9.5+Music

=Music= From Wikipedia, the free encyclopedia Jump to: [|navigation], [|search] For other uses, see [|Music (disambiguation)]. A painting on an Ancient Greek vase depicts a music lesson (ca. 510 BC). ||
 * ~ **Music** ||
 * = [[image:http://upload.wikimedia.org/wikipedia/commons/thumb/9/9b/Music_lesson_Staatliche_Antikensammlungen_2421.jpg/220px-Music_lesson_Staatliche_Antikensammlungen_2421.jpg width="220" height="138" caption="Music lesson Staatliche Antikensammlungen 2421.jpg" link="http://en.wikipedia.org/wiki/File:Music_lesson_Staatliche_Antikensammlungen_2421.jpg"]]
 * ~ Medium || Sound ||
 * ~ Originating culture || various ||
 * ~ Originating era || [|Paleolithic] ||

|| The creation, [|performance], significance, and even the [|definition of music] vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to [|aleatoric] forms. Music can be divided into [|genres] and [|subgenres], although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within "[|the arts]," music may be classified as a [|performing art], a [|fine art], and auditory art. To many people in many cultures music is an important part of their way of life. [|Greek philosophers] and [|ancient Indian philosophers] defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer [|John Cage] thought that any sound can be music, saying, for example, "There is no [|noise], only sound."[|[][|2][|]] Musicologist [|Jean-Jacques Nattiez] summarizes the relativist, post-modern viewpoint: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no //single// and //intercultural// universal concept defining what music might be."[|[][|3][|]] [[|hide]]
 * ~ [|Performing arts] ||
 * ~ Major forms ||
 * [|Dance] **·** **Music** **·** [|Opera] **·** [|Theatre] **·** [|Circus] ||
 * ~ Minor forms ||
 * [|Magic] **·** [|Puppetry] ||
 * ~ Genres ||
 * [|Drama] **·** [|Tragedy] **·** [|Comedy] **·** [|Tragicomedy] **·** [|Romance] **·** [|Satire] **·** [|Epic] **·** [|Lyric] ||  ||
 * [|view] • [|talk] • [|edit]
 * Music** is an [|art] form whose [|medium] is [|sound]. Common elements of music are [|pitch] (which governs [|melody] and [|harmony]), [|rhythm] (and its associated concepts [|tempo], [|meter], and [|articulation]), [|dynamics], and the sonic qualities of [|timbre] and [|texture]. The word derives from [|Greek] //μουσική// (//mousike//), "(art) of the [|Muses]."[|[][|1][|]]
 * ==Contents==
 * [|1] [|History]
 * [|1.1] [|Prehistoric eras]
 * [|1.2] [|References in the Bible]
 * [|1.3] [|Antiquity]
 * [|1.4] [|Western cultures]
 * [|1.5] [|Classical music]
 * [|1.6] [|20th and 21st century music]
 * [|2] [|Performance]
 * [|2.1] [|Aural tradition]
 * [|2.2] [|Ornamentation]
 * [|3] [|Production]
 * [|3.1] [|Composition]
 * [|3.2] [|Notation]
 * [|3.3] [|Improvisation]
 * [|3.4] [|Theory]
 * [|4] [|Cognition]
 * [|5] [|Sociology]
 * [|6] [|Media and technology]
 * [|6.1] [|Internet]
 * [|7] [|Business]
 * [|8] [|Education]
 * [|8.1] [|Non-professional]
 * [|8.2] [|Academia]
 * [|8.3] [|Ethnomusicology]
 * [|9] [|Music therapy]
 * [|10] [|See also]
 * [|11] [|References]
 * [|12] [|Further reading]
 * [|13] [|External links] ||

History
Main article: [|History of music]

Prehistoric eras
[|Ancient music] can only be imagined by scholars, based on findings from a range of [|paleolithic] sites, such as bones in which lateral holes have been pierced; these are usually identified as [|flutes],[|[][|4][|]] blown at one end like the Japanese [|shakuhachi]. Instruments, such as the seven-holed flute and various types of [|stringed instruments] have been recovered from the [|Indus Valley Civilization] [|archaeological] sites.[|[][|5][|]] India has one of the oldest musical traditions in the world—references to [|Indian classical music] (//marga//) can be found in the ancient scriptures of the [|Hindu] tradition, the [|Vedas].[|[][|6][|]] The earliest and largest collection of prehistoric musical instruments was found in [|China] and dates back to between 7000 and 6600 BC.[|[][|7][|]]

