It is very hard to pin point the evolution or the origin of exact time frame of today's Carnatic music. Carnatic music definitely went through tremendous amount of changes in its practical as well as the theoretical forms that most definitely taken place from Pre Vedic times till the present day. More than enough historical, geographical, scientific evidences are available for us to trace most of the evolutionary changes of contemporary Carnatic music.

The first and fore most believed origin of Carnatic music is the divine origin.  According to the ancient Indian beliefs, most of the Fine Art forms are originated from divine sources. So did Carnatic music believe to be originated directly from the Gods and Goddesses. Many mythological study and treatises also talk about this divine origin.

The next believed source of origin is natural origin.  The natural tones and sounds were emanated from plants, trees, barks such as when air passed through the hollow stems of bamboo logs, ancient musical human observed the phenomenon and developed a bamboo flute. Similarly the sounds and tones of some animals and birds were connected with the origin of some notes/swarms is referred in many ancient treatises. The keen musical sense and ability of ancient human's observation simulated and distinguished the frequencies, qualities and timbre of those sounds also was another factor of the evolution of Carnatic music. The origination of Sa, Ri/Re, Ga, Ma, Pa, Da/Dha, and Ni from the sound of a different animals and birds are as follow:
Shadjam = Sa - Cry of the peacock
Rishabham = Ri or Re - Lowing of the bull
Gaandhaaram = Ga - Bleating of a goat
Madhyamam = Ma - Call of the heron
Panchamam = Pa -  Call of the cuckoo bird
Dhaivatham = Da or Dha - Neighing of the horse
Nishaadham = Ni - Trumpeting of the elephant

Folk origin is another contributing factor. , Its believed that humans from folk lore based on different types of work they did, languages they spoke, culture they dealt with contributed a major part in the evolution of music except the folk music evokes much spontaneity, but the classical system is more organized.

It is generally agreed upon the fact that the Vedas are the most probable source of Carnatic music as a matter of fact Indian music. The term “Veda” literally means knowledge. The thousands of hymns in four different Vedas 1.Rig Veda, 2.Yajur Veda, 3. Sama Veda and 4. Atharvana Veda were dedicated to the Gods and goddesses of Hindu religion, in the forms of chants that were passed by oral tradition from generation to generation.  Of these four Vedas, the Sama Veda  that used to be sung during Vedic sacrifices is said to have laid the foundation for Carnatic music. Sama Veda consists mostly of Rig Vedic hymns, set to musical tunes. These, using musical notes (3 notes - 7 notes), sometimes accompanied by a musical instrument.

There are several other references about music and musical instruments apart from the Veda sources such as, Upanishads, Brahmans and Puranas and epics such as Ramayana and Mahabharata. Bharata's Natya Sastra is believed to be the greatest source to the similar music system in practice in many respects to the present Carnatic system.

The native Dravidians of Southern India practiced Tamil music. Some of the Tamil Sangam literature works such as Silappadikaram, Tolkappiam, and many other works describes of seven notes, octaves, Model shift of tonic, ascending and descending scales with old Dravidian. In the ancient Tamil music, the term 'Pann' referred to that of modern Raga. The rhythmic metrics found in some of these sacred musical forms such as Tevaram, Tiruppugazh, Thiruvachakam etc., resemble the tala patterns of present day music. Many scholars believe that the ancient Tamil music might be an important source for the evolution of Carnatic music where it might have been derived. The word “Carnatic” came to represent the South Indian Classical Music as a separate musical system only after the Sangeetha Rathnakara of Sarngadeva (1210-1247). Only after the latter half of the 14th century a distinct demarcation between Hindustani and Carnatic music as two different musical systems of Indian classical music is seen. There are references to prove that Classical Carnatic music flourished in the southern Indian region, especially in Vijayanagara and Tanjure. The present form of Carnatic music is based on historical developments based from the traces to the 15th - 16th AD and thereafter.

Many of the important musical forms such as Tevaram, Divyaprabandham, Tiruppavai, Ashtapadis, Padams, Kritis, were composed along with the Abhyasa ganams, such as Swaravalis, Alankara, Gitams, for beginners.   Tallapakkam Annamacharya (1425 - 1503 AD), composed with new structure called Kriti, which had, three sections, of the Pallavi, Anupallavi and Charanam. This structure was accepted widely and was popularized by later composers, in particular, the Carnatic Trinity. Thyagaraja, Muthuswami Dikshitar, Syama Sastry. Annamacharya is credited to have composed about thirty two thousand compositions of which around twelve thousand have been traced and some of these have been still preserved in copper plates.

Purandaradasa (1484 - 1564 AD) is known as the Sangeeta Pitamaha (the godfather of Carnatic music). Purandara dasa was a prolific composer, and laid the foundation for the systematic music educational exercise system.  He is credited to have formulated the Swaravali exercises for early practice, apart from composing simple devotional songs, Gitams, and Kritis with high devotional and philosophical essence.  

