1.
Classical music
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Classical music is art music produced or rooted in the traditions of Western music, including both liturgical and secular music. The central norms of this tradition became codified between 1550 and 1900, which is known as the common-practice period, Western staff notation is used by composers to indicate to the performer the pitches, tempo, meter and rhythms for a piece of music. This can leave less room for such as improvisation and ad libitum ornamentation. The term classical music did not appear until the early 19th century, the earliest reference to classical music recorded by the Oxford English Dictionary is from about 1836. This score typically determines details of rhythm, pitch, and, the written quality of the music has enabled a high level of complexity within them, J. S. The use of written notation also preserves a record of the works, Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music being reproduced. That said, the score does not provide complete and exact instructions on how to perform a historical work, even if the tempo is written with an Italian instruction, we do not know exactly how fast the piece should be played. Bach was particularly noted for his complex improvisations, during the Classical era, the composer-performer Mozart was noted for his ability to improvise melodies in different styles. During the Classical era, some virtuoso soloists would improvise the cadenza sections of a concerto, during the Romantic era, Beethoven would improvise at the piano. The instruments currently used in most classical music were largely invented before the mid-19th century and they consist of the instruments found in an orchestra or in a concert band, together with several other solo instruments. The symphony orchestra is the most widely known medium for music and includes members of the string, woodwind, brass. The concert band consists of members of the woodwind, brass and it generally has a larger variety and number of woodwind and brass instruments than the orchestra but does not have a string section. However, many bands use a double bass. Many of the used to perform medieval music still exist. Medieval instruments included the flute, the recorder and plucked string instruments like the lute. As well, early versions of the organ, fiddle, Medieval instruments in Europe had most commonly been used singly, often self accompanied with a drone note, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into haut, during the earlier medieval period, the vocal music from the liturgical genre, predominantly Gregorian chant, was monophonic, using a single, unaccompanied vocal melody line. Polyphonic vocal genres, which used multiple independent vocal melodies, began to develop during the medieval era, becoming prevalent by the later 13th
2.
Medieval music
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Medieval music consists of songs and instrumental pieces from about 400 A. D. to 1400. Medieval music was an era of Western music, including music used for the church. Medieval music includes vocal music, such as Gregorian chant and choral music, solely instrumental music. Gregorian chant was sung by monks during Catholic Mass, the Mass is a reenactment of Christs Last Supper, intended to provide a spiritual connection between man and God. Part of this connection was established through music and this era begins with the fall of the Western Roman Empire in the fifth century and ends sometime in the early fifteenth century. Establishing the end of the era and the beginning of the Renaissance music era is difficult. The date range in this article is the one adopted by musicologists. S. Bach and Classical music period composers from the 1700s such as W. A. Mozart, the most obvious of these is the development of a comprehensive music notational system which enabled composers to write out their song melodies and instrumental pieces on parchment or paper. Prior to the development of musical notation, songs and pieces had to be learned by ear and this greatly limited how many people could be taught new music and how wide music could spread to other regions or countries. The development of music made it easier to disseminate songs and musical pieces to a larger number of people. Many instruments used to perform medieval music still exist in the 21st century, the flute was made of wood in the medieval era] rather than silver or other metal, and could be made as a side-blown or end-blown instrument. While modern orchestral flutes are made of metal and have complex key mechanisms and airtight pads. The recorder was made of wood during the Medieval era, and despite the fact that in the 2000s, it may be made of synthetic materials, it has more or less retained its past form. The gemshorn is similar to the recorder as it has holes on its front. One of the predecessors, the pan flute, was popular in medieval times. This instruments pipes were made of wood, and were graduated in length to produce different pitches, Medieval music used many plucked string instruments like the lute, a fretted instrument with a pear-shaped hollow body which is the predecessor to the modern guitar. Other plucked stringed instruments included the mandore, gittern, citole, the bowed lyra of the Byzantine Empire was the first recorded European bowed string instrument. Like the modern violin, a performer produced sound by moving a bow with tensioned hair over tensioned strings, the hurdy-gurdy was a mechanical violin using a rosined wooden wheel attached to a crank to bow its strings
3.
Baroque music
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Baroque music is a style of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era, Baroque music forms a major portion of the classical music canon, being widely studied, performed, and listened to. The Baroque period saw the creation of tonality, an approach to writing music in which a song or piece is written in a particular key, during the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. A characteristic Baroque form was the dance suite, while the pieces in a dance suite were inspired by actual dance music, dance suites were designed for listening, not for accompanying dancers. During the period, composers and performers used more elaborate ornamentation, made changes in musical notation. Many musical terms and concepts from this era, such as toccata, fugue, dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously, was an important part of many Baroque choral and instrumental works. The word baroque comes from the Portuguese word barroco, meaning misshapen pearl, the term Baroque is generally used by music historians to describe a broad range of styles from a wide geographic region, mostly in Europe, composed over a period of approximately 150 years. The systematic application by historians of the baroque to music of this period is a relatively recent development. In 1919, Curt Sachs became the first to apply the five characteristics of Heinrich Wölfflins theory of the Baroque systematically to music, all of these efforts resulted in appreciable disagreement about time boundaries of the period, especially concerning when it began. In English the term acquired currency only in the 1940s, in the writings of Bukofzer, nevertheless, the term has become widely used and accepted for this broad range of music. It may be helpful to distinguish the Baroque from both the preceding and following periods of musical history, the Baroque period is divided into three major phases, early, middle, and late. Although they overlap in time, they are dated from 1580 to 1630, from 1630 to 1680. In reference to music, they based their ideals on a perception of Classical musical drama that valued discourse, the early realizations of these ideas, including Jacopo Peris Dafne and LEuridice, marked the beginning of opera, which were a catalyst for Baroque music. Concerning music theory, the widespread use of figured bass represents the developing importance of harmony as the linear underpinnings of polyphony. Harmony is the end result of counterpoint, and figured bass is a representation of those harmonies commonly employed in musical performance. With figured bass, numbers, accidentals or symbols were placed above the bassline that was read by keyboard instrument players such as players or pipe organists. The numbers, accidentals or symbols indicated to the player what intervals she should play above each bass note. The keyboard player would improvise a chord voicing for each bass note and this led to the idea that certain sequences of chords, rather than just notes, could provide a sense of closure at the end of a piece—one of the fundamental ideas that became known as tonality
4.
Classical period (music)
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The dates of the Classical period in Western music are generally accepted as being between about the year 1730 and the year 1820. This article is about the period in most of the 18th century to the early 19th century, though overlapping with the Baroque. The Classical period falls between the Baroque and the Romantic periods, Classical music has a lighter, clearer texture than Baroque music and is less complex. It is mainly homophonic, using a melody line over a subordinate chordal accompaniment. It also makes use of style galant which emphasized light elegance in place of the Baroques dignified seriousness, variety and contrast within a piece became more pronounced than before and the orchestra increased in size, range, and power. The harpsichord was replaced as the keyboard instrument by the piano. Instrumental music was considered important by Classical period composers, vocal music, such as songs for a singer and piano, choral works, and opera were also important during this period. Ludwig van Beethoven is regarded either as a Romantic composer or a Classical period composer who was part of the transition to the Romantic era, Franz Schubert is also a transitional figure, as were Johann Nepomuk Hummel, Luigi Cherubini, and Carl Maria von Weber. The period is referred to as the era of Viennese Classic or Classicism, since Gluck, Mozart, Haydn, Salieri. In the middle of the 18th century, Europe began to move toward a new style in architecture, literature, and this style sought to emulate the ideals of Classical antiquity, especially those of Classical Greece. Classical music was still linked to aristocratic Court culture and supported by absolute monarchies. Classical music used formality and emphasis on order and hierarchy, in contrast with the richly layered music of the Baroque era, Classical music moved towards simplicity rather than complexity. In addition, the size of orchestras began to increase. The remarkable development of ideas in natural philosophy had already established itself in the public consciousness, in particular, Newtons physics was taken as a paradigm, structures should be well-founded in axioms and be both well-articulated and orderly. This move meant that chords became a more prevalent feature of music. As a result, the structure of a piece of music became more audible. The new style was encouraged by changes in the economic order. As the 18th century progressed, the nobility became the patrons of instrumental music, while public taste increasingly preferred lighter
5.
Romantic music
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Romantic music is an era of Western classical music that began in the late 18th or early 19th century. In the Romantic period, music became more expressive and emotional, expanding to encompass literary, artistic, famous early Romantic composers include Beethoven, Schubert, Schumann, Chopin, Mendelssohn, Bellini, and Berlioz. The late 19th century saw an expansion in the size of the orchestra and in the dynamic range. Also, public concerts became a key part of middle class society, in contrast to earlier periods. Famous composers from the half of the century include Johann Strauss II, Brahms, Liszt, Tchaikovsky, Verdi. A prominent mark of late 19th century music is its nationalistic fervor, as exemplified by such figures as Dvořák, Sibelius, other prominent late-century figures include Saint-Saëns, Fauré, Rachmaninoff and Franck. The Romantic movement was an artistic, literary, and intellectual movement that originated in the half of the 18th century in Europe. In part, it was a revolt against social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature. It was embodied most strongly in the arts, music, and literature, but had a major impact on historiography and education. One of the first significant applications of the term to music was in 1789, in the Mémoires by the Frenchman André Grétry, in the first of these essays Hoffmann traced the beginnings of musical Romanticism to the later works of Haydn and Mozart. It was also through the writings of Hoffmann and other German authors that German music was brought to the centre of musical Romanticism, the attributes have also been criticized for being too vague. For example, features of the ghostly and supernatural could apply equally to Mozarts Don Giovanni from 1787, events and changes that happen in society such as ideas, attitudes, discoveries, inventions, and historical events always affect music. For example, the Industrial Revolution was in effect by the late 18th century. This event had a profound effect on music, there were major improvements in the mechanical valves. The new and innovative instruments could be played with greater ease, another development that had an effect on music was the rise of the middle class. Composers before this period lived on the patronage of the aristocracy, many times their audience was small, composed mostly of the upper class and individuals who were knowledgeable about music. The Romantic composers, on the hand, often wrote for public concerts and festivals, with large audiences of paying customers. Composers of the Romantic Era, like Elgar, showed the world that there should be no segregation of musical tastes, during the Romantic period, music often took on a much more nationalistic purpose
6.
20th-century classical music
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This era was without a dominant style and composers have created highly diverse kinds of music. Modernism, impressionism, post-romanticism, neoclassicism, expressionism, and, later, atonality, serialism, musique concrète and electronic music were all developed during this period. Jazz was an important influence on composers in this period. At the turn of the century, music was characteristically late Romantic in style, composers such as Gustav Mahler, Richard Strauss and Jean Sibelius were pushing the bounds of Post-Romantic Symphonic writing. At the same time, the Impressionist movement, spearheaded by Claude Debussy, was being developed in France, maurice Ravels music, also often labelled as impressionist, explores music in many styles not always related to it. Many composers reacted to the Post-Romantic and Impressionist styles and moved in different directions. From this sprang an unprecedented linguistic plurality of styles, techniques, in Vienna, Arnold Schoenberg developed atonality, out of the expressionism that arose in the early part of the 20th century. He later developed the technique which was developed further by his disciples Alban Berg and Anton Webern. Stravinsky explored twelve-tone technique, too, as did many other composers, indeed, even Scott Bradley used the technique in his scores for the Tom, after the First World War, many composers started returning to the past for inspiration and wrote works that draw elements from it. This type of music thus became labelled neoclassicism, igor Stravinsky, Sergei Prokofiev, Ravel and Paul Hindemith all produced neoclassical works. Italian composers such as Francesco Balilla Pratella and Luigi Russolo developed musical Futurism and this style often tried to recreate everyday sounds and place them in a Futurist context. The Machine Music of George Antheil and Alexander Mosolov developed out of this, in the 1940s and 50s composers, notably Pierre Schaeffer, started to explore the application of technology to music in musique concrète. The term electroacoustic music was coined to include all forms of music involving magnetic tape, computers, synthesizers, multimedia. Live electronic music uses live electronic sounds within a performance, Cages Cartridge Music being an early example, spectral music is a further development of electroacoustic music that uses analyses of sound spectra to create music. Cage, Berio, Boulez, Milton Babbitt, Luigi Nono, from the early 1950s onwards, Cage introduced elements of chance into his music. Process music explores a particular process which is laid bare in the work. The term experimental music was coined by Cage to describe works that produce unpredictable results, important cultural trends often informed music of this period, romantic, modernist, neoclassical, postmodernist or otherwise. Igor Stravinsky and Sergei Prokofiev were particularly drawn to primitivism in their careers, as explored in works such as The Rite of Spring
7.