References in the Bible
Main article: [|History of music in the biblical period] "David with his harp" [|Paris Psalter], c. 960, [|Constantinople] Music and theatre scholars studying the history and anthropology of [|Semitic] and early [|Judeo-Christian] culture, have also discovered common links between theatrical and musical activity in the classical cultures of the [|Hebrews] with those of the later cultures of the [|Greeks] and [|Romans]. The common area of performance is found in a "social phenomenon called [|litany]," a form of prayer consisting of a series of [|invocations] or [|supplications]. //The Journal of Religion and Theatre// notes that among the earliest forms of litany, "Hebrew litany was accompanied by a rich musical tradition:"[|[][|8][|]] "While Genesis 4.21 identifies Jubal as the “father of all such as handle the harp and pipe,” the [|Pentateuch] is nearly silent about the practice and instruction of music in the early life of [|Israel]. Then, in I Samuel 10 and the texts that follow, a curious thing happens. “One finds in the biblical text,” writes Alfred Sendrey, “a sudden and unexplained upsurge of large [|choirs] and [|orchestras], consisting of thoroughly organized and trained musical groups, which would be virtually inconceivable without lengthy, methodical preparation.” This has led some scholars to believe that the prophet [|Samuel] was the [|patriarch] of a school, which taught not only prophets and holy men, but also sacred-rite musicians. This public music school, perhaps the earliest in recorded history, was not restricted to a priestly class—which is how the shepherd boy [|David] appears on the scene as a minstrel to [|King Saul]."[|[][|8][|]]

Antiquity
Music was an important part of cultural and social life in [|Ancient Greece]: mixed-gender [|choruses] performed for entertainment, celebration and spiritual ceremonies; musicians and [|singers] had a prominent role in [|ancient Greek theater].[|[][|9][|]] In the 9th century, the Arab scholar [|al-Farabi] wrote a book on music titled //[|Kitab al-Musiqi al-Kabir]// ("Great Book of Music"). He played and invented a variety of [|musical instruments] and devised the [|Arab tone system] of pitch organisation, which is still used in [|Arabic music].[|[][|10][|]]

Western cultures
The [|music of Greece] was a major part of ancient [|Greek theater]. In [|Ancient Greece], mixed-gender choruses performed for entertainment, celebration and spiritual reasons. Instruments included the double-reed [|aulos] and the plucked [|string instrument], the [|lyre], especially the special kind called a [|kithara]. Music was an important part of education in ancient Greece, and boys were taught music starting at age six. Greek musical literacy created a flowering of development; Greek [|music theory] included the Greek [|musical modes], eventually became the basis for Western [|religious music] and [|classical music]. Later, influences from the [|Roman Empire], [|Eastern Europe] and the [|Byzantine Empire] changed Greek music. During the [|Medieval music] era (500–1400), the only European repertory that survives from before about 800 is the [|monophonic] [|liturgical] [|plainsong] of the [|Roman Catholic Church], the central tradition of which was called [|Gregorian chant]. Alongside these traditions of [|sacred] and [|church music] there existed a vibrant tradition of [|secular song]. Examples of composers from this period are [|Léonin], [|Pérotin] and [|Guillaume de Machaut]. From the [|Renaissance music] era (1400–1600), much of the surviving music of 14th century Europe is secular. By the middle of the 15th century, [|composers] and singers used a smooth polyphony for sacred [|musical compositions]. The introduction of commercial [|printing] helped to disseminate musical styles more quickly and across a larger area. Prominent composers from this era are [|Giovanni Pierluigi da Palestrina], [|Thomas Morley] and [|Orlande de Lassus]. Allegory of Music, by [|Filippino Lippi] The era of [|Baroque music] (1600–1750) began when the first [|operas] were written and when [|contrapuntal] music became prevalent. German Baroque composers wrote for small [|ensembles] including strings, [|brass], and [|woodwinds], as well as [|choirs], [|pipe organ], [|harpsichord], and [|clavichord]. During the Baroque period, several major music forms were defined that lasted into later periods when they were expanded and evolved further, including the [|fugue], the [|invention], the [|sonata], and the [|concerto].[|[][|11][|]] Composers from the Baroque era include [|Johann Sebastian Bach], [|George Frideric Handel] and [|Georg Philipp Telemann]. The music of the [|Classical period] (1750–1800) is characterized by [|homophonic texture], often featuring a prominent melody with [|accompaniment]. These new melodies tended to be almost voice-like and singable. The now popular [|instrumental] music was dominated by further evolution of musical forms initially defined in the Baroque period: the sonata, and the concerto, with the addition of the new form, the [|symphony]. [|Joseph Haydn] and [|Wolfgang Amadeus Mozart] are among the central figures of the Classical period. In 1800, the Romantic era (1800–1890s) in music developed, with [|Ludwig van Beethoven] and [|Franz Schubert] as transitional composers who introduced a more dramatic, expressive style. During this era, existing genres, forms, and functions of music were developed, and the emotional and expressive qualities of music came to take precedence over technique and tradition. In Beethoven's case, motifs (developed organically) came to replace melody as the most significant compositional unit. The late 19th century saw a dramatic expansion in the size of the [|orchestra], and in the role of [|concerts] as part of [|urban] society. Later Romantic composers such as [|Pyotr Ilyich Tchaikovsky] and [|Gustav Mahler] created complex and often much longer musical works. They used more complex [|chords] and used more [|dissonance] to create dramatic tension.

