The reign of Swati Tirunal, the ruler of Travancore, is called "the Augustan Age of Kerala Music". A great patron of music, he attracted to his court some of the gifted musicians of the age. In collaboration with his Guru Meruswami who was well-versed in Hindustani and Karnatic music, Swati Tirunal composed a number of songs in popular ragas in a variety of languages. Four musicians from Tanjore by name Vativelu, Ponnayya, Chinnayya and Sivanandan, otherwise known as the "Tanjore Quartet", lived in his court. To Vativelu goes the credit for the introduction of violin in Karnatic music. The Tanjore brothers were also highly gifted in Bharata Natyam and under their influence Swati Tirunal composed Varnas, Swarajits, Padas and Tillanas for staging this dance form. Subbukkutty Ayya, a master of Veena, was also leading light in Swati's court.

          
          In addition to the musicians mentioned above who came to Swati's court from outside Kerala, several gifted local musicians also enjoyed his patronage, the most celebrated among them being Shadkala Govinda Marar. Marar was a rare musical prodigy. He devised a Tamburu with seven strings instead of the usual four. He also achieved the unique distinction of being able to sing pallavis into six degrees of time and this won for him the title Shadkala. At Swati Tirunal's instance, Marar went on a futile mission to Tiruvayyur to fetch Tyagaraja to the royal court. Tyagaraja was so much impressed by an inspired musical performance of Govinda Marar at the place that he composed and sang on the spot that famous Telugu song "Entaro mahanubhavalu, Anstariki Vandanamu" (There are ever so many great men in this world and I bow to all of them). Two other Kerala musicians who adorned Swati's court were Paramesware Bhagavatar of Palakkad and Maliyakkal Krishna Marar. Irayimman Tampi, a close associate of Swati Tirunal, was also a musician and composer of high calibre who lived in the royal court and collaborated with the Maharaja in his efforts to promote the cause of cultural development.

          
           The tradition of Kerala in the field of music has continued unsullied in modern times. To the galaxy of modern Kerala musicians belong such stalwarts as Vina Kalyanakrishna Bhagavatar, Kathakalashepam Anantarama Bhagavatar, Palghat Mani and Chembai Vaidyanatha Bhagavatar who have substantially enriched Karnatic music by their valuable contributions.

          
           Kerala has developed its own typical temple arts in which instrumental music plays an important part. Chenda Melam which is played with such instruments as Chenda, Kombu, Kuzhal etc., is a feature of all temple utsavams. Tayambaka which involves the elaborate display of talas on a classical piece of drum (Chenda) is also typical of Kerala. It is performed in several sessions, each session having its climaxes and anticlimaxes. Panchavadyam is another unique art in which the sounds emanating from five musical instruments, (Maddalam, Idakka, Timila, Kombu and Elathalam) and two auxiliaries, Sankku (Conch) and Kuzhal, in varying pitches are synchronized. As in Tayambakam so too in Panchavadyam, each session lasts for hours. Nagaswaramelam, otherwise called Pandimelam, is another set of Vadyams played in connection with temple pujas and on such auspicious occasions as marriages.