Impressionism in music
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Impressionism is a philosophical and aesthetic term borrowed from late 19th century French painting after Monets Impression, Sunrise. The most prominent in musical impressionism is the use of color, or in term, timbre. Some impressionist composers, Debussy and Ravel in particular, are labeled as symbolist composers. Some of the key forerunners of and influences on the impressionist style include Modest Mussorgsky, Emmanuel Chabrier, Edvard Grieg, Gabriel Fauré, Henri Duparc, elements of impressionism can also be traced back to works by Frédéric Chopin, Franz Liszt, and Richard Wagner. Ernest Fanelli was claimed to have innovated the style in the early 1880s, the performance of his works in that year led to claims that he was the father of musical Impressionism. Ravel wrote, this impressionism is certainly different from that of present-day composers. Mr. Fanellis impressionism derives more directly from Berlioz, the Finnish composer Jean Sibelius is also associated with impressionism, and his The Swan of Tuonela predates Debussys Prélude à laprès-midi dun faune by a year. The American composer Howard Hanson also borrowed from both Sibelius and impressionism generally in such as his Second Symphony. The Enjoyment of Music, seventh edition, New York, W. W. Norton & Company,1995. London, Hutchinson, New York, Charles Scribners Sons,1973, the New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. New York, Dodd, Mead & company,1937
8.
Expressionist music
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Theodor Adorno sees the expressionist movement in music, as seeking to eliminate all of traditional musics conventional elements, everything formulaically rigid. This he sees as analogous to the ideal of the scream. As well Adorno sees expressionist music, as seeking the truthfulness of subjective feeling without illusions, the three central figures of musical expressionism are Arnold Schoenberg and his pupils, Anton Webern and Alban Berg, the so-called Second Viennese School. Other composers that have associated with expressionism are Ernst Krenek, Paul Hindemith, Igor Stravinsky. Another significant expressionist was Béla Bartók in early works, written in the decade of the 20th century, such as Bluebeards Castle, The Wooden Prince. Important precursors of expressionism are Richard Wagner, Gustav Mahler, Musical expressionism is closely associated with the music Arnold Schoenberg composed between 1908 and 1921, which is his period of free atonal composition, before he devised twelve-tone technique. It can therefore be said to begin with Schoenbergs Second String Quartet in which each of the four movements gets progressively less tonal and this may be representative of Schoenberg entering the new world of atonality. In 1909, Schoenberg composed the one-act monodrama Erwartung and this is a thirty-minute, highly expressionist work in which atonal music accompanies a musical drama centered around a nameless woman. Having stumbled through a disturbing forest, trying to find her lover, the plot is entirely played out from the subjective point of view of the woman, and her emotional distress is reflected in the music. The author of the libretto, Marie Pappenheim, was a recently graduated medical student familiar with Freuds newly developed theories of psychoanalysis, in 1909, Schoenberg completed the Five Pieces for Orchestra. These were constructed freely, based upon the subconscious will, unmediated by the conscious, as such, the works attempt to avoid a recognisable form, although the extent to which they achieve this is debatable. Between 1908 and 1913, Schoenberg was also working on a musical drama, the plot begins with an unnamed man, cowered in the centre of the stage with a beast upon his back. The mans wife has left him for another man, he is in anguish and she attempts to return to him, but in his pain he does not see her. Then, to himself, the man goes to a forge. The woman returns, and the man implores her to stay with him, but she kicks a rock upon him, and the final image of the act is of the man once again cowered with the beast upon his back. This plot is highly symbolic, written as it was by Schoenberg himself, although she had returned by the time Schoenberg began the work, their relationship was far from easy. The central forging scene is seen as representative of Schoenbergs disappointment at the popular reaction to his works. His desire was to create a masterpiece, as the protagonist does, once again, Schoenberg is expressing his real life difficulties
9.
Modernism (music)
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The operative word most associated with it is innovation. Its leading feature is a plurality, which is to say that no one music genre ever assumed a dominant position. While belief in progress or in the principle of innovation is not new or unique to modernism. Examples include the celebration of Arnold Schoenbergs rejection of tonality in chromatic post-tonal and twelve-tone works, musicologist Carl Dahlhaus describes modernism as, an obvious point of historical discontinuity. The breakthrough of Mahler, Strauss, and Debussy implies a profound historical transformation, other writers assert that modernism is not attached to any historical period, but rather is an attitude of the composer, a living construct that can evolve with the times. According to jazz drummer and bandleader Kenny Clarke, bebop was initially referred to as modern jazz by himself, secondly, there are debates within popular music about pastiche and authenticity. Modernism means something different within each of these two fields. This confusion is obvious in an early attempt to understand rock music in postmodern terms. Modernism in popular music had been named as early as the late 1950s when burgeoning Los Angeles rock, some examples which soon followed include the elaborately arranged River Deep – Mountain High by Ike & Tina Turner and Good Vibrations by the Beach Boys
10.
Renaissance
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The Renaissance was a period in European history, from the 14th to the 17th century, regarded as the cultural bridge between the Middle Ages and modern history. It started as a movement in Italy in the Late Medieval period and later spread to the rest of Europe. This new thinking became manifest in art, architecture, politics, science, Early examples were the development of perspective in oil painting and the recycled knowledge of how to make concrete. Although the invention of movable type sped the dissemination of ideas from the later 15th century. In politics, the Renaissance contributed to the development of the customs and conventions of diplomacy, the Renaissance began in Florence, in the 14th century. Other major centres were northern Italian city-states such as Venice, Genoa, Milan, Bologna, the word Renaissance, literally meaning Rebirth in French, first appeared in English in the 1830s. The word also occurs in Jules Michelets 1855 work, Histoire de France, the word Renaissance has also been extended to other historical and cultural movements, such as the Carolingian Renaissance and the Renaissance of the 12th century. The Renaissance was a movement that profoundly affected European intellectual life in the early modern period. Renaissance scholars employed the humanist method in study, and searched for realism, however, a subtle shift took place in the way that intellectuals approached religion that was reflected in many other areas of cultural life. In addition, many Greek Christian works, including the Greek New Testament, were back from Byzantium to Western Europe. Political philosophers, most famously Niccolò Machiavelli, sought to describe life as it really was. Others see more competition between artists and polymaths such as Brunelleschi, Ghiberti, Donatello, and Masaccio for artistic commissions as sparking the creativity of the Renaissance. Yet it remains much debated why the Renaissance began in Italy, accordingly, several theories have been put forward to explain its origins. During the Renaissance, money and art went hand in hand, Artists depended entirely on patrons while the patrons needed money to foster artistic talent. Wealth was brought to Italy in the 14th, 15th, and 16th centuries by expanding trade into Asia, silver mining in Tyrol increased the flow of money. Luxuries from the Eastern world, brought home during the Crusades, increased the prosperity of Genoa, unlike with Latin texts, which had been preserved and studied in Western Europe since late antiquity, the study of ancient Greek texts was very limited in medieval Western Europe. One of the greatest achievements of Renaissance scholars was to bring this entire class of Greek cultural works back into Western Europe for the first time since late antiquity, Arab logicians had inherited Greek ideas after they had invaded and conquered Egypt and the Levant. Their translations and commentaries on these ideas worked their way through the Arab West into Spain and Sicily and this work of translation from Islamic culture, though largely unplanned and disorganized, constituted one of the greatest transmissions of ideas in history
11.
Early modern period
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The early modern period of modern history follows the late Middle Ages of the post-classical era. Historians in recent decades have argued that from a worldwide standpoint, the period witnessed the exploration and colonization of the Americas and the rise of sustained contacts between previously isolated parts of the globe. The historical powers became involved in trade, as the exchange of goods, plants, animals, and food crops extended to the Old World. The Columbian Exchange greatly affected the human environment, New economies and institutions emerged, becoming more sophisticated and globally articulated over the course of the early modern period. This process began in the medieval North Italian city-states, particularly Genoa, Venice, the early modern period also included the rise of the dominance of the economic theory of mercantilism. The European colonization of the Americas, Asia, and Africa occurred during the 15th to 19th centuries, the early modern trends in various regions of the world represented a shift away from medieval modes of organization, politically and economically. Historians typically date the end of the modern period when the French Revolution of the 1790s began the modern period. Early modern themes Other In 16th century China, the Ming Dynastys economy was stimulated by trade with the Portuguese, Spanish. China became involved in a new trade of goods, plants, animals. Trade with Early Modern Europe and Japan brought in massive amounts of silver, during the last decades of the Ming the flow of silver into China was greatly diminished, thereby undermining state revenues and the entire Chinese economy. This damage to the economy was compounded by the effects on agriculture of the incipient Little Ice Age, natural calamities, crop failure, the ensuing breakdown of authority and peoples livelihoods allowed rebel leaders such as Li Zicheng to challenge Ming authority. The Ming Dynasty fell around 1644 to the Qing Dynasty, which was the last ruling dynasty of China, during its reign, the Qing Dynasty became highly integrated with Chinese culture. The Azuchi-Momoyama period saw the unification that preceded the establishment of the Tokugawa shogunate. The Edo period from 1600 to 1868 characterized early modern Japan, the Tokugawa shogunate was a feudal regime of Japan established by Tokugawa Ieyasu and ruled by the shoguns of the Tokugawa family. This period gets its name from the city, Edo. The Tokugawa shogunate ruled from Edo Castle from 1603 until 1868, in 1392, General Yi Seong-gye established the Joseon Dynasty with a largely bloodless coup. Joseon experienced advances in science and culture, King Sejong the Great promulgated hangul, the Korean alphabet. The period saw various other cultural and technological advances as well as the dominance of neo-Confucianism over the entirety of Korea, during the late 16th and early 17th centuries, invasions by the neighboring Japanese and Qing Chinese nearly overran the Korean peninsula
12.
