The Swaramelakalanidhi of Ramamatya, a Minister of Rama Raja, Prince of Vijayanagar, focuses attention on the fact that the music of South India was evolving in its own way and acquiring a distinct identity and character. in the South, the 16th and 17th centuries were of tremendous significance in the history of Indian musical literature.
In "I Want To Be In The Creative Field", 3E (1 November 2009), P.453. 
the South witnessed the birth of great devotee-musicians such as Ramadasa, Puranadaradasa, Annamacharya, and Kshetragnya.
In "I Want To Be In The Creative Field", 3E (1 November 2009), P.452. Around the seventh and eighth centuries South India saw also a great surge of devotionalism with the emergence of a number of devotee-poet singers who expressed their deep devotion in thousands of metered verse set to classical music.These poet singers were the Alvars and the Nayanmars, who to a great extent constructed the foundation on which the edifice of the future Carnatic music was built. Sri.V.Sriram, in A brief history of Carnatic Music (2007). That would certainly be an apt description for Carnatic Music. Yet another explanation is that the word derives from Karna (the ear) + Ata (to haunt) or ‘that which haunts the ear’. The word Karnatakam also stands for ‘that which is very old’ and scholars have interpreted it to mean that this music form is an old one. The region south of the Vindhyas was referred to as Karnatakam and hence the name. Vijayakrishnan (2007), in The Grammar of Carnatic Music, p. His Caturdandi Prakaashika (1660) is relevant today mainly for the classification of the Carnatic raga system, although his actual descriptions of raagas prevalent in his time are of only historical interest now.The Carnatic music as we know today is very different from the music that was described in these treatises. Govinda Dikshitar’ son Venkatamakhi is the first landmark classic that still has a bearing on contemporary Carnatic music. The major works in the rich musicological tradition are Matanga Muni’s Brihaddeesi (9th century) Saarnggadeva’s 13th century classic Sangitaratnaakaraa, Raamamaatyaa’s Svaramekalanidhi three centuries later and Goovinda Dikshitar’s Sangitasudha in the middle of the 16th century. Venugopal, in "I Want To Be In The Creative Field", 3E (1 November 2009) P.xxxii. invested Indian music, more particularly the Carnatic music of South India, with a tremendous range of nuances and aesthetic values retaining the basic religious and spiritual core.South Indian music belonged primarily to temples and gained its momentum from devotees of the Lord who often spurned royal patronage. Rajagopalan, in "Another Garland (Biographical Dictionary of Carnatic Composers & Musicians) (Book II)", in Preface The Indian (later called the 'Carnatic' from the days of the work Manasollasa) and the Tamil Pann had coalesced invisibly during the middle ages and presently the South has the Carnatic music and the North has the Hindustani music - of course, both raga-based with common and distinct features. The Tamil areas in the South had from pre-historic times a well-developed, scientific, distinct style known as Pann. Classical Carnatic music is but the continuance of ancient Indian music as it was prior to the advent of Persian influence and the attendant evolution of the Hindustani style. 
Career Launcher, in I Want To Be In The Creative Field, 3E (1 November 2009), p. Carnatic music is considered as one of the oldest system of music in the world. Hindustani music is indeed unique, developed in the northern region, while Carnatic music is indigenous to the south. Indian classical music is of two kinds viz, Hindustani and Carnatic. India has a classical music tradition that is around five thousand years old…. 
Goovinda Dikshitar’s Sangitasudha in the middle of the 16th century.
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