Classical music
[|Indian classical music] is one of the oldest musical traditions in the world.[|[][|12][|]] The [|Indus Valley civilization] has sculptures that show dance[|[][|13][|]] and old musical instruments, like the seven holed flute. Various types of stringed instruments and drums have been recovered from [|Harrappa] and [|Mohenjo Daro] by excavations carried out by Sir [|Mortimer Wheeler].[|[][|14][|]] The [|Rigveda] has elements of present Indian music, with a musical notation to denote the metre and the mode of chanting.[|[][|15][|]] Indian classical music (marga) is monophonic, and based on a single melody line or [|raga] rhythmically organized through [|talas]. Hindustani music was influenced by the Persian performance practices of the Afghan Mughals. Carnatic music popular in the southern states, is largely devotional; the majority of the songs are addressed to the Hindu deities. There are a lot of songs emphasising love and other social issues. [|Asian music] covers the music cultures of [|Arabia], [|Central Asia], [|East Asia], [|South Asia], and [|Southeast Asia]. [|Chinese classical music], the traditional art or court music of China, has a history stretching over around three thousand years. It has its own unique systems of musical notation, as well as musical tuning and pitch, musical instruments and styles or musical genres. Chinese music is pentatonic-diatonic, having a scale of twelve notes to an octave (5 + 7 = 12) as does European-influenced music. [|Persian music] is the music of [|Persia] and Persian language countries: //musiqi//, the science and art of music, and //muzik//, the sound and performance of music (Sakata 1983). See also: [|Music of Iran], [|Music of Afghanistan], [|Music of Tajikistan], [|Music of Uzbekistan].

