<P> The classical music tradition of the ancient and medieval Indian subcontinent (modern Bangladesh, India, Pakistan) were a generally integrated system through the 14th century, after which the socio - political turmoil of the Delhi Sultanate era isolated the north from the south . The music traditions of the North and South India were not considered as distinct till about the 16th century, but after that the traditions acquired distinct forms . The North Indian classical music is called Hindustani, while the South Indian expression is called Carnatic (sometimes spelled as Karnatic). According to Nazir Ali Jairazbhoy, the North Indian tradition acquired its modern form after the 14th or the 15th century . </P> <P> The Indian classical music has historically adopted and evolved with many regional styles, such as the Bengali classical tradition . This openness to ideas led to assimilation of regional folk innovations, as well influences that arrived from outside the subcontinent . For example, the Hindustani music assimilated Arabian and Persian influences . This assimilation of ideas was upon the ancient classical foundations such as raga, tala, matras as well as the musical instruments . The music theory and concepts from classical Indian music are not found in Persia and Arabia . For example, the Persian Rāk is probably a pronunciation of Raga . According to Hormoz Farhat, Rāk has no meaning in modern Persian language, and the concept of raga is unknown in Persia . </P> <P> Purandara Dasa (1484--1564) was a Hindu composer and musicologist who lived in Hampi of the Vijayanagara Empire . He is considered Pithamaha (literally, "grandfather") of the Carnatic music . Purandara Dasa was a monk and a devotee of the Hindu god Krishna (Vishnu, Vittal avatar). He systematized classical Indian music theory and developed exercises for musicians learn and perfect their art . He travelled widely sharing and teaching his ideas, and influenced numerous South Indian and Maharashtra Bhakti movement musicians . These exercises, his teachings about raga, and his systematic methodology called Suladi Sapta Tala (literally, "primordial seven talas") remains in use in contemporary times . The efforts of Purandara Dasa in the 16th century began the Carnatic style of Indian classical music . </P> <P> Carnatic music, from South India, tends to be more rhythmically intensive and structured than Hindustani music . Examples of this are the logical classification of ragas into melakarthas, and the use of fixed compositions similar to Western classical music . Carnatic raga elaborations are generally much faster in tempo and shorter than their equivalents in Hindustani music . In addition, accompanists have a much larger role in Carnatic concerts than in Hindustani concerts . Today's typical concert structure was put in place by the vocalist Ariyakudi Ramanuja Iyengar . The opening piece is called a varnam, and is a warm - up for the musicians . A devotion and a request for a blessing follows, then a series of interchanges between ragams (unmetered melody) and thaalams (the ornamentation, equivalent to the jor). This is intermixed with hymns called krithis . The pallavi or theme from the raga then follows . Carnatic pieces also have notated lyrical poems that are reproduced as such, possibly with embellishments and treatments according to the performer's ideology . </P>

Who is the father of indian classical music