...that Indian music, like Scottish and Irish music is modal and harmonic. ...During a performance it is this mood, colour or passion which the musician tries to evoke and explore, and according to ancient theory his task is made easier if the performance takes place at the time and in the ambiance proper to the raga.
The identity of any dance is incomplete without the music that accompanies it. The unique raga tala pattern of Sattriya music, the two categories of Sattriya vocal (raga based and light ), variations of presentation for different occasions at different sattras, musical instruments, as also unique features such as Gayan Bayan who sing, dance and initiate a traditional Sattriya performance.Chitra Visweswaran in "Dance as a daily offering."
Classical Carnatic music is but the continuance of ancient Indian music as it was prior to the advent of Persian influence and the attendant evolution of the Hindustani style. The Tamil areas in the South had from pre-historic times a well-developed, scientific, distinct style known as Pann. The Indian (later called the 'Carnatic' from the days of the work Manasollasa) and the Tamil Pann had coalesced invisibly during the middle ages and presently the South has the Carnatic music and the North has the Hindustani music - of course, both raga -based with common and distinct features.N. Rajagopalan, in "Another Garland (Biographical Dictionary of Carnatic Composers & Musicians) (Book II)", in Preface
Other forms include the Varnam, a completely composed piece, designed to show a raga in all its pristine purity. Pada and Javali are two kinds of love-songs depicting poetic imagery characteristic of the Bhakthi movement. The Tillana is rhythmic and is in very fast tempo.Vijaya Moorthy, in "Romance of the Raga", P.66
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