The golden age of Carnatic music is the 17th century and many important milestones of Carnatic music where evolved during that time. Some of the most important developments in both Lakshana (theoretical) and Lakshya (practical) aspects took place during this period. Venkatamakhi formulated a structured scientific 72 Melakarta scheme in his treatise Chaturdandi Prakasika in this century. Many other scholars created several other treatises following Venkatamakhi. The three great composers of Carnatic music, who were later celebrated as the Musical Trinity (Trimurti) - Syama Sastri (1762 - 1827) Tyagaraja (1767-1847) and Muthuswami Dikshitar (1776-1835) were born during the period from 1763 - 1775 AD. All three of them contributed their immense knowledge, devotional discipline and greatest musicianship with great creativity and innovative ideas.  Their contribution in Carnatic music is invaluable. The art of composing music was elevated to great heights during their time.  Other great composers who have contributed to music compositions include Swati Tirunal (1813-1847), Vina Kuppayyar, Subbaraya Sastri, Gopalakrishna Bharati, Ghanam Krishna Iyer, Patnam Subramanya Iyer, Koteeswara Iyer, Muthaiah Bhagavatar, Mysore Vasudevachar and Papanasam Sivan and so forth. 72 Melakarta scheme is accountable for the transformation of South Indian Music. Hundreds and thousands of Ragas came into existence by the compositions of Carnatic music Trinity along with those other great composers.

In 19th century, musical notation system was developed, to represent the musical compositions in written form. While several other great composers were working to improve the theoretical aspect of music, many others were trying to keep the equal balance towards the practical aspect for the refinement of Carnatic system, to keep it fresh and alive. 

Large repertoire of musical forms was developed, by creating new structural arrangements. These include Swarajati Varnam, Kriti, Padam, Javali, Tillana, and so forth. These musical forms have continued to remain popular in the 20th century.  

Carnatic music and musicians was mostly limited within the major temples and royal courts until late 19t century. Few rich landowners, who arranged concerts for various events, also maintained it. From the 20th century, this typical patronage has taken a different route since numerous Fine Arts organizations (Sabhas), Private or group of promoters of arts and culture, well developed corporate sponsors have involved to give a better and professional outlook to this art-form. As a result this change, Carnatic music is heard not only in major cities in India, but also in major venues in Asia, Europe, North and South Americas, and in most other continents of the world. 

Carnatic music learning and the process of teaching have also adopted drastic changes based on student and teachers different life style, over years. The traditional Guru Kula system has given way to an institutional system of training in the 20th century. Several good musicians have taken teaching as full time carrier path. Modern educational tools, computer and recording technology, internet and mass media communications have played a vital roll not only for the enormous growth of Carnatic Music but also to make the Carnatic music education available students all around the globe. Through these major worldwide changes in the system, Carnatic music has not only gained new dynamism, but has also retained its pure beauty within its own traditional framework.

Bring the Joy of Music Into Your Family & In Your Child’s Life For A Happy & Healthy Relationship In Your Home.

Few Creative Ideas to Explore Joy of Music as a Family.

Way back in the ‘60s & 70s families used to gather around in the evenings and on holidays and sing songs together, or you were forced to listen to that small mono sound transistor Radio's non stop classical, devotional or other favorite music on parents or grand parents favorite FM channel in the morning and/or in the evenings on a day to day basis. Over the years as the technology took over the world the computer games and smartphones took over the families of new generation's habits, we seem to have lost this family past time music get-to-gathers, but there are still ways that families can do to explore the joy of music on to our current and future generations. There sure are  several fun and inexpensive ways for parents to explore the music with their families and children. Here are some interesting ideas you may explore with your family:  

• Sing With Your Child – You don't have to prove to be the next Super Singer or American Idol, but chances are your children and family will definitely think of you as their roll model/idol even if you can’t carry a proper tune – young children will not even notice rather will have lots of fun correcting or teaching you to carry the right tune and you’ll probably have a lot of fun together.

• Create Music with Things Around the House –Get creative and look for every day things that you can transform into a musical instrument such as pots & pans, spoons & forks, sticks & towels. Don't forget that your counter tops or table top can turn into your drum machine, sound of your ceiling fan can be your pitch pipe.  Cups with different water level can be your musical instrument.
  

• Introduce Your Child  To All Types of Music – Do not get stuck to only music from one ethnicity or single genre. Add variety to your child’s life by playing a different type of music each day, whether it’s Indian, Western, Japanese, or Indonesian , classical, pop, movie song, country, rock, rap, jazz, hits of the ‘50s, ‘60s and ‘70s, camp songs, or simply good old-fashioned children’s music. It sure will create great open mindedness, appreciation towards wholeness, well roundness and literacy in all music.
  

• Buy A Small Instrument – A cheap way to introduce your child to an instrument and have them experiment with creating different sounds and tunes.
  

• Let Your Child See You Play or Sing – If you play the piano or any other instrument or sing any type of music, involve your child: have her sit on your lap while you play or sing  a few tunes  and talk about the parts of the instrument you play or phrases of the tune you sing, or explore together.

•  Try a Music Class – There are so many classes available and some of them are surprisingly affordable. Pick one that offers a good variety of activities such as music making with easy instruments, singing that gives motivation, fun and education while enjoying tunes,  and music listening and reproducing.  Make sure to try to select a class that’s age-appropriate.
  

• Music is a Performing Arts – Kids love to see themselves in spot lights, hear themselves loud on the  microphones and be on a stage involved in an act . Just put on to their favorite music and encourage your children to dance, sing, and enjoy themselves.

• I guarantee you that you sure bring the Joy of music into your family & in your child’s life for a happy & healthy relationship in your home.