Inde du Sud : Padam, le chant de Tanjore

Carnatic classical (Karnāṭaka saṅgīta) is the South Indian tradition of art music, centered in the Dravidian cultural regions of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu, and Telangana. It is a raga–tala system: melody is organized by rāga (a melodic framework with characteristic phrases and ornamentation called gamaka) and rhythm is organized by tāla (cyclic meters with intricate subdivisions). The repertoire is strongly devotional, with the vast majority of canonical compositions (kritis/keerthanas and varnams) in Telugu and Sanskrit, alongside important works in Tamil and Kannada. Performance is voice-led (even in instrumental music), with a kutcheri (concert) format that balances composed items and improvisation: ālāpana (unmetered raga exploration), niraval (melodic–lyric expansion), kalpana swaras (solfège improvisation), and the climactic rāgam–tānam–pallavi. Core timbres include tambura (drone), violin or veena for melody, and mridangam, ghatam, kanjira, and morsing for percussion. Compared to North India’s Hindustani music, Carnatic music retained a more continuous temple and bhakti (devotional) lineage and less Persian/Islamicate influence, yielding dense gamaka, brisk development, and highly codified rhythmic arithmetic.

Indian classical music (Shastriya Sangeet / Mārga Sangeet) is the art-music tradition of the Indian subcontinent, organized around melodic frameworks called raga and cyclical meters called tala. It has two major streams: Hindustani music in the North, which foregrounds extended improvisation and raga exploration, and Carnatic music in the South, which is composition-centric with structured but highly sophisticated improvisation. A related eastern tradition is Odissi (from present-day Odisha), whose classical lineage spans roughly two millennia. Despite regional distinctions, these systems share common theoretical roots, performance aesthetics, and a spiritual-philosophical view of music as a vehicle for rasa (embodied aesthetic emotion).