The Krti in Karnatak Music

This book analyses the Krti – one the most significant and enduring forms in Karnatak Music. The sub-title of the book is a reminder that the Krti from is a flowering of Indian samskrti (cultural tradition).

This book is for those who seek to understand the Krti which is central in South Indian music concerts. It explains the purpose and scope of this musical form. The krti from is intensely classical and the words project traditional images and values in a poignant fashion. The krti tradition is a fusion of the best in classical music and in language.

A krti is enjoyed for its raga, bhava (intensity of expression) and its words which are highlighted. We are indebted to our vaggeyakaras (composers) for the krti heritage they have lelf for us. The krti tradition is only about 250 years old, but it has established itself firmly in the field of classical music. Since it is a form liked and encouraged by the music loving public, it enjoys prime place in concerts.

The first chapter looks at the ‘name’ of this musical form. A ‘Krti’ means “that which is made.” It is a name suited to the nature of the krti which is the most flexible among precomposed forms in Karnatak music. It can accommodate changes in the future and would still be a ‘krti’ a readymade musical item, with certain distinct features.

The second chapter looks at the ‘structure’ of a krti in detail. Its essential features and other optional decorative angas (limbs) are enumerated.

The third chapter is a comparison between ‘krti and other musical forms’ in Karanatak music

The fourth chapter inspects ‘raga portrayal’ in krtis. A krti helps in preserving the ‘best features of the rage’ for posterity. It is not preserved like a dead specimen in a bottle, but in a dynamic vital form responding sensitively to changing perceptions in a bottle, but in a dynamic vital form responding sensitively to changing perceptions of each raga. Raga in a krti has to adjust to the requirements of tala and words. It has to express the meaning of the lyric and the mood of the composer.

The fifth chapter is on the ‘languages’ used in krtis. Krti brings together Samskrti and all the four major South Indian languages on one platform. Even Hindi was set in Karnatak rages by Swati Tirunal. Scenes form mythology and the nama (names of the divine) are cultural archetypes. They have the patina of the ancient and make krtis rich with their images.