20th and 21st century music
Double bassist [|Reggie Workman], tenor saxophone player [|Pharoah Sanders], and drummer [|Idris Muhammad] performing in 1978 With [|20th century music], there was a vast increase in music listening as the [|radio] gained popularity and [|phonographs] were used to replay and distribute music. The focus of [|art music] was characterized by exploration of new rhythms, styles, and sounds. [|Igor Stravinsky], [|Arnold Schoenberg], and [|John Cage] were all influential composers in 20th century art music. [|Jazz] evolved and became a significant genre of music over the course of the 20th century, and during the second half of that century, [|rock music] did the same. Jazz is an American musical art form that originated in the beginning of the 20th century in [|African American] communities in the [|Southern United States] from a confluence of [|African] and [|European] music traditions. The style's [|West African] pedigree is evident in its use of [|blue notes], [|improvisation], [|polyrhythms], [|syncopation], and the [|swung note].[|[][|16][|]] From its early development until the present, jazz has also incorporated music from 19th and 20th century [|American popular music].[|[][|17][|]] Jazz has, from its early 20th century inception, spawned a variety of subgenres, ranging from [|New Orleans] [|Dixieland] (1910s) to 1970s and 1980s-era [|jazz-rock fusion]. Rock music is a genre of [|popular music] that developed in the 1960s from 1950s [|rock and roll], [|rockabilly], [|blues], and [|country music]. The sound of rock often revolves around the [|electric guitar] or acoustic guitar, and it uses a strong [|back beat] laid down by a [|rhythm section] of electric [|bass guitar], [|drums], and keyboard instruments such as [|organ], [|piano], or, since the 1970s, [|analog synthesizers] and digital ones and computers since the 1990s. Along with the guitar or keyboards, [|saxophone] and blues-style [|harmonica] are used as soloing instruments. In its "purest form," it "has three chords, a strong, insistent back beat, and a catchy melody."[|[][|18][|]] In the late 1960s and early 1970s, rock music branched out into different subgenres, ranging from [|blues rock] and [|jazz-rock fusion] to [|heavy metal] and [|punk rock], as well as the more classical influenced genre of [|progressive rock] and several types of [|experimental rock] genres.

Performance
Main article: [|Performance] Chinese [|Naxi] musicians Performance is the physical expression of music. Often, a musical work is performed once its structure and instrumentation are satisfactory to its creators; however, as it gets performed, it can evolve and change. A performance can either be rehearsed or [|improvised]. Improvisation is a musical idea created without premeditation, while rehearsal is vigorous repetition of an idea until it has achieved cohesion. [|Musicians] will sometimes add improvisation to a well-rehearsed idea to create a unique performance. Many cultures include strong traditions of [|solo] and performance, such as in Indian classical music, and in the Western Art music tradition. Other cultures, such as in [|Bali], include strong traditions of group performance. All cultures include a mixture of both, and performance may range from improvised solo playing for one's enjoyment to highly planned and organised performance rituals such as the modern classical concert, religious processions, [|music festivals] or [|music competitions]. [|Chamber music], which is music for a small ensemble with only a few of each type of instrument, is often seen as more intimate than symphonic works.

Aural tradition
Many types of music, such as traditional [|blues] and [|folk music] were originally preserved in the memory of performers, and the songs were handed down [|orally], or aurally (by ear). When the composer of music is no longer known, this music is often classified as "traditional." Different musical traditions have different attitudes towards how and where to make changes to the original source material, from quite strict, to those that demand improvisation or modification to the music. A culture's history may also be passed by ear through song.

Ornamentation
Main article: [|Ornament (music)] In a score or on a performer's music part, this sign indicates that the musician should perform a trill—a rapid alternation between two notes. The detail included explicitly in the [|music notation] varies between genres and historical periods. In general, art music notation from the 17th through the 19th century required performers to have a great deal of contextual knowledge about performing styles. For example, in the 17th and 18th century, music notated for solo performers typically indicated a simple, unadorned melody. However, performers were expected to know how to add stylistically appropriate ornaments, such as [|trills] and turns. In the 19th century, art music for solo performers may give a general instruction such as to perform the music expressively, without describing in detail how the performer should do this. The performer was expected to know how to use tempo changes, [|accentuation], and [|pauses] (among other devices) to obtain this "expressive" performance style. In the 20th century, art music notation often became more explicit and used a range of markings and annotations to indicate to performers how they should play or sing the piece. In [|popular music] and jazz, music notation almost always indicates only the basic framework of the melody, harmony, or performance approach; musicians and singers are expected to know the performance conventions and styles associated with specific genres and pieces. For example, the "[|lead sheet]" for a jazz tune may only indicate the melody and the chord changes. The performers in the [|jazz ensemble] are expected to know how to "flesh out" this basic structure by adding ornaments, improvised music, and chordal accompaniment.