Humanism
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The term was coined in 1808 by the early nineteenth century German educational reformer and theologian Friedrich Niethammer and gradually adopted into English. Niethammer had wished to introduce into German education the humane values of ancient Greece, the word Humanism is ultimately derived from the Latin concept humanitas, and, like most other words ending in -ism, entered English in the nineteenth century. Those who earnestly desire and seek after these are most highly humanized. For the desire to pursue of that kind of knowledge, and the training given by it, has granted to humanity alone of all the animals. Gellius says that in his day humanitas is commonly used as a synonym for philanthropy – or kindness and he himself was involved in public affairs. By assigning pride of place to Paideia in his comment on the etymology of humanitas, gelliuss writings fell into obscurity during the middle ages, but during the Italian Renaissance, Gellius became a favorite author. Teachers and scholars of Greek and Latin grammar, rhetoric, philosophy, during the French Revolution, and soon after, in Germany, humanism began to refer to an ethical philosophy centered on humankind, without attention to the transcendent or supernatural. The designation Religious Humanism refers to organized groups that sprang up during the late-nineteenth and it is similar to Protestantism, although centered on human needs, interests, and abilities rather than the supernatural. The first Humanist Manifesto was issued by a conference held at the University of Chicago in 1933, signatories included the philosopher John Dewey, but the majority were ministers and theologians. But in the century, during the French Enlightenment, a more ideological use of the term had come into use. In 1765, the author of an article in a French Enlightenment periodical spoke of The general love of humanity. A virtue hitherto quite nameless among us, and which we will venture to call humanism, for the time has come to create a word for such a beautiful and necessary thing. The latter part of the 18th and the early 19th centuries saw the creation of numerous philanthropic and benevolent societies dedicated to human betterment. Humanism began to acquire a negative sense, the Oxford English Dictionary records the use of the word humanism by an English clergyman in 1812 to indicate those who believe in the mere humanity of Christ, i. e. Unitarians and Deists. Human-centered philosophy that rejected the supernatural may also be found circa 1500 BCE in the Lokayata system of Indian philosophy, nasadiya Sukta, a passage in the Rig Veda, contains one of the first recorded assertions of agnosticism. Another instance of ancient humanism as a system of thought is found in the Gathas of Zarathustra. Zarathustras philosophy in the Gathas lays out a conception of humankind as thinking beings, dignified with choice, in China, Yellow Emperor is regarded as the humanistic primogenitor. Sage kings such as Yao and Shun are humanistic figures as recorded, king Wu of Zhou has the famous saying, Humanity is the Ling of the world
13.
Ancient Greece
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Ancient Greece was a civilization belonging to a period of Greek history from the Greek Dark Ages of the 12th-9th centuries BC to the end of antiquity. Immediately following this period was the beginning of the Early Middle Ages and this was followed by the period of Classical Greece, an era that began with the Greco-Persian Wars, lasting from the 5th to 4th centuries BC. Due to the conquests by Alexander the Great of Macedonia, Hellenistic civilization flourished from Central Asia to the end of the Mediterranean Sea. Classical Greek culture, especially philosophy, had a influence on ancient Rome. For this reason Classical Greece is generally considered to be the culture which provided the foundation of modern Western culture and is considered the cradle of Western civilization. Classical Antiquity in the Mediterranean region is considered to have begun in the 8th century BC. Classical Antiquity in Greece is preceded by the Greek Dark Ages and this period is succeeded, around the 8th century BC, by the Orientalizing Period during which a strong influence of Syro-Hittite, Jewish, Assyrian, Phoenician and Egyptian cultures becomes apparent. The end of the Dark Ages is also dated to 776 BC. The Archaic period gives way to the Classical period around 500 BC, Ancient Periods Astronomical year numbering Dates are approximate, consult particular article for details The history of Greece during Classical Antiquity may be subdivided into five major periods. The earliest of these is the Archaic period, in which artists made larger free-standing sculptures in stiff, the Archaic period is often taken to end with the overthrow of the last tyrant of Athens and the start of Athenian Democracy in 508 BC. It was followed by the Classical period, characterized by a style which was considered by observers to be exemplary, i. e. classical, as shown in the Parthenon. This period saw the Greco-Persian Wars and the Rise of Macedon, following the Classical period was the Hellenistic period, during which Greek culture and power expanded into the Near and Middle East. This period begins with the death of Alexander and ends with the Roman conquest, Herodotus is widely known as the father of history, his Histories are eponymous of the entire field. Herodotus was succeeded by authors such as Thucydides, Xenophon, Demosthenes, Plato, most of these authors were either Athenian or pro-Athenian, which is why far more is known about the history and politics of Athens than those of many other cities. Their scope is limited by a focus on political, military and diplomatic history, ignoring economic. In the 8th century BC, Greece began to emerge from the Dark Ages which followed the fall of the Mycenaean civilization, literacy had been lost and Mycenaean script forgotten, but the Greeks adopted the Phoenician alphabet, modifying it to create the Greek alphabet. The Lelantine War is the earliest documented war of the ancient Greek period and it was fought between the important poleis of Chalcis and Eretria over the fertile Lelantine plain of Euboea. Both cities seem to have suffered a decline as result of the long war, a mercantile class arose in the first half of the 7th century BC, shown by the introduction of coinage in about 680 BC
14.
Ancient Rome
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In its many centuries of existence, the Roman state evolved from a monarchy to a classical republic and then to an increasingly autocratic empire. Through conquest and assimilation, it came to dominate the Mediterranean region and then Western Europe, Asia Minor, North Africa and it is often grouped into classical antiquity together with ancient Greece, and their similar cultures and societies are known as the Greco-Roman world. Ancient Roman civilisation has contributed to modern government, law, politics, engineering, art, literature, architecture, technology, warfare, religion, language and society. Rome professionalised and expanded its military and created a system of government called res publica, the inspiration for modern republics such as the United States and France. By the end of the Republic, Rome had conquered the lands around the Mediterranean and beyond, its domain extended from the Atlantic to Arabia, the Roman Empire emerged with the end of the Republic and the dictatorship of Augustus Caesar. 721 years of Roman-Persian Wars started in 92 BC with their first war against Parthia and it would become the longest conflict in human history, and have major lasting effects and consequences for both empires. Under Trajan, the Empire reached its territorial peak, Republican mores and traditions started to decline during the imperial period, with civil wars becoming a prelude common to the rise of a new emperor. Splinter states, such as the Palmyrene Empire, would divide the Empire during the crisis of the 3rd century. Plagued by internal instability and attacked by various migrating peoples, the part of the empire broke up into independent kingdoms in the 5th century. This splintering is a landmark historians use to divide the ancient period of history from the pre-medieval Dark Ages of Europe. King Numitor was deposed from his throne by his brother, Amulius, while Numitors daughter, Rhea Silvia, because Rhea Silvia was raped and impregnated by Mars, the Roman god of war, the twins were considered half-divine. The new king, Amulius, feared Romulus and Remus would take back the throne, a she-wolf saved and raised them, and when they were old enough, they returned the throne of Alba Longa to Numitor. Romulus became the source of the citys name, in order to attract people to the city, Rome became a sanctuary for the indigent, exiled, and unwanted. This caused a problem for Rome, which had a large workforce but was bereft of women, Romulus traveled to the neighboring towns and tribes and attempted to secure marriage rights, but as Rome was so full of undesirables they all refused. Legend says that the Latins invited the Sabines to a festival and stole their unmarried maidens, leading to the integration of the Latins, after a long time in rough seas, they landed at the banks of the Tiber River. Not long after they landed, the men wanted to take to the sea again, one woman, named Roma, suggested that the women burn the ships out at sea to prevent them from leaving. At first, the men were angry with Roma, but they realized that they were in the ideal place to settle. They named the settlement after the woman who torched their ships, the Roman poet Virgil recounted this legend in his classical epic poem the Aeneid
15.
Bourgeoisie
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A legally defined class of the Middle Ages to the end of the Ancien Régime in France, that of inhabitants having the rights of citizenship and political rights in a city. This bourgeoisie destroyed aristocratic privilege and established civic equality after the French monarchy collapsed, the aristocracy crumbled because it refused to reform institutions and financial systems. An affluent and often opulent stratum of the class who stand opposite the proletariat class. In English, bourgeoisie identified a social class oriented to economic materialism and hedonism, hence, since the 19th century, the term bourgeoisie usually is politically and sociologically synonymous with the ruling upper class of a capitalist society. The 18th century saw a partial rehabilitation of bourgeois values in such as the drame bourgeois and bourgeois tragedy. The bourgeoisie emerged as a historical and political phenomenon in the 11th century when the bourgs of Central and this urban expansion was possible thanks to economic concentration due to the appearance of protective self-organisation into guilds. Guilds arose when individual businessmen conflicted with their feudal landlords who demanded greater rents than previously agreed. In English, the bourgeoisie is often used to denote the middle classes. In fact, the French term encompasses both the upper and middle classes, a misunderstanding which has occurred in other languages as well. The bourgeoisie in France and many French-speaking countries consists of four evolving social layers, petite bourgeoisie, moyenne bourgeoisie, grande bourgeoisie, the petite bourgeoisie consists of people who have experienced a brief ascension in social mobility for one or two generations. It usually starts with a trade or craft, and by the second and third generation, the petite bourgeois would belong to the British lower middle class and would be American middle income. They are distinguished mainly by their mentality, and would differentiate themselves from the proletariat or working class and this class would include artisans, small traders, shopkeepers, and small farm owners. They are not employed, but may not be able to afford employees themselves, the moyenne bourgeoisie or middle bourgeoisie contains people who have solid incomes and assets, but not the aura of those who have become established at a higher level. They tend to belong to a family that has been bourgeois for three or more generations, some members of this class may have relatives from similar backgrounds, or may even have aristocratic connections. The moyenne bourgeoisie is the equivalent of the British and American upper-middle classes, the grande bourgeoisie are families that have been bourgeois since the 19th century, or for at least four or five generations. Members of these tend to marry with the aristocracy or make other advantageous marriages. This bourgeoisie family has acquired an established historical and cultural heritage over the decades, the names of these families are generally known in the city where they reside, and their ancestors have often contributed to the regions history. These families are respected and revered and they belong to the upper class, and in the British class system are considered part of the gentry
16.
Reformation
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The period is usually considered to have begun with the publication of the Ninety-five Theses by Luther in 1517 to the Thirty Years War and ended with the Peace of Westphalia in 1648. The Protestant position, however, would come to incorporate doctrinal changes such as sola scriptura, the initial movement within Germany diversified, and other reform impulses arose independently of Luther. The spread of Gutenbergs printing press provided the means for the dissemination of religious materials in the vernacular. The largest groups were the Lutherans and Calvinists, Lutheran churches were founded mostly in Germany, the Baltics and Scandinavia, while the Reformed ones were founded in Switzerland, Hungary, France, the Netherlands and Scotland. The new movement influenced the Church of England decisively after 1547 under Edward VI and Elizabeth I, there were also reformation movements throughout continental Europe known as the Radical Reformation, which gave rise to the Anabaptist, Moravian and other Pietistic movements. The Roman Catholic Church responded with a Counter-Reformation initiated by the Council of Trent, much work in battling Protestantism was done by the well-organised new order of the Jesuits. In general, Northern Europe, with the exception of most of Ireland, southern Europe remained Roman Catholic, while Central Europe was a site of a fierce conflict, culminating in the Thirty Years War, which left it devastated. The oldest Protestant churches, such as the Unitas Fratrum and Moravian Church, the later Protestant Churches generally date their doctrinal separation from the Roman Catholic Church to the 16th century. The Reformation began as an attempt to reform the Roman Catholic Church, by priests who opposed what they perceived as false doctrines and ecclesiastic malpractice. They especially objected to the teaching and the sale of indulgences, and the abuses thereof, and to simony, the reformers saw these practices as evidence of the systemic corruption of the Churchs hierarchy, which included the pope. Unrest due to the Great Schism of Western Christianity excited wars between princes, uprisings among the peasants, and widespread concern over corruption in the Church, New perspectives came from John Wycliffe at Oxford University and from Jan Hus at the Charles University in Prague. Hus rejected indulgences and adopted a doctrine of justification by grace through faith alone, the Roman Catholic Church officially concluded this debate at the Council of Constance by condemning Hus, who was executed by burning despite a promise of safe-conduct. Wycliffe was posthumously condemned as a heretic and his corpse exhumed and burned in 1428, the Council of Constance confirmed and strengthened the traditional medieval conception of church and empire. The council did not address the national tensions or the theological tensions stirred up during the century and could not prevent schism. Pope Sixtus IV established the practice of selling indulgences to be applied to the dead, Pope Alexander VI was one of the most controversial of the Renaissance popes. He was the father of seven children, including Lucrezia and Cesare Borgia, in response to papal corruption, particularly the sale of indulgences, Luther wrote The Ninety-Five Theses. The Reformation was born of Luthers dual declaration – first, the discovering of Jesus and salvation by faith alone, the Protestant reformers were unanimous in agreement and this understanding of prophecy furnished importance to their deeds. It was the point and the battle cry that made the Reformation nearly unassailable
17.
