Comparative Analysis of Swaras in Indian Classical Music: A
Structural, Theoretical, and Pedagogical Perspective
Dr. Nishshanka Abeyrathna
Department of South Indian Music University of the Visual and Performing Arts, Colombo, Sri Lanka
Received: 22 November 2025; Accepted: 28 November 2025; Published: 09 December 2025
ABSTRACT
This paper presents a comparative study of Swaras in Indian classical music, with a particular focus on the
structural, tonal, and theoretical differences between the Hindustani and Carnatic traditions. Drawing upon
ancient treatises and modern scholarship, the research analyzes the evolution, classification, and practical
applications of Swaras. The study also explores improvisational techniques, modal systems, and
ornamentation, thereby offering a systematic understanding of the role of Swaras in pedagogy and
performance. This comparative inquiry contributes to the discourse on musical divergence and unity within the
broader framework of Indian classical music.
This study provides a deeper investigation into the conceptual, structural, and pedagogical interpretations of
Swaras in the Hindustani and Carnatic classical traditions. Beyond describing differences, it critically
examines how pitch classification, modal systems, microtonality, ornamentation, pedagogy, and aesthetic
orientation contribute to unique musical identities. The study contributes to broader Indian musicology by
explaining how theoretical frameworks, performance practice, and pedagogy collectively shape Swara
interpretation in contemporary practice.
Keywords: Swaras, Indian classical music, Hindustani music, Carnatic music, music theory, pedagogy
INTRODUCTION
Indian classical music—encompassing the Hindustani and Carnatic traditions—is one of the most intricate
melodic systems globally. At its core lies the concept of Swaras, the fundamental pitch units that structure
ragas and define melodic expression. Although both traditions draw upon ancient Sanskrit treatises such as the
Nāṭyaśāstra and Sangīta Ratnākara, their evolution diverged significantly as a result of regional histories,
pedagogical philosophies, and aesthetic preferences. Although current research often broadly compares
Hindustani and Carnatic music, there is a need for a detailed, integrated analysis that connects theoretical
constructs with actual performance practice and pedagogical science. This study addresses that need by
combining textual analysis with comparative structural mapping and pedagogical insights.
Indian classical music is one of the oldest and most sophisticated musical traditions in the world, characterized
by its intricate melodic and rhythmic systems, improvisational depth, and spiritual foundations. Central to this
tradition is the concept of Swaras—the basic tonal elements that form the foundation of melody and raga
construction. Both the Hindustani (North Indian) and Carnatic (South Indian) systems of classical music share
a common heritage rooted in ancient treatises such as the Nāṭyaśāstra and the Sangīta Ratnākara, which
establish the theoretical underpinnings of Swaras and their role in musical expression (Bharata, 1996;
Sarangadeva, 2002).
Despite these shared origins, the two systems have diverged significantly over centuries due to cultural,
geographical, religious, and historical influences. The Hindustani tradition evolved through interaction with
Persian and Islamic cultures, especially during the Mughal period, leading to stylistic innovations and the
development of the Thaat system of raga classification (Bhatkhande, 1934). In contrast, the Carnatic tradition
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