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CARNATIC

Carnatic music, Karnāṭaka saṃgīta or Karnāṭaka saṅgītam is a system of music commonly associated with the southern part of the Indian subcontinent, with its area roughly confined to four modern states of India: Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu traditions, the other subgenre being Hindustani music, which emerged as a distinct form because of Persian and Islamic influences in northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style.

Although there are stylistic differences, the basic elements of śruti (the relative musical pitch), swara (the musical sound of a single note), rāga (the mode or melodic formulæ), and tala (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung through compositions, especially the kriti (or kirtanam) – a form developed between the 14th and 20th centuries by composers such as Purandara Dasa and the Trinity of Carnatic music. Carnatic music is also usually taught and learned through compositions.
Carnatic music is usually performed by a small ensemble of musicians, consisting of a principal performer (usually a vocalist), a melodic accompaniment (usually a violin), a rhythm accompaniment (usually a mridangam), and a tambura, which acts as a drone throughout the performance. Other typical instruments used in performances may include the ghatam, kanjira, morsing, venu flute, veena, and chitraveena. The most outstanding performances, and the greatest concentration of Carnatic musicians, are to be found in the city of Chennai.[1] Various festivals are held throughout India and abroad which mainly consist of Carnatic music performances, such as the Madras Music Season, which has been considered to be one of the world's largest cultural events.[2][3]

MAGICAL REALISM

Magical realism, magic realism, or marvelous realism is literature, painting, and film that, while encompassing a range of subtly different concepts, share in common an acceptance of magic in the rational world. It is also sometimes called fabulism, in reference to the conventions of fables, myths, and allegory. Of the four terms, Magical realism is the most commonly used and refers to literature in particular[1]:1–5 that portrays magical or unreal elements as a natural part in an otherwise realistic or mundane environment.
The terms are broadly descriptive rather than critically rigorous. Matthew Strecher defines magic realism as "what happens when a highly detailed, realistic setting is invaded by something too strange to believe."[2] Many writers are categorized as "magical realists," which confuses the term and its wide definition.[3] Magical realism is often associated with Latin American literature, particularly authors including Miguel Angel Asturias, Gabriel García Márquez, Jorge Luis Borges and Isabel Allende. In English literature, its chief exponents include Salman Rushdie and Alice Hoffman.

Reality