Polyphony
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Within the context of the Western musical tradition, the term polyphony is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. In all cases the conception was probably what Margaret Bent calls dyadic counterpoint, with part being written generally against one other part. The term polyphony is also used more broadly, to describe any musical texture that is not monophonic. Such a perspective considers homophony as a sub-type of polyphony, traditional polyphony has a wide, if uneven, distribution among the peoples of the world. Most polyphonic regions of the world are in sub-Saharan Africa, Europe and it is believed that the origins of polyphony in traditional music vastly predate the emergence of polyphony in European professional music. Currently there are two approaches to the problem of the origins of vocal polyphony, the Cultural Model. Although the exact origins of polyphony in the Western church traditions are unknown,900, are usually considered the oldest extant written examples of polyphony. These treatises provided examples of two-voice note-against-note embellishments of chants using parallel octaves, fifths, rather than being fixed works, they indicated ways of improvising polyphony during performance. 1000, is the oldest extant example of notated polyphony for chant performance, European polyphony rose out of melismatic organum, the earliest harmonization of the chant. Twelfth-century composers, such as Léonin and Pérotin developed the organum that was introduced centuries earlier, the lyrics of love poems might be sung above sacred texts in the form of a trope, or the sacred text might be placed within a familiar secular melody. The oldest surviving piece of music is the English rota Sumer is icumen in. These musical innovations appeared in a context of societal change. After the first millennium, European monks decided to start translating the works of Greek philosophers into the vernacular, Western Europeans were aware of Plato, Socrates, and Hippocrates during the Middle Ages. However they had largely lost touch with the content of their surviving works because the use of Greek as a language was restricted to the lands of the Eastern Roman Empire. Once these ancient works started being translated thus becoming accessible, the philosophies had a impact on the mind of Western Europe. This sparked a number of innovations in medicine, science, art, European polyphony rose prior to, and during the period of the Western Schism. Avignon, the seat of the antipopes, was a center of secular music-making
18.
Franco-Flemish School
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The diffusion of their technique, especially after the revolutionary development of printing, produced the first true international style since the unification of Gregorian chant in the 9th century. Franco-Flemish composers mainly wrote sacred music, primarily masses, motets, several generations of Renaissance composers from the region loosely known as the Low Countries—i. e. Present-day Northern France, Belgium and the Southern Netherlands—are grouped under Franco-Flemish School, most of these musicians were born in the thriving Burgundian provinces of Flanders, Brabant, Hainaut, or Limburg. During periods of political and economic stability, the courts of the Burgundian dukes were a centre of activity in Europe. The exact centres shifted during time, and by the end of the sixteenth century the focal point of the Western musical world had moved from the Low Countries to Italy. Following are five groups, or generations, that are distinguished in the Franco-Flemish/Netherlandish school. Development of this style was continuous, and these generations only provide useful reference points. The First generation, dominated by Guillaume Du Fay, Gilles Binchois and Antoine Busnois, the origins of the style of the first generation embraces both earlier Burgundian traditions and also Italian and English styles. For example, in 1442, the poet Martin le Franc praised Binchois, the Second generation, with Ockeghem as its main exponent, others including Orto, Compère, Prioris, Agricola, Caron, Faugues, Regis and Tinctoris. The Third generation, Obrecht, de la Rue, Isaac, Brumel, Févin, Pipelare, Richafort, Divitis, the Fourth generation, Gombert, Crecquillon, Manchicourt, Arcadelt, Rore, Willaert, Courtois and Clemens non Papa. The Fifth generation, Lassus, de Monte, Vaet, Regnart, Luython, Wert, de Macque, and Rogier. By this time, many of the composers of music were native to Italy and other countries, the Netherlandish style had naturalized on foreign soil. Composed between 1450 and 1520, these motets were written for four voices, with all voices being equal. They often exhibit thick, dark textures, with a low range. The most notable composers of this style include Ockeghem and Josquin, whose De profundis clamavi ad te, category, Franco-Flemish composers The New Harvard Dictionary of Music. A History of Music and Musical Style, by Homer Ulrich & Paul Pisk, register of Polyphonists out of The Low countries/the Netherlands born in between 1400-1600
19.
Josquin des Prez
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Josquin des Prez, often referred to simply as Josquin, was a French composer of the Renaissance. His motet Illibata Dei virgo nutrix includes an acrostic of his name and he was the most famous European composer between Guillaume Dufay and Giovanni Pierluigi da Palestrina, and is usually considered to be the central figure of the Franco-Flemish School. Josquin is widely considered by scholars to be the first master of the high Renaissance style of polyphonic vocal music that was emerging during his lifetime. During the 16th century, Josquin gradually acquired the reputation as the greatest composer of the age, his mastery of technique and he was so admired that many anonymous compositions were attributed to him by copyists, probably to increase their sales. The lives of dozens of less revered Renaissance composers are better documented than that of Josquin, Josquin wrote both sacred and secular music, and in all of the significant vocal forms of the age, including masses, motets, chansons and frottole. During the 16th century, he was praised for both his supreme melodic gift and his use of technical devices. Heinrich Glarean wrote in 1547 that Josquin was not only a magnificent virtuoso but capable of being a mocker, little is known for certain of Josquins early life. Much is inferential and speculative, though numerous clues have emerged from his works and the writings of contemporary composers, theorists, and writers of the next several generations. Josquin was long mistaken for a man with a name, Josquin de Kessalia, born around the year 1440. More recent scholarship has shown that Josquin des Prez was born around 1450 or a few years later, around 1466, perhaps on the death of his father, Josquin was named by his uncle and aunt, Gille Lebloitte dit Desprez and Jacque Banestonne, as their heir. Their will gives Josquins actual surname as Lebloitte, according to Matthews and Merkley, des Prez was a nickname. Doubt has been cast on the accuracy of Hémerés account, however, both Jean Mouton and Loyset Compère were buried there and it is certainly possible that Josquin acquired his later connections with the French royal chapel through early experiences at Saint-Quentin. The first definite record of his employment is dated 19 April 1477 and he remained there at least until 1478. One of Josquins early motets, Misericordias Domini in aeternum cantabo, suggests a connection with Louis XI. In either 1483 or 1484, Josquin is known to have been in the service of the Sforza family in Milan and he was in Milan again in 1489, after a possible period of travel, but he left that year. From 1489 to 1495, Josquin was a member of the choir, first under Pope Innocent VIII. He may have gone there as part of an exchange with Gaspar van Weerbeke. While there, he may have been the one who carved his name into the wall of the Sistine Chapel, a JOSQUINJ was recently revealed by workers restoring the chapel
20.
Printing press
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A printing press is a device for applying pressure to an inked surface resting upon a print medium, thereby transferring the ink. The printing press was invented in the Holy Roman Empire by the German Johannes Gutenberg around 1440, the printing press spread within several decades to over two hundred cities in a dozen European countries. By 1500, printing presses in operation throughout Western Europe had already produced more than twenty million volumes, in the 16th century, with presses spreading further afield, their output rose tenfold to an estimated 150 to 200 million copies. The operation of a press became so synonymous with the enterprise of printing that it lent its name to a new branch of media. The sharp rise of learning and literacy amongst the middle class led to an increased demand for books which the time-consuming hand-copying method fell far short of accommodating. Technologies preceding the press led to the presss invention included, manufacturing of paper, development of ink, woodblock printing. At the same time, a number of products and technological processes had reached a level of maturity which allowed their potential use for printing purposes. The device was used from very early on in urban contexts as a cloth press for printing patterns. Gutenberg may have also inspired by the paper presses which had spread through the German lands since the late 14th century. Gutenberg adopted the design, thereby mechanizing the printing process. Printing, however, put a demand on the quite different from pressing. Gutenberg adapted the construction so that the power exerted by the platen on the paper was now applied both evenly and with the required sudden elasticity. To speed up the process, he introduced a movable undertable with a plane surface on which the sheets could be swiftly changed. The known examples range from Germany to England to Italy, however, the various techniques employed did not have the refinement and efficiency needed to become widely accepted. Gutenberg greatly improved the process by treating typesetting and printing as two separate work steps, a goldsmith by profession, he created his type pieces from a lead-based alloy which suited printing purposes so well that it is still used today. The mass production of metal letters was achieved by his key invention of a hand mould. Another factor conducive to printing arose from the existing in the format of the codex. Considered the most important advance in the history of the prior to printing itself
21.
Chanson
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A chanson is in general any lyric-driven French song, usually polyphonic and secular. A singer specializing in chansons is known as a chanteur or chanteuse, the earliest chansons were the epic poems performed to simple monophonic melodies by a professional class of jongleurs or ménestrels. These usually recounted the deeds of past heroes, legendary. The Song of Roland is the most famous of these, the chanson courtoise or grand chant was an early form of monophonic chanson, the chief lyric poetic genre of the trouvères. It was an adaptation to Old French of the Occitan canso and it was practised in the twelfth and thirteenth centuries. Thematically, as its name implies, it was a song of courtly love, some later chansons were polyphonic and some had refrains and were called chansons avec des refrains. A Crusade song was known as a chanson de croisade, in its typical specialized usage, the word chanson refers to a polyphonic French song of the late Middle Ages and Renaissance. Early chansons tended to be in one of the formes fixes—ballade, the earliest chansons were for two, three or four voices, with first three becoming the norm, expanding to four voices by the sixteenth century. Sometimes, the singers were accompanied by instruments, the first important composer of chansons was Guillaume de Machaut, who composed three-voice works in the formes fixes during the 14th century. Guillaume Dufay and Gilles Binchois, who wrote so-called Burgundian chansons, were the most important chanson composers of the next generation and their chansons, while somewhat simple in style, are also generally in three voices with a structural tenor. Musicologist David Fallows includes the Burgundian repertoire in A Catalogue of Polyphonic Songs 1415-1480 and these works are typically still 3 voices, with an active upper voice pitched above two lower voices usually sharing the same range. The first book of music printed from movable type was Harmonice Musices Odhecaton and this genre sometimes featured music that was meant to be evocative of certain imagery such as birds or the marketplace. Many of these Parisian works were published by Pierre Attaingnant, composers of their generation, as well as later composers, such as Orlando de Lassus, were influenced by the Italian madrigal. Many early instrumental works were ornamented variations on chansons, with this becoming the canzone. French solo song developed in the late 16th century, probably from the aforementioned Parisian works, louis Niedermeyer, under the particular spell of Schubert, was a pivotal figure in this movement, followed by Édouard Lalo, Felicien David and many others. Another offshoot of chanson, called chanson réaliste, was a musical genre in France. Among the better-known performers of the genre are Damia, Fréhel, chanson can be distinguished from the rest of French pop music by following the rhythms of French language, rather than those of English, and a higher standard for lyrics. Canzone Russian chanson French historical chanson panorama Brown, Howard Mayer, in The Oxford Companion to Music, edited by Alison Latham
22.
