India is a subcontinent cut off from the rest of Asia by jungles, deserts, and the Himalayas. For this reason, Chinese influence has not, in any considerable amount, affected the classical music of India. Instead, the Muslim invasions of 600 A.D., as well as some Persian influences, account for the majority of differences in Northern Hindusthani music from the Southern karnataka sangeeta. And although British Colonialism introduced clarinets, violins, and trumpets to Indian classical music, it did not change the essence of the music in any meaningful way.

The Ivaraku Jucinadi, composed by Tyagaraja is a song that uses the sankarabharanam Raga. A raga, which means "That which colors the mind.", is a set of notes like a Western scale that is used to define the emotions and mood

The form is another major similarity between the two types of Indian classical music. Although the exact structures are different, they both start with an improvised section that establishes the raga and has a good deal of Gamaka. The Hindusthani introduction does not go slowly up the raga as in the karnataka sangeeta, but rather, the musician explores the entire raga up and down the scale. He does not use the range of notes that Viswanathan uses, but he does a good job of staying around the important pillar tones. After this improvisational intro, a theme is introduced as in the pallavi. The musician develops the theme in a similar manner, but is much more repetitive than his Southern counterpart.

of a particular song in both Northern and Southern Indian classical music. This particular raga seems to be somewhat serious, but also very calm and pleasant to listen to. The first thing that you hear when you listen to the Ivaraku Jucinadi is the Sruti Box which acts as a drone, setting the basic tones of the raga. This drone keeps the song centered so that the listener and the musicians do not lose the sense of the raga and the key tones that express it.

These two excellent works of Indian classical music are excellent examples of how the Muslim and Persian influences on Northern India influenced the sound and style of Hindusthani especially on the timbre of the instruments and the tone of the music, but the fundamentals and the elements of the music remain very closely related and hard to distinguish. This results in a very noticeable difference when listening to the music, but after careful analysis, the similarities between the two types of music are unmistakable.

The Kriti ends with a drum solo and then a quick reference back to the pallavi. This leads into more improvisation from both musicians in the Svara Kalpana. Here, Viswanathan plays several improvised phrase, but skillfully ties them in to the theme set in the Pallavi, and although the exact notes are completely up to the musician, the tala cycle limits the phrases. This is how Raghavan is able to stay with Viswanathan even to the point of knowing exactly when each note is going to be played on the flute and playing the mridangam to coincide even while developing his own improvisational phrases. The

Some common words found in the essay are:
Sruti Box, Svara Kalpana, Ramnad Raghavan, Northern India, Sitar Hindusthani, Ivaraku Jucinadi, Kalpana Viswanathan, Gamaka Hindusthani, Southern Indian, Plateau India, classical music, pillar tones, svara kalpana, karnataka sangeeta, indian classical music, indian classical, pillar tone, tala cycle, tones raga, theme introduced, types music, theme set pallavi,
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