Innovations in Theory and Practice
A wide range of experiments and innovations were carried out in the field of instruments too. The Tamburi introduced during the period soon became the principal drone instrument. Seminal work and innovations also took place in the Vina keyboards with regard to the accordatura, tonal range and instrumental parameters. The mela replaced the grama and it's the theoretical possibilities were fully explored through mathematical schemes of tabulation. The innovation of the concept of mela and organization of the entirety of contemporary melodic material under its umbrella culminated in Venkatamakhin's Melakarta scheme, one which continues to influence greatly the theory and practice of Carnatic music to this day. New classificatory models emerged for ragas; svayambhusvara (upper partials), paryaya-svara (alternative svara denomination) and pratinidhi-svara (representative note) scales and intervals were tuned to be brought into alignement with contemporary musical practice.
Various melodic and rhythmic structures found their way art music. All music became desi and marga music passed into oblivion as did the madhyamagrama and its paraphernalia. The totality of melody came to be referred to sadja grama alone. The arbitrary, archaic and prolific desi talas made way for the suladi talas engendered by the Haridasas. These were further refined based on the principles of the ten vital elements called taladasaprana.
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