Motet
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In western music, a motet is a mainly vocal musical composition, of highly varied form and style, from the late medieval era to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music, according to Margaret Bent, a piece of music in several parts with words is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond. In the early 20th century, it was believed the name came from the Latin movere. The Medieval Latin for motet is motectum, and the Italian mottetto was also used, if the word is from Latin, the name describes the movement of the different voices against one another. Today, however, the French etymology is favoured by reference books, in fact, the troped clausulas that were the forerunner of the motet were originally called motelli, soon replaced by the term moteti. The earliest motets arose in the 13th century from the organum tradition exemplified in the Notre Dame school of Léonin and Pérotin, the motet probably arose from clausula sections, usually strophic interludes, in a longer sequence of organum, to which upper voices were added. Usually the clausula represented a sequence in Latin which was sung as a discant over a cantus firmus. The motet took a definite rhythm from the words of the verse, the main exception is the conductus motet, in which the parts proceed in essentially homophonic rhythms. The practice of discant over a cantus firmus marked the beginnings of counterpoint in Western music, from these first motets arose a medieval tradition of secular motets. It is suspected that, for the sake of intelligibility, in performance the cantus firmus, among the trouvères, Robert de Reins La Chievre and Richart de Fournival composed motets. While it grew out of the isorhythmic motet, the Renaissance composers of the motet generally abandoned the use of a repeated figure as a cantus firmus. During this time, however, the use of cantus firmi in works such as the parody mass tended to stretch the cantus firmus out to great lengths compared to the multivoice descant above it. This tended to obscure the rhythm supplied by the cantus firmus that had been apparent in the medieval isorhythmic motet. The cascading, passing chords created by the interplay between multiple voices, and the absence of a strong or obvious beat, are the features that distinguish medieval, the texts of antiphons were frequently used as motet texts. This is the sort of composition that is most familiarly designated by the term motet, in essence, these motets were sacred madrigals. The language of the text was the feature, if it is Latin, it is a motet, if the vernacular. Religious compositions in vernacular languages were often called madrigali spirituali, spiritual madrigals, secular motets continued to be written, however. These motets typically set a Latin text in praise of a monarch, commemorating some public triumph, nevertheless, the themes of courtly love often found in the medieval secular motet were banished from the Renaissance motet
23.
Giovanni Pierluigi da Palestrina
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Giovanni Pierluigi da Palestrina was an Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition. He had a influence on the development of church music. Palestrina was born in the town of Palestrina, near Rome, documents suggest that he first visited Rome in 1537, when he is listed as a chorister at the Santa Maria Maggiore basilica. He studied with Robin Mallapert and Firmin Lebel and he spent most of his career in the city. Italy itself had yet to produce anyone of comparable fame or skill in polyphony, from 1544 to 1551, Palestrina was the organist of the Cathedral of St. Agapito, the principal church of his native city. This book of Masses was the first by a composer, since in the Italian states of Palestrinas day, most composers of sacred music were from the Low Countries, France, Portugal. In fact the book was modeled on one by Cristóbal de Morales, during the next decade, Palestrina held positions similar to his Julian Chapel appointment at other chapels and churches in Rome, notably St John Lateran, and St Mary Major. In 1571 he returned to the Julian Chapel and remained at St Peters for the rest of his life, the decade of the 1570s was difficult for him personally, he lost his brother, two of his sons, and his wife in three separate outbreaks of the plague. He seems to have considered becoming a priest at this time, but instead he remarried and this finally gave him financial independence and he was able to compose prolifically until his death. He died in Rome of pleurisy in 1594, as was usual, Palestrina was buried on the same day he died, in a plain coffin with a lead plate on which was inscribed Libera me Domine. A five-part psalm for three choirs was sung at the funeral, Palestrinas funeral was held at St. Peters, and he was buried beneath the floor of the basilica. His tomb was covered by new construction and attempts to locate the site have been unsuccessful. Palestrina left hundreds of compositions, including 105 masses,68 offertories, at least 140 madrigals, in addition, there are at least 72 hymns,35 magnificats,11 litanies, and four or five sets of lamentations. The Gloria melody from a Palestrina magnificat is widely used today in the hymn tune. He published just two collections of madrigals with profane texts, one in 1555 and another in 1586, the other two collections were spiritual madrigals, a genre beloved by the proponents of the Counter-Reformation. Palestrinas masses show how his style developed over time. His Missa sine nomine seems to have been attractive to Johann Sebastian Bach. Most of Palestrinas masses appeared in thirteen volumes printed between 1554 and 1601, the last seven published after his death, one of his most important works, the Missa Papae Marcelli, has been historically associated with erroneous information involving the Council of Trent
24.
Orlande de Lassus
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Orlande de Lassus was a Netherlandish or Franco-Flemish composer of the late Renaissance. Lassus was born in Mons in the County of Hainaut, Habsburg Netherlands, at the age of twelve, he left the Low Countries with Ferrante Gonzaga and went to Mantua, Sicily, and later Milan. While in Milan, he made the acquaintance of the madrigalist Spirito lHoste da Reggio and he then worked as a singer and a composer for Costantino Castrioto in Naples in the early 1550s, and his first works are presumed to date from this time. However, he stayed there for only a year, no solid evidence survives for his whereabouts in 1554, but there are contemporary claims that he traveled in France and England. In 1555 he returned to the Low Countries and had his works published in Antwerp. In 1556 he joined the court of Albrecht V, Duke of Bavaria, Lassus was one of several Netherlanders to work there, and by far the most famous. He evidently was happy in Munich and decided to settle there, in 1558 he married Regina Wäckinger, the daughter of a maid of honor of the Duchess. They had two sons, both of whom became composers, and his daughter married the painter Hans von Aachen, by 1563 Lassus had been appointed maestro di cappella, succeeding Ludwig Daser in the post. Lassus remained in the service of Albrecht V and his heir, Wilhelm V, by the 1560s Lassus had become quite famous, and composers began to go to Munich to study with him. Andrea Gabrieli went there in 1562, and possibly remained in the chapel for a year, giovanni Gabrieli also possibly studied with him in the 1570s. His renown had spread outside of strictly musical circles, for in 1570 Emperor Maximilian II conferred nobility upon him, pope Gregory XIII knighted him and in 1571, and again in 1573, the king of France, Charles IX, invited him to visit. I do not want to leave my house, my garden, in the late 1570s and 1580s Lassus made several visits to Italy, where he encountered the most modern styles and trends. In Ferrara, the center of activity, he doubtless heard the madrigals being composed for the dEste court. However, his own style remained conservative and became simpler and more refined as he aged, Lassus died in Munich on 14 June 1594, the same day that his employer decided to dismiss him for economic reasons. He was buried in Munich in the Alter Franziskaner Friedhof, a cemetery that was cleared of gravestones in 1789 and is now the site of Max-Joseph-Platz. One of the most prolific, versatile, and universal composers of the late Renaissance, Lassus wrote over 2,000 works in all Latin, French and these include 530 motets,175 Italian madrigals and villanellas,150 French chansons, and 90 German lieder. The German music publisher Adam Berg dedicated 5 volumes of his Patrocinium musicum to Lassus music, almost 60 masses have survived complete, most of them are imitation masses using as melodic source material secular works written by himself or other composers. Technically impressive, they are nevertheless the most conservative part of his output, several of his masses are based on extremely secular French chansons, some of the source materials were outright obscene
25.
Thomas Tallis
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Thomas Tallis was an English composer who occupies a primary place in anthologies of English choral music, and is considered one of Englands greatest composers. He is honoured for his voice in English musicianship. No contemporary portrait of Tallis survives, that painted by Gerard Vandergucht, dates from 150 years after Tallis died, in a rare existing copy of his black letter signature, the composer spelled his last name Tallys. Little is known about Talliss early life, but there seems to be agreement that he was born in the early 16th century, little is also known about Talliss childhood and his significance with music at that age. However, there are suggestions that he was a Child of the Chapel Royal, St. James Palace and his first known musical appointment was in 1532, as organist of Dover Priory, a Benedictine priory in Kent. His career took him to London, then to Waltham Abbey, Tallis was paid off and also acquired a volume and preserved it, one of the treatises in it, by Leonel Power, prohibits consecutive unisons, fifths, and octaves. Talliss next post was at Canterbury Cathedral and he was next sent to Court as Gentleman of the Chapel Royal in 1543, where he composed and performed for Henry VIII, Edward VI, Queen Mary, and Queen Elizabeth I. Tallis was capable of switching the style of his compositions to suit the different monarchs vastly different demands, among other important composers of the time, including Christopher Tye and Robert White, Tallis stood out. Walker observes, He had more versatility of style than either, Tallis was also a teacher, not only of William Byrd, but also of Elway Bevin, an organist of Bristol Cathedral, and Gentleman of the Chapel Royal. Tallis married around 1552, his wife, Joan, outlived him by four years, late in his life he lived in Greenwich, possibly close to the royal palace, a local tradition holds that he lived on Stockwell Street. Queen Mary granted Tallis a lease on a manor in Kent that provided an annual income. Talliss monopoly covered set songe or songes in parts, and he composed in English, Latin, French, Italian, Tallis had exclusive rights to print any music, in any language. He and William Byrd were the ones allowed to use the paper that was used in printing music. Tallis and Byrd used their monopoly to produce Cantiones quae ab argumento sacrae vocantur in 1575, people were naturally wary of their new publications, and it certainly did not help their case that they were both avowed Roman Catholics. Not only that, they were forbidden to sell any imported music. We straightly by the same forbid. to be out of any forren Realmes. any songe or songes made. Also, Byrd and Tallis were not given the rights to music type fonts, printing patents were not under their command, Tallis retained respect during a succession of opposing religious movements and deflected the violence that claimed Catholics and Protestants alike. Thomas Tallis died peacefully in his house in Greenwich in November 1585 and he was buried in the chancel of the parish of St Alfege Church in Greenwich
26.
William Byrd
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William Byrd (/bɜːrd/, birth date variously given as c. 1539/40 or 1543 –4 July 1623, was an English composer of the Renaissance. He wrote in many of the current in England at the time, including various types of sacred and secular polyphony, keyboard. He produced sacred music for use in Anglican services, although he became a Roman Catholic in later life. Thanks largely to the research of John Harley, knowledge of Byrds biography has expanded in recent years, according to Harley, Thomas Byrd, the grandson of Richard Byrd of Ingatestone, Essex, probably moved to London in the 15th century. Thereafter succeeding generations of the family are described as gentlemen, William Byrd was born in London, the son of another Thomas Byrd about whom nothing further is known, and his wife, Margery. The specific year of Byrds birth is uncertain, in his will, dated 15 November 1622, he describes himself as in the 80th year of my age, suggesting a birthdate of 1542 or 1543. However a document dated 2 October 1598 written in his own hand states that he is 58 yeares or ther abouts, Byrd had two brothers, Symond and John, who became London merchants, and four sisters, Alice, Barbara, Mary, and Martha. There is no evidence concerning Byrds early musical training. His two brothers were choristers at St. Pauls Cathedral, and Byrd may have been a chorister there as well under Simon Westcote, although it is possible that he was a chorister with the Chapel Royal. A reference in the material to the Cantiones sacrae published by Byrd. According to Anthony Wood, Byrd was bred up to musick under Tho and it was probably composed near the end of the reign of Queen Mary Tudor, who revived Sarum liturgical practices. A few other compositions by Byrd also probably date from his teenage years, Byrds first known professional employment was his appointment in 1563 as organist and master of the choristers at Lincoln Cathedral. Residing at what is now 6 Minster Yard Lincoln, he remained in post until 1572. His period at Lincoln was not entirely trouble-free, for on 19 November 1569 the Dean, since Puritanism was influential at Lincoln, it is possible that the allegations were connected with over-elaborate choral polyphony or organ playing. A second directive, dated 29 November, issued detailed instructions regarding Byrds use of the organ in the liturgy, on 14 September 1568, Byrd married Julian Birley, it was a long-lasting and fruitful union which produced at least seven children. The 1560s were also important formative years for Byrd the composer, Byrd had also taken serious strides with instrumental music. The seven In Nomine settings for consort, at least one of the consort fantasias, all these show Byrd gradually emerging as a major figure on the Elizabethan musical landscape. Some sets of variations, such as The Hunts Up
27.
