Josh Stovall

MHL 140
Bernary Paragraphs
3 September 2014

Karnatak Music: Improvisation from Saints

For many centuries, Karnatak music has been the most prominent type of music found
throughout southern India. Its most stressed qualities include exceptional skill, strong reputation,
and most importantly, a devotion to god through each musicians approach to music (Benary
1972: 47). In India, religion and music go hand in hand; all Karnatak pieces are forms of
religious expression, created to spread to word of the peoples religion (Benary 1972: 43). It is
even believed that the finest Kartantak composers throughout time are as strong, if not stronger,
as a religious force then the deities whom their compositions praise (Benary 1972: 45). I
believe that the concept of Karnatak composition illustrates that the culture in southern India is
incredibly devoted to their religion through everything they do. Karnatak composers receive
their inspiration from a great variety of places. Throughout history, composers usually receive
their income through being commissioned to write pieces for kings and wealthy non-royal
patrons. Many of these patrons expected composers to write songs in their honor, however most
composers would never praise royalty above their god (Benary 1972: 47). Since most Karnatak
songs are forms of prayer, almost all composers would get their inspiration from religious stories
and scripture; some even claim that god provides them with the first few lines for their songs
(Benary 1972: 45).
Karnatic compositions form a central musical core around which various kinds of
improvisation are woven (Benary 1972: 42). The copious use improvisation is what differs
classical Karnatak music from the typical western classical concept. In Karnatak music, a thin
line exists between composition and improvisation. When performing western classical music,
most groups will aim to play a piece exactly how the composer imagined. On the other hand, in
Karnatak music, the very structure of compositions actually promotes improvisation by
providing composed variations of melodies, to encourage the player to create their own
adaptation. In addition, the notational system use in Karnatak music does not include much
ornamentation, leaving a great deal of room for improvisation (Benary 1972: 48). In Karnatak
music, a composers work has very little impact on an actual performance when compared to
Western music. When performing Karnatak music, every musician has license to become a
composer himself, and to bring the traditional composition to life as he sees fit (Benary 1972:
49).

Works Cited

Benary, Barbara
1972 Composers and Tradition in Karnatic Music. Asian Music 3(2):4251.