teach me
You should also add some historical context to the differences. Both systems emanated from the same origins but appears to have deviated around the 11th century, just when India was starting to be invaded by foreign forces. These invasions impacted North India a lot more than the South. In the North, almost all the temples were destroyed. These temples were not just places of worship but important centers for the arts. The lives and livelihoods of the usual patrons of the arts were destroyed. Many of the rulers of the invaders were against art forms such as music. Musicians had nowhere to go and had to closet themselves in close and hidden communities. This is what eventually led to the different gharanas. To earn a living as a musician, you had to please the ruling sultan and this invariably meant switching your religion, except during times of broad and open minded rulers such as Akhbar. So Hindustani musicians had a real tough time. Although some wonderful melodies were brought in from Persia and other places, Hindustani music was somewhat stifled with little opportunity to grow.
Contrast this what happened in the south. Yes, the South too underwent tough periods of conquest but generally these were pretty brief. As a result, the great temples, the center for development of so many arts, were largely left untouched. Many of them are still proudly standing today. Much of the time, pockets of the south, such as the Kaveri delta, were agriculturally very rich. Most had enough to eat and there was plenty of time to develop the creative arts, which was encouraged by many local patrons. There was a tremendous growth in compositions, theory and practice. In the 1500s, Purandaradasa, apart from being a prolific composer, laid out the structure for learning CM which is still in use. It was his student, Haridas who migrated to Varnasi and became Tansen's guru. Venkatamakhi and others in the 1600 laid out the melakarta raga classification system (it took another 300 years for HM to come up with a classification system that is still not as comprehensive as the melakarta scheme). This era was followed by a galaxy of composers, Tyagaraja, Dikshitar and Syama Shastry being among the most prolific. So in many ways, CM is much more developed than HM.
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 🙏❤️🇨🇦🇹🇼
as someone who is a fan of indian classical music but doesn't understand much about the theory, i appreciate this explanation. i was curious about this topic and you made it easy to understand :)
Same
Karnataka is the only state which fallows both the classical musics...
Father of Carnatic music (Karnataka shastriya Sangeeta) purandara dasa..
Only Hindustani musician to get Bharata ratna is also from the state of Karnataka (Bhimsen Joshi)
Kannada is the only language in which songs can be sang in both the classical music.
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?
It is wonderful that india has two systems of great shastriya Sangeet : Hindustani shastriya Sangeet of North India and Karnatik Shastriya Sangeetam of South India and produced great artists like bharat Ratna pundit bhimsen Joshi, bharat Ratna MS subbulakshmi, Sangeet martand pundit jasraj, Vidwan Balamuralikrishna, Pundit Ravishankar, etc... And many others... Pranams 🙏🙏🙏
Your videos are do clear and to the point! Thanks. - A music lover from Bangladesh living in Australia, with children learning Hindustani classical music and western classical music.
Don't you have any interest in Bengali folk music?
Prathiba you are an excellent Guru and Rasika. Kids who choose you as guru are fortunate. God Bless You. Your voice is unique.
Fascinating. I knew there were significant differences between North and South Indian music styles but wasn't aware of all the nuances. I guess this encompasses the non-vocal instrument performances as well.
You made my Indian culture subject easy and intresting. Thank you
This was brilliant. I think that instruments do play a major role also : harmonium and tabla for hindustani and violin and mridunga for carnatic right ?
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
Good info. Thanks.. Came here to know more about the difference to admit my 6 yr old into music classes🎉
Super explanation about Carnatic and Hindushtani especially Devotional
Excellent exposition. Very educative and very informative..
Dhrupad, from the Hindustani tradition, has a huge focus on spiritual compositions...
Mam, can u do a vid on differences between Carnatic and Odissi music?
As Odisha has recently filed a petition for recognition of Odissi music, which is different frm both Hindustani and Carnatic music, it has it's own ragas as well.
I am Latin American and I am learning Odissi dance so a video with those differnces would be great!!
Yes I agree!!
Yes
I have spent an enormous part of my life listening to the music of Mali, Bala Murali, MS Gopalakrishnan, Nedunuri, MS, Mandolin Srinivas et al before moving on to Bhimsen Joshi, Hari Prasad Chaurasia, Jasraj, Nikhil Banerjee, Amir Khan, Bismiallah Khan et al... I still love Carnatic music (CM), but...
