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The Haridasas, the Vaishnava saints of Karnataka, are classified into the ''Vyasakuta'' and ''Dasakuta''. The Vyasakuta were the pontifical saints known for their scholarship and exposition of the Madhva's philosophy. The ''Dasakuta'' were the peripatetic saint disciples of the Vyasakuta sanyasins. They were proficient singers and composers and used classical music and the Kannada language as a medium to propagate the teachings and philosophy of the Dvaita school. While Sripadaraya is sometimes credited with starting this musical movement, Purandaradasa, a disciple of Vyasaraya, became renowned as Karnataka Sangita Pitamaha. The devotees of Panduranga Vitthala of Pandharapur in the Varakari tradition traveled through Karnataka and composed and wrote almost entirely in Kannada. The Haridasas had a seminal influence on Carnatic music. Later composers from Karnataka and outside, including the venerated 'Trinity' and musical treatises exhibit and acknowledge these influences. They laid the foundations of what is today called Karnataka or Carnatic music.〔 ==Theory== The 15th century marked a watershed period in the history of Indian classical music. Sripadarayaru, a contemporary of Kallinatha (the commentator on Sarngadeva's ''Sangitaratnakara''), was a musician and composer who heralded the musical traditions of the Haridasa movement. Vyasarajaru, Vadirajaru, Purandaradasaru and Kanaka Dasaru (15th – 16th century) who followed in the tradition were contemporaries of celebrated musicologists like Ramamatya (''Svaramelakalanidhi''), Poluri Govindakavi (Ragatalachintamani) and Pundarika Vitthala (''Sadragachandro`daya'', ''Ragamala'', ''Ragamanjari'' and ''Nartananirnaya''). Other distinguished composers of the time included Tallapakam Annamacharya and his descendants, Bhadraachala Ramadas from Andhra, the Veerashaiva saint Nijagunashivayogi and Ratnakaravarni, the Jaina saint from Karnataka. Prolific contributions of these composers and their contemporaries marked a period of renaissance in the musical history of India and Carnatic music.〔 The impact of this renaissance was further amplified by the close proximity of these composers and theoretician. Paradigmatic changes, such as the merger of ''madhyama grama'' into ''Sadjagrama'', the standardisation of all melodic materials within the frame of the ''Sadjagrama'', a new alignment of intervallic values and scalar temperament, tuning of keyboard chordophones, models of melodic classification wrought during this period are reflected in the music and compositions of the Haridasas.〔 The ''tamburi'' (a stringed drone instrument) often identified with the Haridasas, is mentioned for the first time by Sripadaraya and subsequently by Vyasarayaru and Purandaradasaru. The Haridasas as well as Palkuriki Somanatha (14th century), Chandrashekhara and Nijaguna Shivayogi (16th century) give a wealth of technical vocabulary.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Haridasas and Carnatic music」の詳細全文を読む スポンサード リンク
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