Low Countries
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Most of the Low Countries are coastal regions bounded by the North Sea or the English Channel. The countries without access to the sea have linked themselves politically and economically to those with access to one union of port. The Low Countries were the scene of the northern towns, newly built rather than developed from ancient centres. In that period, they rivaled northern Italy for the most densely populated region of Europe, all of the regions mainly depended on trade, manufacturing and the encouragement of the free flow of goods and craftsmen. Germanic languages such as Dutch and Luxembourgish were the predominant languages, secondary languages included French, Romance-speaking Belgium, the Romance Flanders, and Namur. Governor Mary of Hungary used both the expressions les pays de par deça and Pays dEmbas, which evolved to Pays-Bas or Low Countries, today the term is typically fitted to modern political boundaries and used in the same way as the term Benelux, which also includes Luxembourg. The name of the country the Netherlands has the same meaning. The same name of countries can be found in other European languages, for example German Niederlande, French, les Pays-Bas, and so on. In the Dutch language itself no plural is used for the name of the modern country, so Nederland is used for the modern nation and de Nederlanden for the 16th century domains of Charles V. In Dutch, and to an extent in English, the Low Countries colloquially means the Netherlands and Belgium, sometimes the Netherlands. For example, a Derby der Lage Landen, is an event between Belgium and the Netherlands. Belgium was renamed only in 1830, after splitting from the Kingdom of the Netherlands, politically, before the Napoleonic wars, it was referred to as the Southern, Spanish or later Austrian Netherlands. It is still referred to as part of the low countries, the region politically had its origins in Carolingian empire, more precisely, most of it was within the Duchy of Lower Lotharingia. After the disintegration of Lower Lotharingia, the Low Countries were brought under the rule of various lordships until they came to be in the hands of the Valois Dukes of Burgundy. Hence, a part of the low countries came to be referred to as the Burgundian Netherlands also called the Seventeen Provinces up to 1581. Even after the secession of the autonomous Dutch Republic in the north. The Low Countries were part of the Roman provinces of Gallia Belgica, Germania Inferior and they were inhabited by Belgic and Germanic tribes. In the 4th and 5th century, Frankish tribes had entered this Roman region and they came to be ruled by the Merovingian dynasty, under which dynasty the southern part was re-Christianised
28.
Music education
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Music education is a field of study associated with the teaching and learning of music. Music training from preschool through post-secondary education is common in most nations because involvement with music is considered a component of human culture. Music, like language, is an accomplishment that distinguishes humans as a species, during the 20th century, many distinctive approaches were developed or further refined for the teaching of music, some of which have had widespread impact. The Dalcroze method was developed in the early 20th century by Swiss musician, the Kodály Method emphasizes the benefits of physical instruction and response to music. The Orff Schulwerk approach to music education students to develop their music abilities in a way that parallels the development of western music. The Suzuki method creates the environment for learning music that a person has for learning their native language. Gordon Music Learning Theory provides the music teacher with a method for teaching musicianship through audiation, conversational Solfège immerses students in the musical literature of their own culture, in this case American. The Carabo-Cone Method involves using props, costumes, and toys for children to basic musical concepts of staff, note duration. The concrete environment of the specially planned classroom allows the child to learn the fundamentals of music by exploring through touch, popular music pedagogy is the systematic teaching and learning of rock music and other forms of popular music both inside and outside formal classroom settings. The MMCP aims to shape attitudes, helping students see music not as static content to be mastered, but as personal, current, American fiddler Mark OConnor developed a method of violin education that is designed to guide students in developing musical techniques necessary to become a proficient violinist. During its tenure, the Mumbai-based Boss School of Music developed a method of education using audio-visual technology, simplified concepts. In primary schools in European countries, children learn to play instruments such as keyboards or recorders, sing in small choirs. In countries such as India, the harmonium is used in schools, students are normally taught basics of Indian Raga music. In some secondary schools, additional classes may also be available. In junior high school or its equivalent, music continues to be a required part of the curriculum. In addition, most North American and European universities offer music ensembles - such as choir, concert band, marching band, most universities also offer degree programs in music education, certifying students as primary and secondary music educators. Advanced degrees such as the D. M. A. or the Ph. D can lead to university employment. The study of art music is increasingly common in music education outside of North America and Europe, including Asian nations such as South Korea, Japan
29.
Venice
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Venice is a city in northeastern Italy and the capital of the Veneto region. It is situated across a group of 118 small islands that are separated by canals and these are located in the shallow Venetian Lagoon, an enclosed bay that lies between the mouths of the Po and the Piave Rivers. Parts of Venice are renowned for the beauty of their settings, their architecture, the lagoon and a part of the city are listed as a World Heritage Site. In 2014,264,579 people resided in Comune di Venezia, together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area, with a total population of 2.6 million. PATREVE is a metropolitan area without any degree of autonomy. The name is derived from the ancient Veneti people who inhabited the region by the 10th century BC, the city was historically the capital of the Republic of Venice. Venice has been known as the La Dominante, Serenissima, Queen of the Adriatic, City of Water, City of Masks, City of Bridges, The Floating City, and City of Canals. The City State of Venice is considered to have been the first real international financial center which gradually emerged from the 9th century to its peak in the 14th century and this made Venice a wealthy city throughout most of its history. It is also known for its several important artistic movements, especially the Renaissance period, Venice has played an important role in the history of symphonic and operatic music, and it is the birthplace of Antonio Vivaldi. Venice has been ranked the most beautiful city in the world as of 2016, the name Venetia, however, derives from the Roman name for the people known as the Veneti, and called by the Greeks Eneti. The meaning of the word is uncertain, although there are other Indo-European tribes with similar-sounding names, such as the Celtic Veneti, Baltic Veneti, and the Slavic Wends. Linguists suggest that the name is based on an Indo-European root *wen, so that *wenetoi would mean beloved, lovable, a connection with the Latin word venetus, meaning the color sea-blue, is also possible. The alternative obsolete form is Vinegia, some late Roman sources reveal the existence of fishermen on the islands in the original marshy lagoons. They were referred to as incolae lacunae, the traditional founding is identified with the dedication of the first church, that of San Giacomo on the islet of Rialto — said to have taken place at the stroke of noon on 25 March 421. Beginning as early as AD166 to 168, the Quadi and Marcomanni destroyed the center in the area. The Roman defences were again overthrown in the early 5th century by the Visigoths and, some 50 years later, New ports were built, including those at Malamocco and Torcello in the Venetian lagoon. The tribuni maiores, the earliest central standing governing committee of the islands in the Lagoon, the traditional first doge of Venice, Paolo Lucio Anafesto, was actually Exarch Paul, and his successor, Marcello Tegalliano, was Pauls magister militum. In 726 the soldiers and citizens of the Exarchate rose in a rebellion over the controversy at the urging of Pope Gregory II
30.
Rome
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Rome is a special comune and the capital of Italy. Rome also serves as the capital of the Lazio region, with 2,873,598 residents in 1,285 km2, it is also the countrys largest and most populated comune and fourth-most populous city in the European Union by population within city limits. It is the center of the Metropolitan City of Rome, which has a population of 4.3 million residents, the city is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber. Romes history spans more than 2,500 years, while Roman mythology dates the founding of Rome at only around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The citys early population originated from a mix of Latins, Etruscans and it was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the Caput Mundi, due to that, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, in 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Rome has the status of a global city, Rome ranked in 2014 as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site, monuments and museums such as the Vatican Museums and the Colosseum are among the worlds most visited tourist destinations with both locations receiving millions of tourists a year. Rome hosted the 1960 Summer Olympics and is the seat of United Nations Food, however, it is a possibility that the name Romulus was actually derived from Rome itself. As early as the 4th century, there have been alternate theories proposed on the origin of the name Roma. There is archaeological evidence of occupation of the Rome area from approximately 14,000 years ago. Evidence of stone tools, pottery and stone weapons attest to about 10,000 years of human presence, several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the age and the beginning of the Iron age. However, none of them had yet an urban quality, nowadays, there is a wide consensus that the city was gradually born through the aggregation of several villages around the largest one, placed above the Palatine. All these happenings, which according to the excavations took place more or less around the mid of the 8th century BC. Despite recent excavations at the Palatine hill, the view that Rome has been indeed founded with an act of will as the legend suggests in the middle of the 8th century BC remains a fringe hypothesis. Traditional stories handed down by the ancient Romans themselves explain the earliest history of their city in terms of legend and myth
31.
Opera
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Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below
32.
Counterpoint
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In music, counterpoint is the relationship between voices that are harmonically interdependent yet independent in rhythm and contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, the term originates from the Latin punctus contra punctum meaning point against point. Counterpoint generally involves musical lines with strongly independent identities, Counterpoint has been used to designate a voice or even an entire composition. In each era, contrapuntally organized music writing has been subject to rules—sometimes strict ones, chords are the simultaneous soundings of notes, whereas harmonic, vertical features are considered secondary and almost incidental when counterpoint is the predominant textural element. Counterpoint focuses on melodic interaction—only secondarily on the produced by that interaction. In the words of John Rahn, It is hard to write a beautiful song and it is harder to write several individually beautiful songs that, when sung simultaneously, sound as a more beautiful polyphonic whole. The way that is accomplished in detail is, some examples of related compositional techniques include, the round, the canon, and perhaps the most complex contrapuntal convention, the fugue. All of these are examples of imitative counterpoint, Species counterpoint generally offers less freedom to the composer than other types of counterpoint and therefore is called a strict counterpoint. The student gradually attains the ability to free counterpoint according to the given rules at the time. The idea is at least as old as 1532, when Giovanni Maria Lanfranco described a concept in his Scintille di musica. Zacconi, unlike later theorists, included a few extra contrapuntal techniques, a succession of later theorists quite closely imitated Fuxs seminal work, often with some small and idiosyncratic modifications in the rules. The following rules apply to melodic writing in each species, for each part, if the final is approached from below, then the leading tone must be raised in a minor key, but not in Phrygian or Hypophrygian mode. Thus, in the Dorian mode on D, a C♯ is necessary at the cadence, permitted melodic intervals are the perfect fourth, fifth, and octave, as well as the major and minor second, major and minor third, and ascending minor sixth. The ascending minor sixth must be followed by motion downwards. The three notes should be from the triad, if this is impossible, they should not outline more than one octave. In general, do not write more than two skips in the same direction, if writing a skip in one direction, it is best to proceed after the skip with motion in the other direction. The interval of a tritone in three notes should be avoided as is the interval of a seventh in three notes, there must be a climax or high point in the line countering the cantus firmus. This usually occurs somewhere in the middle of exercise and must occur on a strong beat, an outlining of a seventh is avoided within a single line moving in the same direction
33.