1) Gamakam: I recently watched Dr. TS Saytavati's lecdem on "Musical Excellence in the compositions of Dikshitar" where she demonstrates that the beauty and genius of his compostions are influenced by the Hindustani style vilambit sancharas (meend?), lamenting at the excessive use of gamakas and speed in CM...
2) Language/compositions: If sahityam is so important in CM, why is that pronunciation, accent and articulation (of other languages) routinely sacrificed ?
3) Theme: Given the predominantly divine/devotional nature of compositions in CM, can an atheist be a true Carnatic musician/listener? I used to complain to my CM friend "there is only so much devotion I can muster"....
4) Carnatic music concerts: After listening to a month long Ram Navami series of CM concerts recently, I find technical gimmickry (gamackry, if I may say so), one-upmanship, speed take precedence over aesthetics and musicality...
Your thoughts?
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.
People say i am a great singer but ur videos shows me more of learning is done specially in carnatic form
4:18
“You should at least be comfortable enough to understand the gist of the compositions so that you can feel more connected to it and express the emotions appropriately.” 😂 True and hilarious! Great advice! Thank you wonderful, knowledgeable and proper instructor. ❤
👌👌👌Very good information about Carnatic music Hindustani music. Thanks.🙏
I love how enthusiastic Pratibha is about teaching this stuff. great lessons 👌
It was interesting to know this mam. I would urge you to make another video displaying the differences between Odissi music and Hindustani or Carnatic music. Odissi music has some very different ragas as well.
Hey Prathibha. This was brilliant. There are many videos on youtube that claim to tell the difference between both styles but they fail to tell the differences you site in these videos. Most of them concentrate on swara sthanas and basic differences like the language of the compositions. Your descriptions are good.
Now I have to go and find your classical music performances on TH-cam to continue listening to your intoxicating voice.
Very nice explanation. Was looking for a comprehensive crisp video like this before but then I slowly figures these points out by myself by watching many videos and articles. But still this is very nice.
Thank you so much, very informative,,video..
Maam Can you take a video of difference Between Carnatic and western????
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.
We want more videos about music knowledge.
Thank you! This was very helpful 😄
Very interesting, informative and worthwhile video. A must see video for everyone interested in world music.
indeed
Simple and yet beautifully explained.
Super madam..very simple and clear in presentation ❤❤❤
A very important point that she makes- when you learn learn the meaning of the song, you will be able to sing it well.
I would add that one should learn about the composer as well so one can bring out the right emotions.
Thank you as always for your great insights and perspectives of one of the most wonderful musical traditions ever!
Very good explanation!
This is so well explained. Thank you.
Madam I have grip of basic Brighaas. But could you please do a you tube on complex long Brighas and fast phrases. Thank you madam
Hariharan is a singer who has straddled both streams with elan..a trained Ghazal singer with equal mastery over Carnatic music. Likewise Shankar Mahadevan.
Shankar Mahadevan is only trained in Carnatic and He never trained hindustani...
The right way of writing Carnatic music is 'Karnataka classical music'. It is British who called it 'Carnatic music' as the English people use 'C' for every 'Ka' sounding words and we Indians use 'K' for all 'Ka' sounding words. And this type of classical music was mainly developed by Purandara Dāsaru during Vijayanagara empire. Original name of this empire was 'KARNATA EMPIRE' hence the name for music viz 'Karnataka Shastreeya Sangeeta- ಕರ್ಣಾಟಕ ಶಾಸ್ತ್ರೀಯ ಸಂಗೀತ. And Purandara Dāsaru is widely regarded as the Grand old father of Karnatic music. Most of his works are in Kannada and some are in Sanskrita. If anyone has to learn some ragas in Karnatic music and then one has to learn some Kannada musical works of Purandara Dāsaru which are basically designed and written for that by Him.
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.
I have started learning hindustani music recently. Could you please give tips and ways to improve musical knowledge and also to strengthen vocal fluency
This was very much informative and I was searching this defference between hind. And karn.music....thank you very very very very much 🙏
I'm urdu speaking guy and i used to listen Hindustani classical music since my childhood...but i find more variety in carnatic music.
Thank you Madam for this informative video. I have always wondered what the differences could be. Now you have clarified it. As I am student of flute, I observe that the Hindustani swara is one note lower than Carnatic. For example, the Sa in Hindustani is actually Kaishiki Nishadam of Carnatic (I am referring to the finger position). Is my observation correct?