Production
Main article: [|Music production] Jean-Gabriel Ferlan performing at a 2008 concert at the collège-lycée Saint-François Xavier Music is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an [|entertainment] product for the marketplace. Amateur musicians compose and perform music for their own pleasure, and they do not derive their income from music. Professional musicians are employed by a range of institutions and organisations, including armed forces, churches and synagogues, symphony orchestras, [|broadcasting] or [|film production] companies, and [|music schools]. Professional musicians sometimes work as freelancers, seeking contracts and engagements in a variety of settings. There are often many links between amateur and professional musicians. Beginning amateur musicians take [|lessons] with professional musicians. In community settings, advanced amateur musicians perform with professional musicians in a variety of ensembles and orchestras. In some cases, amateur musicians attain a professional level of competence, and they are able to perform in professional performance settings. A distinction is often made between music performed for the benefit of a live audience and music that is performed for the purpose of being recorded and distributed through the music retail system or the broadcasting system. However, there are also many cases where a live performance in front of an audience is recorded and distributed (or broadcast).

Composition
Main article: [|Musical composition] An old songbook showing a composition "Composition" is often classed as the creation and recording of music via a medium by which others can interpret it (i.e., paper or sound). Many cultures use at least part of the concept of preconceiving musical material, or composition, as held in western [|classical music]. Even when music is notated precisely, there are still many decisions that a performer has to make. The process of a performer deciding how to perform music that has been previously composed and notated is termed interpretation. Different performers' interpretations of the same music can vary widely. Composers and song writers who present their own music are interpreting, just as much as those who perform the music of others or folk music. The standard body of choices and techniques present at a given time and a given place is referred to as [|performance practice], whereas interpretation is generally used to mean either individual choices of a performer, or an aspect of music that is not clear, and therefore has a "standard" interpretation. In some musical genres, such as jazz and blues, even more freedom is given to the performer to engage in improvisation on a basic melodic, harmonic, or rhythmic framework. The greatest latitude is given to the performer in a style of performing called [|free improvisation], which is material that is spontaneously "thought of" (imagined) while being performed, //not// preconceived. Improvised music usually follows stylistic or genre conventions and even "fully composed" includes some [|freely chosen material]. Composition does not always mean the use of notation, or the known sole authorship of one individual. Music can also be determined by describing a "process" that creates musical sounds. Examples of this range from wind chimes, through computer programs that select sounds. Music from random elements is called [|Aleatoric music], and is associated with such composers as John Cage, [|Morton Feldman], and [|Witold Lutosławski]. Music can be composed for repeated performance or it can be improvised: composed on the spot. The music can be performed entirely from memory, from a written system of musical notation, or some combination of both. Study of composition has traditionally been dominated by examination of methods and practice of Western classical music, but the definition of composition is broad enough to include spontaneously improvised works like those of [|free jazz] performers and African drummers such as the [|Ewe drummers]. What is important in understanding the composition of a piece is singling out its elements. An understanding of music's formal elements can be helpful in deciphering exactly how a piece is constructed. A universal element of music is how sounds occur in time, which is referred to as the rhythm of a piece of music. When a piece appears to have a changing time-feel, it is considered to be in [|rubato] time, an [|Italian] expression that indicates that the tempo of the piece changes to suit the expressive intent of the performer. Even random placement of random sounds, which occurs in [|musical montage], occurs within some kind of time, and thus employs time as a musical element.

Notation
Main article: [|Musical notation] Sheet music is written representation of music. This is a [|homorhythmic] (i.e., [|hymn]-style) arrangement of a traditional piece entitled //[|Adeste Fideles]//, in standard two-staff format for mixed voices. Notation is the written expression of music notes and rhythms on paper using symbols. When music is written down, the pitches and rhythm of the music is notated, along with instructions on how to perform the music. The study of how to read notation involves music theory, harmony, the study of performance practice, and in some cases an understanding of historical performance methods. Written notation varies with style and period of music. In Western Art music, the most common types of written notation are scores, which include all the music parts of an ensemble piece, and parts, which are the music notation for the individual performers or singers. In popular music, jazz, and blues, the standard musical notation is the lead sheet, which notates the melody, chords, [|lyrics] (if it is a vocal piece), and structure of the music. Scores and parts are also used in popular music and jazz, particularly in large ensembles such as jazz "big bands." In popular music, [|guitarists] and electric [|bass] players often read music notated in tablature (often abbreviated as "tab"), which indicates the location of the notes to be played on the instrument using a diagram of the guitar or bass fingerboard. Tabulature was also used in the Baroque era to notate music for the [|lute], a stringed, fretted instrument. Notated music is produced as [|sheet music]. To perform music from notation requires an understanding of both the rhythmic and pitch elements embodied in the symbols and the performance practice that is associated with a piece of music or a genre.

