Study Guide · Chapter 4
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Comparative Table: Hindustani vs Carnatic Music
| Feature | Hindustani | Carnatic |
|---|---|---|
| Region | North India | South India |
| Key influence | Persian/Mughal court culture | Sanskritic/Dravidian devotional tradition |
| Dominant vocal form | Khayal | Kriti |
| Organising principle | Gharana (lineage/school) | Composer-centred (Trinity's compositions) |
| Improvisation | Greater emphasis on extended improvisation (alap, taan) | More composition-bound, though improvisation (manodharma) also present |
| Iconic instrument | Sitar, Sarod, Tabla | Veena, Mridangam, Nadaswaram |
| Notable pioneer/globaliser | Ravi Shankar (sitar) | M.S. Subbulakshmi (vocal) |
Instruments of Indian Classical Music
| Instrument | Type | Associated Tradition |
|---|---|---|
| Sitar | Plucked string | Hindustani |
| Sarod | Plucked string | Hindustani |
| Veena | Plucked string | Carnatic |
| Santoor | Struck string (hammered) | Hindustani (Kashmiri origin) |
| Sarangi | Bowed string | Hindustani |
| Violin | Bowed string | Carnatic (adapted) |
| Tabla | Percussion (pair of drums) | Hindustani |
| Mridangam | Percussion | Carnatic |
| Pakhawaj | Percussion | Hindustani/Dhrupad |
| Tanpura | Drone string instrument | Both |
| Shehnai | Wind (reed) | Hindustani, auspicious occasions |
| Nadaswaram | Wind (reed) | Carnatic, temple/wedding music |
| Bansuri | Wind (flute) | Hindustani |
| Ghatam | Percussion (clay pot) | Carnatic |
| Kanjira | Percussion (frame drum) | Carnatic |
Bharat Ratna Recipients from the Music World
| Recipient | Field | Year |
|---|---|---|
| M.S. Subbulakshmi | Carnatic vocal | 1998 |
| Pandit Ravi Shankar | Sitar (Hindustani) | 1999 |
| Ustad Bismillah Khan | Shehnai (Hindustani) | 2001 |
| Bhimsen Joshi | Hindustani vocal | 2008 |
| Lata Mangeshkar | Playback singing | 2001 |
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