The origins of Indian classical music can be found from the oldest of scriptures, part of the Hindu tradition, the Vedas. It is also significantly influenced by Persian music.

The Samaveda, one of the four Vedas, describes music at length. The Samaveda was created out of Rigveda so that its hymns could be sung as Samagana; this style evolved into jatis and eventually into ragas. Indian classical music has its origins as a meditation tool for attaining self realization. All different forms of these melodies (ragas) are believed to affect various “chakras” (energy centers, or “moods”) in the path of the Kundalini. However, there is little mention of these esoteric beliefs in Bharat’s Natyashastra, the first treatise laying down the fundamental principles of drama, dance and music.

Indian classical music has the most complex and complete musical systems ever developed. Like Western classical music, it divides the octave into 12 semitones of which the 7 basic notes are Sa Re Ga Ma Pa Dha Ni Sa, in order, replacing Do Re Mi Fa So La Ti Do. However, it uses the just intonation tuning (unlike most modern Western classical music which uses the equal temperament tuning system).

Indian classical music is monophonic in nature and based around a single melody line which is played over a fixed drone. The performance is based melodically on particular ragas and rhythmically on talas.

The Main genres of Indian Classical Music are Hindustani classical music ( originally from North India) & Carnatic music (Originally from South India)

In Hindustani music, the performance usually begins with a slow elaboration of the raga, known as alap. This can range from long (30-40 minutes) to very short (2-3 minutes) depending on the style and preference of the musician. Once the raga is established, the ornamentation around the mode begins to become rhythmical, gradually speeding up. This section is called the drut or jor. Finally, the percussionist joins in and the tala is introduced. Instruments typically used in Hindustani music include the sitar, sarod, tanpura, bansuri, shehnai, sarangi and tabla.The prime themes of Hindustani music are romantic love, nature, and devotionals.

Carnatic music tends to be significantly more structured than Hindustani music; examples of this are the logical classification of ragas into melakarthas, and the use of fixed compositions similar to Western classical music. Carnatic raga elaborations are generally much faster in tempo and shorter than their equivalents in Hindustani music. The opening piece is called a varnam, and is a warm-up for the musicians. A devotion and a request for a blessing follows, then a series of interchanges between ragams (unmetered melody) and thaalams (the ornamentation, equivalent to the jor). This is intermixed with hymns called krithis. This is followed by the pallavi or theme from the raga.Instruments typically used in Carnatic music include venu, gottuvadyam, veena, mridangam, kanjira, ghatam and violin.

Indian classical music has given wonderful musicians to the world. Notable vocalists include Kesarbai Kerkar, Roshanara Begum, Subbulakshmi, G. N. Balasubramaniam, Balamuralikrishna, Ariyakudi Ramanuja Iyengar, Vishnu Digambar Paluskar, D. V. Paluskar, Abdul Karim Khan, Abdul Waheed Khan, Faiyaz Khan, Amir Khan, Bade Ghulam Ali Khan, Kumar Gandharva, Omkarnath Thakur, Narayanrao Vyas, Mallikarjun Mansur, Nazakat and Salamat Ali Khan, pandit Bhimsen Joshi, Mogubai Kurdikar, Kishori Amonkar, Ulhas Kashalkar and Rashid Khan.

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