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.
Wonderful! thank you for sharing your insights yet again!
Ati sundar. Dhanyavad mam
Scientific Expalanation. The best explanation so far
I would like to start, but maybe Hindustani. I don't speak hindi (I am from Spain) but I like very much the sound. Hindi... Punjabi... Can you help me to start to learn a simple song, please? They are so beautiful.
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
Simply soooperb short and sweet information about the both indian classical music forms 🙏🙏🙏
Good explanation, ma'am. I've noticed one thing... there are a few Carnatic singers who have learnt Hindustani music, but never come across a Hindustani music singer learning Carnatic music. (Enough to give a performance) What could be the reason? Just wondering...
It's a very interesting question. You'll hear a lot of Hindustani musicians in Carnatic sabhas but not the other way around. I've heard some disparaging remarks from Hindustani artists on this about the lack of focus on shruti shuddham in Carnatic due to its focus on gamaks, which may be true, but then Carnatic is also harder to learn because of that.
@@elborrador333 As a longtime student।of hindusthani classical music, I disagree that CM is harder to learn. In fact Hindustani is way more abstract and hence very hard to master.
@@kkbhatta That's true, probably a result of lower emphasis on composition. Carnatic is more structured for sure, but you'll need to memorize a lot more compositions, languages and usually more ragas than Hindustani. But still I think it'd be easier for a Carnatic musician to replicate a Hindustani phrase than vice versa if nothing else purely because there's often more "stuff" happening in Carnatic that you have to be attuned to.
@@elborrador333 yes agreed - in HM it's more like jazz, where there is a head tune and improvisation around it. Of course, within the framework of raga and tala. I feel the overall context of CM and HM are markedly different, in spite of their similarities. CM is far more institutionalized and tightly guarded and bound to a specific cultural context. My son is a Mridangam student. I find it's almost impossible for someone outside the culture to fully understand the context of CM. Hindusthani is far more dependent on an individual's accomplishment and personal expression. Hence we find a far better average standard in CM, compared to HM, but a few stalwarts like Ravi Shankar, Ali Akbar who is globally known among the masses.
@@kkbhatta You make a good point about HM being better known outside India. But let us accept that it is due to circumstances more then anything else. First, it was violist Yehudi Menuhin who was exposed to Ali Akbar Khan and Ravi Shankar and became the ambassador to the West for Indian classical music. This was then followed by George Harrison and his association with Ravi Shankar. CM has not had this kind of exposure and association but I am sure this will come in time.
Great video!
For the music learners , i suggest you to listen to these Ar Rahman songs to find the difference between hindustani and carnatic music
Sunn bhavara - Hindustani
Malargal ketten - Carnatic
Amazing suggestion!
Want to learn music but I am of 18yrs. Will I be able to sing?
I am 24 😢
You've really come a long way. There's not another person out there who is doing the things that you're doing. Very good that you're using technology to your advantage. I don't really sing but I play the guitar and one day maybe to explore Indian music, I will learn from you. Thanks, For what? For existing I guess....
lovely explanation. Short and sweet
Please do more vdeos on info hindustani music mam please🙏
I like your video , My daughter wants to learn vocal singing foundation course
Please try to show us more examples in the future, like making lists of songs that we can find here on TH-cam. Thanks for the video
Thankyou so much for the explanation❤
Which one is more good Or better. Carnatic or Hindustani.. Maam Plz let me know your opinion.
Hindustani...coz it's diverse coz of foreign influences..
No particular one is better.Each have its own beauty.If you start with carnatic you can easily learn hindustani as carnatic music is little tougher to learn
You hv through knowledge any Carnatic and Hindustani. You hv sweet voice sing so well. I am your online studen and great Fan.l
Very useful information...thank you.. wishes 🙏
Thank you for teaching. 🙏🪷
Very great video to explain the essential differences. 👏 👏👏. Two things however many Carnatic compositions also use sanskrit. Its important to note that. Second: while carnatic music belings to the bhakti tradition the equivalent to that in the north is Sufi music. Why that is not considered classical us another big question. But if we dont note that it may make someone think k only in the south people werw devotional. But i think these two points are very important as people just watch on internet and repeat. They may misinterpret your video.
