Shatavadhani Dr R Ganesh
Karnatic
- Enchanting, Sensitive, Gamaka oriented and packed to perfection
- Voice sincerity is built
- Purity of Indian Music is more secured
- Can be weighty at times
Hindustani
- Intellectual, Emotional and unfolds with imagination
- Voice sincerity is inborn
- External influence is more
- Calm and captivating
Sangeetha Kalaratna R. K. Srikantan
Hindustani
- Shruti and Voice Culture confers beauty
- Raga’s always begin with base(vilambith) and then flow to dhruth which is beauty of Hindustani
- Limited Sahitya
Karnatic
- Sahitya oriented
- Prominance to Laya and Tala
- Manodharma Sangeeta (creativity and improvisation), Swarakalpane and Neraval is most beautiful
- Tala pradhan, Kriti pradhan and Swara pradhan
- Rendering of Raga with base is considered secondary
- An expert in Karnatic music can sing any style of classical music
Pandit Vinayak Turvi
Hindustani
- Importance to Sur, Tal and Lay
- Bhava oriented
- Lyrics limited to increase the Bhava
- Involvement to the singer elevates the audience to a different world
- Teaching system in Hindustani not defined
Karnatic
- Importance given to calculations
- Heard more in Karnataka, Kerala & Tamil Nadu
- Proper teaching method followed
- Practicing system is very good
Ubhayagana Vidushi Shyamala G Bhave
Hindustani
- Sur pradhan and Raga pradhan
- An emotional approach while singing
- Rasa evolves with rendering of Raga’s
- Limited lyrics but based on sringara, nature, family, moral values…
- Meend based
- Presents Raga style pragmatically
Karnatic
- Very conservative, creativity is critically evaluated
- Grammatically defined and easy tools to teach
- Sahitya is supreme but spirituality based
- Gamaka based
Vidwan R. K. Padmanabha
Hindustani
- Alignment of voice in alapana starting with base (Vilambit) is good
- Timely sung raga is not necessary as ragas create atmosphere by themselves and can be sung at any time.
Karnatic
- Feelings earmarked in the form of sahitya
- Kriti’s are basic references & treasures of Karnatic music
- Variety seen as all South Indian Languages used
- Freedom in Raga’s but no creativity in rendition of Kritis
- Raga Prasthara, Swara Prasthara and Thana Prasthara are unique
- Liberty of adopting other styles of music in a proper way
Parameshwar Hegde
Karnatic
- Calculations that are like mathematical equations understood by the mind
- Importance to gamaka than swarasthana
- Theory is very strong
- Exponents revel in the calculations here
- Perfected by staunch rendition
Hindustani
- Holds an involvement that touches the heart
- Abberation noticed in the Raga system
- Enthusiasts are enchantingly soothed here
- Alapana confers freedom of expression