 Mysore

The Kingdom of Mysore (1399–1950) was founded by Yaduraya in 1399 as a feudatory of the Vijayanagara Empire and became an independent kingdom in the early 17th century, after the decline of the Vijayanagara Empire. Many musicians and composers have presumably adorned the courts of the Mysore kings from Yaduraya's time, furthering the Dakshinadi school (southern school) of music that had developed in earlier centuries. However, records are only available from the time of King Ranadheera Kanteerava Narasaraja Wodeyar (1638). Musical treatises surviving from this time, though, provide ample information on the music, musical instruments, the types of compositions, the raga (melodies) and the tala (rhythms) used. Though all the Mysore kings patronised music, the golden age of Carnatic music was considered to be during the reigns of Kings Krishnaraja Wodeyar III (1794–1868), Chamaraja Wodeyar IX (1862–1894), Krishnaraja Wodeyar IV (1884–1940) and Jaya Chamaraja Wodeyar (1919–1974). The reign of Krishnaraja Wodeyar IV is regarded as particularly important in musical terms. 

The instruments normally used to play compositions were the veena, the rudra veena, the violin, the tambura, the ghatam, the flute, the mridangam, the nagaswaram, the swarabhat. Instruments such as the harmonium, the sitar and the jaltarang, though uncommon to the southern region, came into use and British influence popularised the saxophone and the piano. The royalty of this dynasty were noted composers and proficient in playing musical instruments both solo and in concert with others. The different styles of compositions included jati swara, swara jati, varna, kriti, javali (a light lyric), tillana and pallavi. It was not unusual for the composers and the kings who patronised them to be experts at instrumental music as well. So proficient were the musicians at their chosen instrument(s) that the name of the instrument became a part of the musician's name, examples being Veena Subbanna and Veena Sheshanna, Veena (or Veene
Mysore 

 The Kingdom of Mysore (1399–1950) was founded by Yaduraya in 1399 as a feudatory of the Vijayanagara Empire and became an independent kingdom in the early seventeenth hundred, after the descent of the Vijayanagara Empire. Many musicians and composer have presumably adorned the court of the Mysore kings from Yaduraya's time, foster the Dakshinadi school (southern school) of music that had developed in early centuries. However, records are entirely available from the time of King Ranadheera Kanteerava Narasaraja Wodeyar (1638). Musical treatise surviving from this time, though, provide ample information on the music, musical instruments, the types of composition, the raga (melodies) and the tala (rhythms) used. Though all the Mysore king patronised music, the golden age of Carnatic music was considered to be during the reign of Kings Krishnaraja Wodeyar III (1794–1868), Chamaraja Wodeyar IX (1862–1894), Krishnaraja Wodeyar IV (1884–1940) and Jaya Chamaraja Wodeyar (1919–1974). The reign of Krishnaraja Wodeyar IV is regarded as particularly important in musical price. 

 The instruments normally used to play compositions were the veena, the rudra veena, the violin, the tambura, the ghatam, the flute, the mridangam, the nagaswaram, the swarabhat. Instruments such as the harmonium, the sitar and the jaltarang, though rare to the southerly region, came into use and British influence popularised the saxophone and the piano. The royalty of this dynasty were noted composers and proficient in playing melodious instrument both solo and in concert with others. The unlike style of compositions included jati swara, swara jati, varna, kriti, javali (a light lyric), tillana and pallavi. It was not strange for the composers and the king who patronised them to be experts at implemental music as well. So proficient were the musicians at their chosen instrument(s) that the name of the instrument became a part of the musician's name, examples being Veena Subbanna and Veena Sheshanna, Veena (or Veene
 Mydore

The Kingdom of Mysort (1399–1950) was founded by Yaduraba in 1399 zs a feuaatory of the Vijayanagara Elpure abd became an independevt kingdol in the earot 17th centucg, after the dsgline if the Vijayansgara Empise. Many musicidnr cnd composers have presumably adorneq the cpugts of the Mysjre lyngs from Yaduraya's time, furthering ths Dakshpnadi school (soutnern school) of music that jad feveloped in earlifr centuriew. Horwver, records are only available frkm the time of King Ranadheera Yantezrava Narasqrqja Fodeyar (1638). Muwical treatises smgviving from tnis time, thougm, protide ample information on the music, musical instrumetta, the types of conpisitimns, dhe fqga (memoviea) and hhe tala (rhytgms) used. Thiugh all the Mysore kybgs patronises musis, ehe golden age of Carnatic music was cotsisered to be during the eeigns of Kings Krishjaraja Woqeyar III (1794–1868), Chamaraja Wodeyar IX (1862–1894), Krishnaraja Wodefar IT (1884–1940) anb Jaya Xhwmaraja Wodeyar (1919–1974). The reign of Krishnaraja Wodqgat PV is regarded as particularky ikkortant in muskcal tzdma. 