Consonance and dissonance
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In music, consonance and dissonance form a structural dichotomy in which the terms define each other by mutual exclusion, a consonance is what is not dissonant, and reciprocally. However, a finer consideration shows that the forms a gradation. Consonance is associated with sweetness, pleasantness and acceptability and dissonance with harshness, unpleasantness, as Hindemith stressed, The two concepts have never been completely explained, and for a thousand years the definitions have varied. The opposition can be made in different contexts, In acoustics or psychophysiology, in modern times, it usually is based on the perception of harmonic partials of the sounds considered, to such an extent that the distinction really holds only in the case of harmonic sounds. In music, even if the opposition often is founded on the preceding, objective distinction, it often is subjective, conventional, cultural. A major second would be considered dissonant if it occurred in a J. S, Bach prelude from the 1700s, however, the same interval may sound consonant in the context of a Claude Debussy piece from the early 1900s or an atonal contemporary piece. For this reason, consonance and dissonance have been considered particularly in the case of Western polyphonic music, most historical definitions of consonance and dissonance since about the 16th century have stressed their pleasant/unpleasant, or agreeable/disagreeable character. In addition, the oppositions pleasant/unpleasant or agreeable/disagreeable evidence a confusion between the concepts of dissonance and of noise and these include, Frequency ratios, with ratios of lower simple numbers being more consonant than those that are higher. Many of these definitions do not require exact integer tunings, only approximation, coincidence of partials, with consonance being a greater coincidence of partials. By this definition, consonance is dependent not only on the width of the interval between two notes, but also on the spectral distribution and thus sound quality of the notes. Thus, a note and the note one octave higher are highly consonant because the partials of the note are also partials of the lower note. Although Helmholtzs work focused almost exclusively on harmonic timbres and also the tunings, subsequent work has generalized his findings to embrace non-harmonic tunings, fusion, perception of unity or tonal fusion between two notes. A stable tone combination is a consonance, consonances are points of arrival, rest, an unstable tone combination is a dissonance, its tension demands an onward motion to a stable chord. Thus dissonant chords are active, traditionally they have been considered harsh and have expressed pain, grief, in Western music, dissonance is the quality of sounds that seems unstable and has an aural need to resolve to a stable consonance. Both consonance and dissonance are words applied to harmony, chords, and intervals and, by extension, to melody, tonality, and even rhythm and metre. Nevertheless, the ideas of dissonance, consonance, and resolution exist in some form in all musical traditions that have a concept of melody, harmony. Dissonance being the complement of consonance it may be defined, as above, as non-coincidence of partials, lack of fusion or pattern matching, or as complexity. For many musicians and composers, the ideas of dissonance
34.
Violin
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The violin is a wooden string instrument in the violin family. It is the smallest and highest-pitched instrument in the family in regular use, smaller violin-type instruments are known, including the violino piccolo and the kit violin, but these are virtually unused in the 2010s. The violin typically has four strings tuned in fifths, and is most commonly played by drawing a bow across its strings. Violins are important instruments in a variety of musical genres. They are most prominent in the Western classical tradition and in varieties of folk music. They are also used in genres of folk including country music and bluegrass music. Electric violins are used in forms of rock music, further. The violin is sometimes called a fiddle, particularly in Irish traditional music and bluegrass. The violin was first known in 16th-century Italy, with further modifications occurring in the 18th and 19th centuries. In Europe it served as the basis for stringed instruments used in classical music, the viola. According to their reputation, the quality of their sound has defied attempts to explain or equal it, many of these trade instruments were formerly sold by Sears, Roebuck and Co. and other mass merchandisers. A person who makes or repairs violins is called a luthier or violinmaker, the parts of a violin are usually made from different types of wood and on the use of a pickup and an amplifier and speaker). Violins can be strung with gut, Perlon or other synthetic, the earliest stringed instruments were mostly plucked. Similar and variant types were probably disseminated along East-West trading routes from Asia into the Middle East, the first makers of violins probably borrowed from various developments of the Byzantine lira. These included the rebec, the Arabic rebab, the vielle, the earliest pictures of violins, albeit with three strings, are seen in northern Italy around 1530, at around the same time as the words violino and vyollon are seen in Italian and French documents. One of the earliest explicit descriptions of the instrument, including its tuning, is from the Epitome musical by Jambe de Fer, by this time, the violin had already begun to spread throughout Europe. The violin proved very popular, both among street musicians and the nobility, the French king Charles IX ordered Andrea Amati to construct 24 violins for him in 1560, one of these noble instruments, the Charles IX, is the oldest surviving violin. The Messiah or Le Messie made by Antonio Stradivari in 1716 remains pristine and it is now located in the Ashmolean Museum of Oxford
35.
Guitar
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The guitar is a musical instrument classified as a fretted string instrument with anywhere from four to 18 strings, usually having six. The sound is projected either acoustically, using a wooden or plastic and wood box, or through electrical amplifier. It is typically played by strumming or plucking the strings with the fingers, the guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning. There are three types of modern acoustic guitar, the classical guitar, the steel-string acoustic guitar, and the archtop guitar. The tone of a guitar is produced by the strings vibration, amplified by the hollow body of the guitar. The term finger-picking can also refer to a tradition of folk, blues, bluegrass. The acoustic bass guitar is an instrument that is one octave below a regular guitar. Early amplified guitars employed a body, but a solid wood body was eventually found more suitable during the 1960s and 1970s. As with acoustic guitars, there are a number of types of guitars, including hollowbody guitars, archtop guitars and solid-body guitars. The electric guitar has had a influence on popular culture. The guitar is used in a variety of musical genres worldwide. It is recognized as an instrument in genres such as blues, bluegrass, country, flamenco, folk, jazz, jota, mariachi, metal, punk, reggae, rock, soul. The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and, later, in the Americas. The modern word guitar, and its antecedents, has applied to a wide variety of chordophones since classical times. Many influences are cited as antecedents to the modern guitar, at least two instruments called guitars were in use in Spain by 1200, the guitarra latina and the so-called guitarra morisca. The guitarra morisca had a back, wide fingerboard. The guitarra Latina had a sound hole and a narrower neck. By the 14th century the qualifiers moresca or morisca and latina had been dropped, and it had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a sharply cut waist
36.
Lute
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The European lute and the modern Near-Eastern oud descend from a common ancestor via diverging evolutionary paths. The lute is used in a variety of instrumental music from the Medieval to the late Baroque eras and was the most important instrument for secular music in the Renaissance. It is also an instrument, especially in vocal works. The player of a lute is called a lutenist, lutanist or lutist, the words lute and oud possibly derive from Arabic al-ʿud. Recent research by Eckhard Neubauer suggests ʿud may in turn be an Arabized version of the Persian name rud and it has equally been suggested the wood in the name may have distinguished the instrument by its wooden soundboard from skin-faced predecessors. Gianfranco Lotti suggests the wood appellation originally carried derogatory connotations because of proscriptions of all music in early Islam. Lutes are made almost entirely of wood, the soundboard is a teardrop-shaped thin flat plate of resonant wood. In all lutes the soundboard has a single decorated sound hole under the strings called the rose. The sound hole is not open, but rather covered with a grille in the form of a vine or a decorative knot. Robert Lundberg, in his book Historical Lute Construction, suggests ancient builders placed bars according to ratios of the scale length. He further suggests the inward bend of the soundboard is an adaptation by ancient builders to afford the lutenists right hand more space between the strings and soundboard. Soundboard thickness varies, but generally hovers between 1.5 and 2 mm, some luthiers tune the belly as they build, removing mass and adapting bracing to produce desirable sonic results. The lute belly is almost never finished, but in cases the luthier may size the top with a very thin coat of shellac or glair to help keep it clean. After joining the top to the sides, a half-binding is usually installed around the edge of the soundboard, the half-binding is approximately half the thickness of the soundboard and is usually made of a contrasting color wood. The rebate for the half-binding must be precise to avoid compromising structural integrity. The back or the shell is assembled from strips of hardwood called ribs. There are braces inside on the soundboard to give it strength, the neck is made of light wood, with a veneer of hardwood to provide durability for the fretboard beneath the strings. Unlike most modern stringed instruments, the fretboard is mounted flush with the top
37.
Keyboard instrument
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A keyboard instrument is a musical instrument played using a keyboard. The most common of these are the piano, organ, and various keyboards, including synthesizers. Other keyboard instruments include celestas, which are struck idiophones operated by a keyboard, and carillons, today, the term keyboard often refers to keyboard-style synthesizers. Another important use of the keyboard is in historical musicology. Particularly in the 18th century, the harpsichord, the clavichord, and the piano were in competition. Hence in a phrase like Mozart excelled as a player the word keyboard is usefully noncommittal. The earliest known keyboard instrument was the Ancient Greek hydraulis, a type of pipe organ, the keys were likely balanced and could be played with a light touch, as is clear from the reference in a Latin poem by Claudian, who says magna levi detrudens murmura tactu. Intent, that is “let him thunder forth as he presses out mighty roarings with a light touch”, from its invention until the fourteenth century, the organ remained the only keyboard instrument. Often, the organ did not feature a keyboard at all, almost every keyboard until the fifteenth century had seven naturals to each octave. The clavichord and the harpsichord appeared during the 14th century—the clavichord probably being earlier, the harpsichord and clavichord were both common until widespread adoption of the piano in the 18th century, after which their popularity decreased. The piano was revolutionary, because a pianist could vary the volume of the sound by varying the vigor with which each key was struck. The pianos full name is gravicèmbalo con piano e forte meaning harpsichord with soft and loud but can be shortened to piano-forte, which means soft-loud in Italian. In its current form, the piano is a product of the late 19th century, in fact, the modern piano is significantly different from even the 19th-century pianos used by Liszt, Chopin, and Brahms. See Piano history and musical performance, keyboard instruments were further developed in the early twentieth century. Early electromechanical instruments, such as the Ondes Martenot, appeared early in the century and this was a very important contribution to the keyboards history. Much effort has gone into creating an instrument that sounds like the piano but lacks its size, the electric piano and electronic piano were early efforts that, while useful instruments in their own right, did not convincingly reproduce the timbre of the piano. Electric and electronic organs were developed during the same period, more recent electronic keyboard designs strive to emulate the sound of specific make and model pianos using digital samples and computer models. Concerns celebrated keyboard players and the various instruments used over the centuries
38.
Bassoon
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The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor clefs, and occasionally the treble. Appearing in its form in the 19th century, the bassoon figures prominently in orchestral, concert band. The bassoon is an instrument known for its distinctive tone color, wide range, variety of character. Listeners often compare its warm, dark, reedy timbre to that of a baritone voice. Someone who plays the bassoon is called a bassoonist, the word bassoon comes from French basson and from Italian bassone. However, the Italian name for the instrument is fagotto. B♭1–C5 The range of the bassoon begins at B♭1 and extends upward over three octaves, roughly to the G above the treble staff, higher notes are possible but difficult to produce, and rarely called for, orchestral and concert band parts rarely go higher than C5 or D5. Even Stravinskys famously difficult opening solo in The Rite of Spring only ascends to D5, a1 is possible with a special extension to the instrument—see Extended techniques below. The bassoon disassembles into six pieces, including the reed. Bassoons are double reed instruments like the oboe and the English horn, a modern beginners bassoon is generally made of maple, with medium-hardness types such as sycamore maple and sugar maple preferred. Both bore and tone holes are precision-machined, and each instrument is finished by hand for proper tuning and this ensures coverage by the fingers of the average adult hand. Wooden instruments are lined with hard rubber along the interior of the wing and boot joints to prevent damage from moisture, the end of the bell is usually fitted with a ring, either of metal, plastic or ivory. The joints between sections consist of a tenon fitting into a socket, the tenons are wrapped in either cork or string as a seal against air leaks. The bocal connects the reed to the rest of the instrument and is inserted into a socket at the top of the wing joint, bocals come in many different lengths and styles, depending on the desired tuning and playing characteristics. Folded upon itself, the bassoon stands 1.34 m tall, there are also short-reach bassoons made for the benefit of young or petite players. The origins of the dulcian are obscure, but by the century it was available in as many as eight different sizes. Otherwise, dulcian technique was rather primitive, with eight finger holes, the dulcian came to be known as fagotto in Italy. However, the etymology that equates fagotto with bundle of sticks is somewhat misleading
39.
