It is popularly believed that Indian music has divine origins. The Sama Veda is said to have laid the foundation for Indian music. Sama Veda consists of Vedic hymns, set to musical tunes. These used to be sung during Vedic sacrifices, using musical notes, mostly 3 in number, sometimes accompanied by a musical instrument.

The Upanishads, Brahmanas, Puranas and the epics, Ramayana and Mahabharata contain several references to music, musicians and musical instruments. In south India, the Shilappadikaram and the Tolkappiam also contain many verses that describe music. After the Sangita Ratnakara of Sarangadeva (1210-1247), the word "Carnatic" came to represent the South Indian Classical Music as a separate system of music. 

A clear demarcation between Hindustani music and Carnatic music as two different forms of Indian classical music is seen around the latter half of the 14th century. Classical Indian music flourished in the southern capital cities, particularly in Vijayanagara and Tanjavur. A number of musical treatises describing the concepts of Carnatic music were written. The present form of Carnatic music is based on historical developments that can be traced to the 15th - 16th century and thereafter.

One of the earliest references to musical theory is found in the Rik Pratisakya (around 400BC), which mentions the origin of seven notes. Bharata's Natyasastra (2nd-4th Century AD) was the first treatise dedicated exclusively to the science of music and dance. 

The 17th century can be considered as a golden age of Carnatic music. It marks several important milestones of Carnatic music in diversified angles, thus, enriching this traditional art form, while preserving its past glory. Some of the most important developments in both Lakshana (theoretical) and Lakshya (practical) aspects took place during this period. 

The scheme of 72 Melakartas is the proud of heritage of our music; a complex yet systematic scheme found in no other style of music. This scheme was formulated by Venkatamakhi in his treatise, Chaturdandi Prakashika, in 1660 AD.

The later part of 18th century saw the birth of three great composers of Carnatic music, who came to be celebrated as the Musical Trinity (Trimurti) - Syama Sastri (1762 - 1827) Tyagaraja (1767-1847) and Muthuswami Dikshitar (1776-1835). All of them combined their immense knowledge, deep spirituality and profound traditional musicianship with an amazing sense of creativity and innovative spirit. This has made their contribution to Carnatic music invaluable. The art of musical composition was elevated to great heights at their hands.

In the later years, Carnatic music went from strength to strength as a result of the genius and the dedicated efforts of several stalwarts, like Maharajapuram Viswanatha Iyer, Chembai Vaidyanatha Iyer, Ariyakudi Ramanuja Iyengar, Mysore Vasudevacharya, The Alattur Brothers etc.

The Alathur Brothers, Srinivasa Iyer and Sivasubramania Iyer were trained by Alathur Venkateswara Iyer, who belonged to Thyagaraja Shishya Parampara. The Alathur Brothers were known for their traditional style of Kruti rendition, complex Kanakkus and wonderful Swara prastaras. One of their foremost disciples, Sri T G Padmanabha Rao was a demanding Guru and a brilliant artiste. Trained by Sri Padmanabha Rao, the Hyderabad Sisters, Lalitha and Haripriya are the torchbearers of the Alattur baani (style) among their contemporaries. 

Smitha, a disciple of the Hyderabad Sisters represents a long and glorious musical lineage of over 100 years.