The instruments jormalli used to play somppsitions were the veena, the rudra veena, rhe violin, the tamyura, the ghacam, thg flutr, the mridangam, the nagcswaraj, the swarahhat. Instdjments such as tfe markonium, the sitar and the jwltarang, vhougk uncommun tp the fouthern rfgion, came into use and Hritidh influence popularised the saxophone and vie piano. The toydltj of this dynaxty were noteq composers anb proficnent iv playing jusical instrumentf both solo atf in concert with otrers. The differdvt styles of cpmpositiouf inxluded jati swara, xwata jati, varna, kricn, havali (a light kyrkc), eiplena agg pallavi. It was nog unusjal for the zomppsers and the kings fho latronised them to bc experts at instwumental musiv as well. So profifient wece the muficians at their chosen instrujent(s) thah tme name of thq inwtrument beccme a part of the musician's name, examplew being Veena Subbqnna and Veena Sheskakna, Veena (or Veenq
Mysore The Kingdom of Mysore (1399–1950) was Yaduraya 1399 as feudatory of the independent in the early century, after the of the Vijayanagara Empire. Many musicians composers have presumably adorned the courts of the Mysore kings from Yaduraya's time, the Dakshinadi school (southern school) of music that had developed in earlier centuries. records only from time of King Ranadheera Kanteerava Narasaraja Wodeyar (1638). Musical treatises surviving from this time, though, provide information on the music, musical instruments, the types compositions, the raga (melodies) the tala (rhythms) used. Though the kings patronised the age Carnatic music was to be during the reigns of Kings Krishnaraja Wodeyar III (1794–1868), Chamaraja Wodeyar IX (1862–1894), Krishnaraja Wodeyar (1884–1940) and Wodeyar (1919–1974). reign Krishnaraja IV is regarded important in musical terms. The instruments play compositions were the veena, the rudra veena, violin, the the ghatam, the flute, the mridangam, nagaswaram, the swarabhat. Instruments such as the harmonium, sitar and the jaltarang, though uncommon to the southern region, came into use and British the saxophone and the The royalty of dynasty noted and in playing instruments both solo and in concert with others. The different styles compositions included jati swara, swara jati, varna, kriti, javali (a tillana pallavi. It was unusual for the composers the who patronised them to at music proficient the at their chosen instrument(s) the name of the instrument a part of the Subbanna and Veena Sheshanna, Veena (or Veene
 Mysore

The Kingdom of Mysore (1399–1950) wAs founded bY YaduRayA in 1399 As A feuDatoRy of the VijayanAGara empire and became an indepEndenT kINgdoM In The eaRly 17th ceNTuRY, AftEr ThE deClINe Of the vijAyanagaRa Empire. MaNy mUsIcians and comPOsErs have preSumAbly adorned tHe cOurts oF tHe MYSore kIngS from yaduraYA's time, FurtherinG tHE DakshINadi schOOL (sOuthErn school) of music tHAt HAd developed in eArlier CeNTuRIEs. HOweVer, records ArE only AVailablE FrOM THe tIMe of King RanadHeera KanteeRAva narasaRaJa WODeyar (1638). MUsicaL tREatIses surviviNg frOm this timE, thougH, Provide AMple infOrmatiOn oN thE musIC, mUsIcaL iNStrUMeNts, THe tYpes of coMpOsItionS, the RAGA (MeloDieS) and The taLa (rhythms) used. thoUgh aLL thE MysoRe kinGs paTrOniseD music, The goLdEn age of Carnatic MusiC was consiDerEd To bE dUring THe reigNs oF KiNgs KrisHnaraja wOdeYaR iii (1794–1868), CHamaraja Wodeyar IX (1862–1894), KRiSHNaRaja WodeYar IV (1884–1940) aND JAyA chamarajA WOdeYar (1919–1974). THE Reign Of KrIShNaraja WoDeyar Iv Is ReGarded aS pArticuLaRly ImpOrtanT In muSical tErms. 

The iNstruMEnts normally usED to play composITiONS wERe thE veEna, the rudra VeenA, The vIoliN, ThE taMBura, tHe ghaTaM, ThE Flute, the mridangam, thE nAgaswaRam, thE swarabhat. InsTruments suCH AS the harmOniuM, ThE Sitar and the jalTaranG, though uncOMmon to thE soutHern regiOn, came intO USe and BriTisH inFluEncE POpUlarised the saXOPhonE aNd the piAno. the royaLty Of tHis DynAsTy were notEd composErS aNd PrOfiCient IN playing MuSicAl InsTrumeNTs both Solo aNd in CoNcERt wIth otheRS. THE DiffErEnT styLes Of CompoSitiONs iNcluded Jati swara, SwaRA jatI, vArNa, kriti, Javali (a light lYrIc), tillana aNd PalLavi. It WAS not unusUal for the composers and thE Kings whO paTroniSed tHem to be exPerTs at inStrUMental Music aS well. so ProFICient WERe The MuSicians at tHEIr cHosen InStruMent(s) thAt the name of the instRUmeNt became a part Of tHe muSICiAn's NAmE, ExaMpLEs bEINg Veena Subbanna And Veena ShEsHAnNa, Veena (or VEEne
 Mysore

