History, origin and source of bas as Indian music

All the art forms in Indian culture, Indian classical music is assumed to be a divine art form that came from the Devas and Devis (Hindu Gods and Goddesses) and it is respected as  symbolic of nada brahman. The ancient treaties also mentioned connection of the origin of the swaras, or notes, to the sound of animals and birds and human’s effort to simulate these sounds through a strong sense of observation and insight. The Sama Veda, which thought to have laid the beginning for India classical music, consists of hymns from the Rigveda, set to musical tunes which are normally sung by using the three to seven musical notes during Vedic yajnas. The Yajur Veda, mostly consisting of the sacrificial method lists the veena as an accompaniment to vocal recitations. The orientations to India classical music are created in several ancient texts that include the epics like the Ramayana and Mahabharata. The Yajnavalkya Smriti mentions vinavadana tattvajnad srutijativisaradah talajnascaprayasena moksamargam niyacchati (the one who is well experienced in veena, one who has the knowledge of srutis and one who is skilful in tala, attains salvation without doubt). The Carnatic music is based on musical concepts (which include the swara, raga and the tala) that were mentioned in detail in many ancient works, particularly the Silappadhikaram by IIango Adigal and the Bharaata’s Natya Shastra.

Due to the Persian and Islamic influences in the North India from the 12^th century onwards, Indian classical music started to separate into two different styles, being Hindustani music and Carnatic music.

Observations and others works like the Sharngadeva’s Sangita Ratnakara, further explained the musical concept found in Indian classical music. In the 16^th and 17^th centuries, there were clear separation between Carnatic and Hindustani music; the Carnatic music remained relatively genuine with Persian and Arabic influences. It was at that time the Carnatic music curl in Thanjabur, while the Vijayan Empire has the greatest extent. The Purandara Dasa who is recognized as the father (Pitamaha) of Carnatic music, provided the system that is commonly used for the teaching of Cranatic music. The Ventataamakhin created and wrote the method for the melakarta system of raga classification in his Sanskrit work, the Chaturdandi Prrakasika in 1660 AD. Govindacharya is recognized for expanding the melakarta ystem into the sampoorna raga scheme which the system that is commonly used today.

Carnatic music was mostly supported by the local kings of the Kingdom of Mysore and Kingdom of Travancore in the 18^th and 20^th centuries. The royalty of the kingdoms of Mysore and Travancore were stated composers and talent in playing musical instruments like the veena, rudra veena, violin, ghatam, flute, mridangam, nagawara and swarabhat. Some of the well-known court-musicians and royalty talents in music were Veena Sheshanna in 1852 to 1926 and Veene Subbanna in 1861 to 1939 among others.

With the dissolution of the former generous state and the Indian independence movement reaching its conclusion in 1947, Carnatic music went across a radical shift in support of an art for the masses with ticketed performance organized by the private institutions known as the sabhas. At the time of 19^th century, the city of Chennai (then called as Madras) appeared as the locus for Carnatic music.