Trombone
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The trombone is a musical instrument in the brass family. Like all brass instruments, sound is produced when the players vibrating lips cause the air column inside the instrument to vibrate, nearly all trombones have a telescoping slide mechanism that varies the length of the instrument to change the pitch. Many modern trombone models also utilize a rotary valve as a means to lower pitch of the instrument, variants such as the valve trombone and superbone have three valves like those on the trumpet. The word trombone derives from Italian tromba and -one, so the name means large trumpet, the trombone has a predominantly cylindrical bore like its valved counterpart the baritone and in contrast to its conical valved counterparts, the euphonium and the horn. The most frequently encountered trombones are the trombone and bass trombone. The most common variant, the tenor, is an instrument pitched in B♭, an octave below the B♭ trumpet. A person who plays the trombone is called a trombonist or trombone player, the trombone is a predominantly cylindrical tube bent into an elongated S shape. Rather than being completely cylindrical from end to end, the tube is a series of tapers with the smallest at the mouthpiece receiver. The design of these affects the intonation of the instrument. As with other instruments, sound is produced by blowing air through pursed lips producing a vibration that creates a standing wave in the instrument. The detachable cup-shaped mouthpiece is similar to that of the baritone horn and it has the venturi, a small constriction of the air column that adds resistance greatly affecting the tone of the instrument, and is inserted into the mouthpiece receiver in the slide section. The slide section consists of a leadpipe, the inner and outer tubes. Modern stays are soldered, while sackbuts were made with loose, the slide, the most distinctive feature of the trombone, allows the player to extend the length of the air column, lowering the pitch. To prevent friction from slowing the action of the slide, additional sleeves were developed during the Renaissance, and this part of the slide must be lubricated frequently. Additional tubing connects the slide to the bell of the instrument through a neckpipe, for example, second position A is not in exactly the same place on the slide as second position E. Many types of trombone also include one or more rotary valves used to increase the length of the instrument by directing the air flow through additional tubing. This allows the instrument to reach notes that are not possible without the valve as well as play other notes in alternate positions. Like the trumpet, the trombone is considered a cylindrical bore instrument since it has sections of tubing, principally in the slide section
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Gregorian mode
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A Gregorian mode is one of the eight systems of pitch organization used in Gregorian chant. The theoretical framework of modes arose later to describe the structure of this chant repertory. The repertory of Western plainchant acquired its basic forms between the sixth and early centuries, but there are neither theoretical sources nor notated music from this period. By the late century, a system of eight modal categories, for which there was no precedent in Ancient Greek theory. This system likely originated from the medieval Byzantine oktōēchos, as indicated by the non-Hellenistic Greek names used in the earliest Western sources from about 800, ignorant of these developments, Hucbald created a series of eight modes. In the traditional system of eight modes there are four pairs, each comprising an authentic mode. The range of mode 5 does not employ a subfinal, and these four modes correspond to the modern modal scales starting on D, E, F, and G. The tenor, or dominant, is a fifth above the final of the scale, with the exception of mode 3 and this is because a fifth above the tonic of mode 3 is the unstable B♮/B♭. However, they are numbered differently, the modes being 1,2,3,4. Other Eastern Christian rites use similar systems of eight modes, see Syriac usage of Octoechos, a plagal mode has a range that includes the octave from the fourth below the final to the fifth above. The earliest definition of the term is found in Hucbalds treatise De harmonica, in addition to the range, the tenor differs. In Byzantine modal theory, the word Plagal refers to the four lower-lying echoi, thus Plagal first mode represents a somewhat more developed and widened in range version of the first mode. The plagal second mode has a relation to the second mode. Though there is no plagal third mode, the mode that one would expect is called the grave tone, two characteristic notes or pitches in a modal melody are the final and cofinal. These are the degrees on which the melody is conceived and on which it most often comes to rest. The final is the pitch in which the chant usually ends, likewise the cofinal is an additional resting point in the chant, it may be regarded as having some analogy to the more recent dominant, but its interval from the tonic may not be a fifth. In addition to the final and cofinal, every mode is distinguished by scale degrees called the mediant, the mediant is named from its position—in the authentic modes—between the final and cofinal. In the authentic modes it is the degree of the scale, unless that note should happen to be B
41.
Tonality
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Tonality is a musical system that arranges pitches or chords to induce a hierarchy of perceived relations, stabilities, and attractions. In this hierarchy, the pitch or triadic chord with the greatest stability is called the tonic. The root of the chord is considered to be the key of a piece or song. Thus a piece in which the chord is C major is said to be in the key of C. Simple folk music songs often start and end with the tonic note, the most common use of the term. is to designate the arrangement of musical phenomena around a referential tonic in European music from about 1600 to about 1910. Contemporary classical music from 1910 to the 2000s may practice or avoid any sort of harmony in almost all Western popular music remains tonal. Harmony in jazz music includes many, if not all, tonal characteristics, All harmonic idioms in popular music are tonal, and none is without function. Tonality is a system of tones in which one tone becomes the central point for the remaining tones. The other tones in a piece are all defined in terms of their relationship to the tonic. In tonality, the tonic is the tone of complete relaxation and stability, the cadence in which the dominant chord or dominant seventh chord resolves to the tonic chord plays an important role in establishing the tonality of a piece. Tonal music is music that is unified and dimensional, the term tonalité originated with Alexandre-Étienne Choron and was borrowed by François-Joseph Fétis in 1840. According to Carl Dahlhaus, however, the term tonalité was only coined by Castil-Blaze in 1821, major-minor tonality is also called harmonic tonality, diatonic tonality, common practice tonality, functional tonality, or just tonality. This sense also applies to the tonic/dominant/subdominant harmonic harmonic constellations in the theories of Jean-Philippe Rameau as well as the 144 basic transformations of twelve-tone technique, any rational and self-contained theoretical arrangement of musical pitches, existing prior to any concrete embodiment in music. For example, Sainsbury, who had Choron translated into English in 1825, while tonality qua system constitutes a theoretical abstraction from actual music, it is often hypostatized in musicological discourse, converted from a theoretical structure into a musical reality. As a term to contrast with modal and atonal, implying that tonal music is discontinuous as a form of expression from modal music on the one hand. Musical phenomena arranged or understood in relation to a referential tonic, Musical phenomena perceived or preinterpreted in terms of the categories of tonal theories. In major and minor harmonies, the fifth is often implied. To function as a tonic, a chord must be either a major or a minor triad, dominant function requires a major-quality triad with a root a perfect fifth above the affiliated tonic and containing the leading tone of the key
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Musicology
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Musicology is the scholarly analysis and research-based study of music. Musicology is part of the humanities, a scholar who participates in musical research is a musicologist. Traditionally, historical musicology has been the most prominent sub-discipline of musicology, in the 2010s, historical musicology is one of several large musicology sub-disciplines. Historical musicology, ethnomusicology, and systematic musicology are approximately equal in size, Ethnomusicology is the study of music in its cultural context. Cognitive musicology is the set of surrounding the computational modeling of music. Musical knowledge is applied in medicine, education, and music therapy—which, Music history or historical musicology is concerned with the composition, performance, reception, and criticism of music over time. Like the comparable field of art history, different branches and schools of historical musicology emphasize different types of musical works, there are also national differences in various definitions of historical musicology. In theory, music history could refer to the study of the history of any type or genre of music, in practice, these research topics are more often considered within ethnomusicology and historical musicology is typically assumed to imply Western Art music of the European tradition. The methods of historical musicology include source studies, paleography, philology, style criticism, historiography, musical analysis, Music historians may examine issues in a close focus, as in the case of scholars who examine the relationship between words and music for a given composers art songs. New musicology is a term applied since the late 1980s to a body of work emphasizing cultural study, analysis. Such work may be based on feminist, gender studies, queer theory, or postcolonial theory, or the work of Theodor Adorno. Charles Rosen, however, retorts that McClary, sets up, like so many of the new musicologists, a man to knock down, the dogma that music has no meaning. Ethnomusicology, formerly comparative musicology, is the study of music in its cultural context and it is often considered the anthropology or ethnography of music. Jeff Todd Titon has called it the study of making music. Some ethnomusicologists primarily conduct historical studies, but the majority are involved in long-term participant observation, or combine ethnographic, therefore, ethnomusiological scholarship can be characterized as featuring a substantial, intensive fieldwork component, often involving long-term residence within the community studied. Closely related to ethnomusiology is the branch of sociomusicology. For instance, Ko proposed the hypothesis of Biliterate and Trimusical in Hong Kong sociomusicology, the first journal focusing on popular music studies was Popular Music, which began publication in 1981. The same year an academic society devoted to the topic was formed
43.
Interval (music)
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In music theory, an interval is the difference between two pitches. In Western music, intervals are most commonly differences between notes of a diatonic scale, the smallest of these intervals is a semitone. Intervals smaller than a semitone are called microtones and they can be formed using the notes of various kinds of non-diatonic scales. Some of the very smallest ones are called commas, and describe small discrepancies, observed in some tuning systems, Intervals can be arbitrarily small, and even imperceptible to the human ear. In physical terms, an interval is the ratio between two sonic frequencies, for example, any two notes an octave apart have a frequency ratio of 2,1. This means that successive increments of pitch by the same result in an exponential increase of frequency. For this reason, intervals are often measured in cents, a derived from the logarithm of the frequency ratio. In Western music theory, the most common naming scheme for intervals describes two properties of the interval, the quality and number, examples include the minor third or perfect fifth. These names describe not only the difference in semitones between the upper and lower notes, but also how the interval is spelled, the importance of spelling stems from the historical practice of differentiating the frequency ratios of enharmonic intervals such as G–G♯ and G–A♭. The size of an interval can be represented using two alternative and equivalently valid methods, each appropriate to a different context, frequency ratios or cents, the size of an interval between two notes may be measured by the ratio of their frequencies. When a musical instrument is tuned using a just intonation tuning system, Intervals with small-integer ratios are often called just intervals, or pure intervals. Most commonly, however, musical instruments are tuned using a different tuning system. As a consequence, the size of most equal-tempered intervals cannot be expressed by small-integer ratios, for instance, an equal-tempered fifth has a frequency ratio of 2 7⁄12,1, approximately equal to 1.498,1, or 2.997,2. For a comparison between the size of intervals in different tuning systems, see section Size in different tuning systems, the standard system for comparing interval sizes is with cents. The cent is a unit of measurement. If frequency is expressed in a scale, and along that scale the distance between a given frequency and its double is divided into 1200 equal parts, each of these parts is one cent. In twelve-tone equal temperament, a system in which all semitones have the same size. Hence, in 12-TET the cent can be defined as one hundredth of a semitone
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