Looking back on the path traversed by Indian classical music one would be startled by the amazing depth, range and magnitude of those who have enriched our rich and great tradition. It was during the 13th and 14th centuries that a new form of Hindustani music known as Khayal came into being and gave an entirely new dimension to Hindustani classical music tradition. Amir Khusro is considered the proponent of this style. In the slow vilambit introduction of Khayal composition, the musical phrasings receive priority over the meaning of the lines, whereas in a Carnatic kriti, the musical embellishments, for example, the niraval portion do not lose sight of the literary content of the lyrics.
Thyagaraja, Muthuswami Deekshithar and Shyama Shastri, are known as the trinity of Carnatic music. They composed Carnatic music in hundreds of ragas. These compositions paved way for the present concept of a stage programme.

India gave Raga or melody to world musicology. A highly scientific and practical scheme of Raga classification introduced by Venkatamahi became the foundation for Indian classical music of the north and south as we know it today. Ragas are made of different combinations of sapta (seven) swaras: Sa Sadjam: Ri Rishabam, Ga Gaandhaaram, Ma Madhyaman, Pa Panchaman, Dha Dhaivadam, Ni Nishadam. It is not necessary that all the seven Swaras (notes) are present in a raga. However it is acknowledged that a minimum of five notes are compulsory in the formation of a raga.
A distinctive feature of Indian music whether of the north or the south is the manodharma of improvisational aspect. This one feature serves to make Indian music one of the most lively and creative art forms of the world.

What makes Indian classical music unique is its adherence to permutations and combinations of swaras. In Western classical piano one octave consists of twelve notes whereas in Indian music the same octave contains 22 (srutis) notes. The twenty two srutis are called Siddha, Prabhavati, Kantha, Suprabha, Shikha, Diptimati, Ugra, Hladi, Nirviri, Dira, Sarphara, Kashanti, Hridayonmulini Visarini, Prasuna, Vibhuti, Malini, Chapala, Vala, Servaratna, Sitantaj and Vikalini.

Swara is generally defined as a note whereas sruti constitutes the mocrotonal intervals between two swaras. The nuances of these can be best understood in prayoga (practice) rather than theory.

Though taala is defined as rhythm, in Indian music, it is much more than that. Whether in vocal music or instrumental music, taala plays a creative and organic part in bringing out the essence and elevating the musical expressions to new dimensions. The major taals are Aadi Taala, a cycle of eight maathras (beats), Chautal or Eaka Tal consisting of twelve maathras mostly played on the Pakhawaj, jhaptal consisting of ten maathras, Roopak taala of seven maathras and Teen Tala of sixteen maathras.