Teacher, if I want to be a bollywood vocal artist(singer), what should I learn to build my music base?? Carnatic music or Hindustani music? Or something else? Please tell me kindly.🙂please help me. 🙂

As a bansuri player, both meend and kampitam are both used interchangably during rendition. Especially, during the exploration of a raag, most bansuri player at the beginning of a rendition, float around some notes to place emphasis on the vadi and samvadi. However, before, I learned bansuri, I used to learn hindustani classical music from a Carnatic teacher so as a result, some Carnatic features were also taught. So, it might be a result of that.
Коротко и по делу.информативно,спасибо
Make a video about Both classical and Western classical
Hello Madam
This is Anand J R I came to know the difference between Hindustani & carnatic classical songs. First of all I would thank you for that, I'm interested in joining my daughter for carnatic classical songs learning. I stay close by to Vidyaranyapura, I'll be thankful to you if you can help me in this. Thank you once again
Mam using hindustani or Carnatic vocals we can sing english songs . Also because I always believe that for english songs western vocals are good . Mam if you know western singing please can you put a video . 🥺🥺🤗
Thanks for the information guru 😌 namaskar
Thanks.Conveyed the differences clearly.
Very useful madam thank you.🙏
What an amazing Chanel, thank you very much ❤
Carnatic is best.....❤️
So divine......
saved my english presentation about indian music ❤
Helpful for us.Thank you mam.
I want to learn Carnatic music🙏🏻.. I am from Maharashtra... I love south indian music.. Ples reply
Please make a video on Odissi classical music as well...
Hindustani music is beautiful.😍 Karnatik music is Devine 😍❤️
Divine pakki
Beautifully explained
hey I am learning carnatic and got this question in my mind and it is answered correctly from you
A very good intro to the difference even if it is too brief. There are so many points to make, but I will just select 2 of what I feel are the most important.
1. "Shruthi suddham" or pitch accuracy. HM quire correctly places a lot of emphasis on the accuracy of the pitch. Students spend much of their formative training in making sure that the basic swaras are in tune. Carnatic musical training seems to be more in a hurry to "just get on with it" because there is so much to learn and just spending so much time on the shruthi basics might bore the student enough to give up. There are so many compositions, so many more ragas, so many more talas and so much more theory to learn. There are pluses and minuses to both approaches. For some (the minority) "shruthi suddham" comes naturally, seemingly without any effort. For the most, it has to be learnt through a lot of hard work and practice. For the latter, the HM method is preferable and one can say almost necessary. The result of all this is that in HM top stage performances, you will hardly find anybody going out of shruthi. In CM, there are many who are naturally gifted with shruthi who will also always be in shruthi control, but you will find some even among the top performers who occasionally stray. IN CM however, because of the far greater variety of ragas and compositions usually learnt, there is greater scope for musicians who don't quite reach the top. IN HM, either you reach the top or you are burst as a professional.
2. Creativity. It is common to hear that there is more creativity in HM than CM. But let us be realistic. Creativity is not something that can be called at will. Otherwise Beethoven would have written a lot more compositions! You have to be in the correct correct frame of mind, correct environment, correct mood. It cannot be forced. This why in many HM concerts, the artist seems very repetitive. There is much "sameness" in their approaches to different ragas. This is where CM scores. A highly creative musician who is in the mood that day can be as creative as he wants - CM allows this flexibility. For most musicians, creativity can last in bursts of a few minutes here and there during a performance. The rest of the time can be filled with the many majestic compositions. Rendering these compositions themselves can stimulate creativity and bring the creativity within the bounds of the compositions.
Excellent class
So helpful!!!
Yes. Want to learn
Mam, sorry to say this, many times I think that I don't want to say this, but my mind can't, So I AM LOVING YOU as per musically & educatedly.
Finally I got the platform with it I can join to learn music undoubtedly
very well explained!
I am looking for a Carnatic music teacher.. we are from north india, can we learn Carnatic music.
As it feels so good to listen Carnatic music
We would be happy to help you with your music training. Drop us a whatsapp at +91 7708555871 and we can discuss further! :-)
Wonderful tutorial. Thank you.
Thank you very much 🙏🏽Wonderful
You should have also mentioned about the odissi classical music of odisha
Very effective 🔥🙌
Thanks for the explanation. Can I improve my singing Hindi songs after doing carnatic music ,ofcourse, I can read and write Hindi fluently and an average singer of Hindi songs
Could you do a video about to give some tips for design a music class or a music school interior