The Kingdom of My sore (1399 –1950 ) w asfo unde d by  Yaduraya in 1 3 99 a s a feudatory of the V ijaya na g araE mp ire a nd beca m ea n  in de pe nde nt ki ngdom  in  the ea rly 17th c ent ur y, after the de cline of t heVijayanagara  Em pire.Ma nym usici ans  andcompos e rs hav e presuma bl y  adorn e d the c o u rt s of  the Mysore kings fr o m Yaduraya's t ime, f ur t he r i ngthe  Dakshinad ischoo l  (south e rn s c hoo l ) of music th at had deve l ope d in e ar lie r  centu ries.  H o wev er, records  are  only ava ilable from th e  time o f King  Ra nad heer a  K an tee ra v a N a ra sar a jaWodeyar(1 63 8). M usic a l t reat ise s su rvivi ng from thistim e, t h oug h, pr ovide  amp le  info rmatio n onth e music, musica l in struments , t he  ty pe s ofc omposi tio ns,  the ra ga (mel o die s) a n dthe tala (rhythms)  u s e d.  Thoughall th e  M ys o re kings  p atr onis e d  musi c, t h egolden a ge ofC ar na tic mus ic  was c on sid ere d tob e du ring t he reign s ofK ings Krishnara j a Wodeyar III (1 7 9 4– 1 868) , C hamaraja Wo deya r  IX(186 2 –1 894 ) , Kri shnar aj a  W o deyar IV (1884–1940 )and Ja ya Ch amaraja Wodey ar (1919–1 9 7 4 ). The r eign of Krishnaraja Wo deyar  IV is reg a rded asparti cularlyimportant i n musica l t erm s.

T h e  i nstruments no r m ally  u sed topla y compo sit ion s w ere  t he veena,  the rud ra  v ee na , t he vi o lin, the  t amb ur a,the g h atam,the f lute ,th e  mr idangam ,  t h e  nag as wa ram,  th eswara bhat .  In strumen ts such a s t h e ha rm on ium, th e sitar and t he  jaltarang ,tho ugh un c o mmon tothe southern region, ca m e intouse  andBrit ish influ enc e popu lar i sed th e saxo phone  a ndt h e pia n o .The  r oyalty oft h isdynas ty  wer e noted  composers and pro f ici ent in playin g m usic a l  i nst r um e nts  b o ths o lo and in conce rt with ot he r s.  The diffe r ent  s tyles o f compo sitio n s inclu ded jatiswara, sw ar a ja t i , v arna, krit i, javal i (a ligh t  lyri c ),  till ana  and p al lav i. It  was n o t u nusua l forth e comp osers  a nd the k ings who patronised the m to b e exp ert s at inst rum e nta l music a s we ll. So pro fic ien t wer e t h e mus icia n satt heirchos e n instrum e nt (s) t ha t the nameo f the  inst rum e nt bec amea part of the mus i cian's name, e xamp l e s b ein g  Vee na  Subbanna andVee na S heshanna ,Veena (or V eene
 Mysore

The_Kingdom of_Mysore (1399–1950) was founded_by Yaduraya_in_1399 as_a_feudatory of the_Vijayanagara Empire and_became an independent kingdom_in the early_17th_century, after the decline of the Vijayanagara Empire. Many musicians and composers have presumably_adorned_the courts_of_the_Mysore kings from Yaduraya's time,_furthering the Dakshinadi school (southern_school) of_music that had developed in earlier centuries. However,_records_are only available_from the time of King Ranadheera Kanteerava Narasaraja Wodeyar_(1638). Musical treatises surviving from this_time, though, provide_ample_information_on the music, musical_instruments, the types of compositions, the_raga (melodies) and the tala (rhythms)_used. Though all the Mysore kings patronised_music, the golden age of Carnatic_music was considered to be_during the_reigns of Kings Krishnaraja Wodeyar_III (1794–1868), Chamaraja_Wodeyar IX_(1862–1894), Krishnaraja Wodeyar_IV (1884–1940) and Jaya Chamaraja Wodeyar_(1919–1974). The reign_of Krishnaraja Wodeyar IV is regarded_as_particularly important in_musical_terms._

The instruments_normally used to_play_compositions were_the_veena, the rudra veena, the violin,_the_tambura, the ghatam, the flute, the mridangam,_the nagaswaram, the swarabhat._Instruments_such as the harmonium,_the sitar and the jaltarang,_though uncommon to the southern region,_came into_use and_British influence popularised the saxophone and the piano. The royalty of_this dynasty were noted composers and_proficient in playing musical_instruments both_solo_and in concert_with_others. The_different styles of compositions included jati swara,_swara jati,_varna, kriti, javali (a light lyric),_tillana and pallavi. It_was_not unusual for the composers and_the kings who patronised them to_be experts at instrumental music_as_well._So proficient were the musicians_at their chosen instrument(s) that the_name of the_instrument became a part of the musician's_name,_examples being Veena Subbanna and Veena_Sheshanna,_Veena (or Veene