Carnatic music, known as Karnāṭaka saṃgīta. Karnataka Paddhati or Karnāṭaka saṅgītam in the South Indian languages, represents a music system closely associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala, and Tamil Nadu. It stands as one of the two main subgenres of Indian classical music, deriving from ancient Hindu texts and traditions, particularly the Samaveda. The other subgenre, Hindustani music, evolved as a distinct form due to Persian or Islamic influences in Northern India. Carnatic music places a primary emphasis on vocal performance, with most compositions crafted for singing. Even when performed on instruments, they are intended to be executed in a gāyaki (singing) style.

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While there exist stylistic variations, the foundational elements of śruti (relative musical pitch), svara (musical sound of a single note), rāga (mode or melodic formulæ), and tala (rhythmic cycles) remain crucial for improvisation and composition in both Carnatic and Hindustani music. Although improvisation holds significance, Carnatic music predominantly relies on compositions, especially the kriti (or kirtanam) – a form developed between the 14th and 20th centuries by composers like Purandara Dasa, Kanaka Dasa, and the Trinity of Carnatic music. Telugu plays a significant role in the later development of Carnatic music, with most compositions written in Telugu and Sanskrit, along with some in Tamil and Kannada.

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Carnatic music is commonly performed by a small ensemble of musicians, including a principal performer (usually a vocalist), melodic accompaniment (usually a violinist), rhythm accompaniment (usually a mridangam player), and a tambura, which serves as a drone throughout the performance. Other instruments that might be used include the ghatam, kanjira, morsing, venu flute, veena, and chitraveena. Chennai hosts a significant concentration of Carnatic musicians, and various Carnatic music festivals, such as the Madras Music Season, are celebrated in India and abroad, marking one of the world's largest cultural events.

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Carnatic music, like all art forms in Indian culture, is believed to be a divine art originating from the Devas and Devis (Hindu Gods and Goddesses). It is venerated as symbolic of nāda brāhman. Ancient treatises connect the origin of swaras (notes) to sounds of animals and birds, with man's effort to replicate these sounds through keen observation and perception. The Sama Veda, laying the foundation for Indian classical music, consists of hymns from the Rigveda set to musical tunes used during Vedic yajnas. References to Indian classical music are found in ancient texts like the Ramayana and Mahabharata. The Yajnavalkya Smriti mentions the veena as an accompaniment to vocal recitations.

Due to Persian and Islamic influences in North India from the 12th century onward, Indian classical music diverged into two distinct styles — Hindustani music and Carnatic music. Commentaries and works such as Sharngadeva's Sangita Ratnakara elaborated on musical concepts, further refined in Indian classical music by the 16th and 17th centuries. Carnatic music flourished in Vijayanagara during this time, remaining relatively unaffected by Persian and Arabic influences. Purandara Dasa, recognized as the "father (Pitamaha) of Carnatic music," formulated the teaching system widely used in Carnatic music. Venkatamakhin's melakarta system of raga classification, documented in the Chaturdandi Prakasika (1660 AD), laid the foundation for the current sampoorna raga scheme.

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In the 18th and 19th centuries, Carnatic music found patronage from local kings of the Kingdom of Mysore, Kingdom of Travancore, and the Maratha rulers of Tanjore. Notable composers and proficient musicians emerged from the royalty, contributing to the development of Carnatic music. Chennai became the center for Carnatic music during the late 19th century, and post-1947, Carnatic music transitioned from royal patronage to a widely accessible art form with ticketed performances organized by private institutions known as sabhās.