Improvisation
[|Musical improvisation] is the creation of spontaneous music. Improvisation is often considered an act of instantaneous composition by performers, where compositional techniques are employed with or without preparation. Improvisation is a major part of some types of music, such as [|blues], [|jazz], and [|jazz fusion], in which instrumental performers improvise solos and melody lines. In the Western art music tradition, improvisation was an important skill during the Baroque era and during the Classical era; solo performers and singers improvised virtuoso cadenzas during concerts. However, in the 20th and 21st century, improvisation played a smaller role in [|Western Art music.]

Theory
Main article: [|Music theory] Music theory encompasses the nature and mechanics of music. It often involves identifying patterns that govern composers' techniques and examining the [|language] and [|notation] of music. In a grand sense, music theory distills and analyzes the [|parameters] or elements of music – [|rhythm], [|harmony] ([|harmonic function]), [|melody], [|structure], [|form], and [|texture]. Broadly, music theory may include any statement, belief, or conception of or about music.[|[][|19][|]] People who study these properties are known as music theorists. Some have applied [|acoustics], [|human physiology], and [|psychology] to the explanation of how and why music is [|perceived]. Music has many different fundamentals or elements. These are, but are not limited to: pitch, beat or pulse, rhythm, melody, harmony, texture, allocation of voices, timbre or color, expressive qualities (dynamics and articulation), and form or structure. Pitch is a subjective sensation, reflecting generally the lowness or highness of a sound. [|Rhythm] is the arrangement of sounds and silences in [|time]. [|Meter] animates time in regular pulse groupings, called [|measures or bars]. A melody is a series of notes sounding in succession. The notes of a melody are typically created with respect to pitch systems such as [|scales] or [|modes]. [|Harmony] is the study of vertical sonorities in music. Vertical sonority refers to considering the relationships between pitches that occur together; usually this means at the same time, although harmony can also be implied by a melody that outlines a harmonic structure. Notes can be arranged into different [|scales] and [|modes]. Western music theory generally divides the octave into a series of 12 notes that might be included in a piece of music. In music written using the system of major-minor [|tonality], the **key** of a piece determines the scale used. [|Musical texture] is the overall sound of a piece of music commonly described according to the number of and relationship between parts or lines of music: [|monophony], [|heterophony], [|polyphony], [|homophony], or [|monody]. Timbre, sometimes called "Color" or "Tone Color" is the quality or sound of a voice or instrument.[|[][|20][|]] Expressive Qualities are those elements in music that create change in music that are not related to pitch, rhythm or timbre. They include Dynamics and Articulation. [|Form] is a facet of music theory that explores the concept of musical syntax, on a local and global level. Examples of common forms of Western music include the [|fugue], the [|invention], [|sonata-allegro], [|canon], [|strophic], [|theme and variations], and [|rondo]. Popular Music often makes use of [|strophic form] often in conjunction with [|Twelve bar blues]. Analysis is the effort to describe and explain music.

Cognition
Further information: [|Hearing (sense)] and [|Psychoacoustics] A chamber music group consisting of stringed instrument players, a flautist, and a harpsichordist perform in Salzburg The field of [|music cognition] involves the study of many aspects of music including how it is processed by listeners. Rather than accepting the standard practices of analyzing, composing, and performing music as a given, much research in music cognition seeks instead to uncover the mental processes that underlie these practices. Also, research in the field seeks to uncover commonalities between the musical traditions of disparate cultures and possible cognitive "constraints" that limit these musical systems. Questions regarding musical innateness, and emotional responses to music are also major areas of research in the field. [|Deaf] people can experience music by feeling the vibrations in their body, a process that can be enhanced if the individual holds a resonant, hollow object. A well-known deaf musician is the composer Ludwig van Beethoven, who composed many famous works even after he had completely lost his hearing. [//[|dubious] – [|discuss] //] Recent examples of deaf musicians include [|Evelyn Glennie], a highly acclaimed [|percussionist] who has been deaf since age twelve, and [|Chris Buck], a virtuoso [|violinist] who has lost his hearing. This is relevant because it indicates that music is a deeper cognitive process than unexamined phrases such as, "pleasing to the ear" suggests. Much research in music cognition seeks to uncover these complex mental processes involved in listening to music, which may seem intuitively simple, yet are vastly intricate and complex.

