Question

Briefly explain the structure of musical form Kriti

Answer 1

Conventional Kritis typically contain three parts

1. Pallavi, the equivalent of a refrain in Western music

2. Anupallavi, the second verse, which is sometimes optional

3. Charanam, the final (and longest) verse that wraps up the song

The charanam usually borrows patterns from the anupallavi. The charanam's last line usually contains the composer's signature, or mudra, with which the composer leaves their mark.

Answer 2

Carnatic music

Kriti (Sanskrit: कृति, krti) is a format of musical composition typical to Carnatic music. Kritis form the mental backbone of any typical Carnatic music concert and is the longer format of Carnatic song. "Kriti" also means Creation.

Contents

1 Structure

2 Variations

3 References

4 External links

Structure

Conventional Kritis typically contain three parts

Pallavi, the equivalent of a refrain in Western music

Anupallavi, the second verse, which is sometimes optional

Charanam, the final (and longest) verse that wraps up the song

The charanam usually borrows patterns from the anupallavi. The charanam's last line usually contains the composer's signature, or mudra, with which the composer leaves their mark.

Variations

Some Kritis have a verse between the anupallavi and the charaṇam, called the chiṭṭaswara. This verse consists only of notes, and has no words. Other krithis, particularly some of Oottukkadu Venkata Kavi and Muthuswami Dikshitar's compositions, are intentionally composed without an annupallavi, where the verse after the pallavi is called the samashti charanam. Still others have some more sāhityā at the end of the charaṇam, set in madhyamakāla (few lines within a song that are sung faster than the rest of it).[1]

There are krithi's, such as Thyagaraja's Enduku Nirdhaya that have no annupallavi but many short charanams. Often, the artists take up certain lines of a Krithi for neraval. One of the greatest explorers of the krti form was Oottukkadu Venkata Kavi (1700-65), who has created numerous varieties within this form, often with innovations in contrasting speeds, gaits (gatis) and lyrical variation (sahitya-sangatis), sectional partitioning and singular blending of rhythmic syllables and lyrics.