Sociology
This Song Dynasty (960–1279) painting, entitled the "Night Revels of Han Xizai," shows Chinese musicians entertaining guests at a party in a 10th century household. Music is experienced by individuals in a range of social settings ranging from being alone to attending a large concert. Musical performances take different forms in different cultures and socioeconomic milieus. In Europe and North America, there is often a divide between what types of music are viewed as a "[|high culture]" and "[|low culture]." "High culture" types of music typically include Western art music such as Baroque, Classical, Romantic, and modern-era symphonies, concertos, and solo works, and are typically heard in formal concerts in concert halls and churches, with the audience sitting quietly in seats. Other types of music—including, but not limited to, jazz, blues, [|soul], and [|country]—are often performed in bars, nightclubs, and theatres, where the audience may be able to drink, dance, and express themselves by cheering. Until the later 20th century, the division between "high" and "low" musical forms was widely accepted as a valid distinction that separated out better quality, more advanced "art music" from the popular styles of music heard in bars and dance halls. However, in the 1980s and 1990s, musicologists studying this perceived divide between "high" and "low" musical genres argued that this distinction is not based on the musical value or quality of the different types of music. [//[|citation needed]//] Rather, they argued that this distinction was based largely on the [|socioeconomics] standing or [|social class] of the performers or audience of the different types of music. [//[|citation needed]//] For example, whereas the audience for Classical symphony concerts typically have above-average incomes, the audience for a rap concert in an inner-city area may have below-average incomes. Even though the performers, audience, or venue where non-"art" music is performed may have a lower socioeconomic status, the music that is performed, such as blues, rap, [|punk], [|funk], or [|ska] may be very complex and sophisticated. When composers introduce styles of music that break with convention, there can be a strong resistance from academic music experts and popular culture. Late-period Beethoven string quartets, Stravinsky [|ballet] scores, [|serialism], [|bebop]-era jazz, hip hop, punk rock, and [|electronica] have all been considered non-music by some critics when they were first introduced. [//[|citation needed]//] Such themes are examined in the [|sociology] of music. The sociological study of music, sometimes called [|sociomusicology], is often pursued in departments of sociology, media studies, or music, and is closely related to the field of [|ethnomusicology].

Media and technology
Further information: [|Computer music] A 12-inch (30-cm) 33 1⁄3  rpm record (left), a 7-inch 45 rpm record (right), which are both [|analog] [|sound] [|storage mediums], and a CD (above), a digital medium. The music that composers make can be heard through several [|media]; the most traditional way is to hear it live, in the presence, or as one of the musicians. Live music can also be broadcast over the [|radio], [|television] or the [|Internet]. Some musical styles focus on producing a sound for a performance, while others focus on producing a recording that mixes together sounds that were never played "live." Recording, even of essentially live styles, often uses the ability to edit and splice to produce recordings considered better than the actual performance. As [|talking pictures] emerged in the early 20th century, with their prerecorded musical tracks, an increasing number of moviehouse orchestra musicians found themselves out of work.[|[][|21][|]] During the 1920s live musical performances by orchestras, [|pianists], and [|theater organists] were common at first-run theaters.[|[][|22][|]] With the coming of the talking motion pictures, those featured performances were largely eliminated. The [|American Federation of Musicians] (AFM) took out newspaper advertisements protesting the replacement of live musicians with mechanical playing devices. One 1929 ad that appeared in the //[|Pittsburgh Press]// features an image of a can labeled "Canned Music / Big Noise Brand / Guaranteed to Produce No Intellectual or Emotional Reaction Whatever"[|[][|23][|]] Since legislation introduced to help protect performers, composers, publishers and producers, including the [|Audio Home Recording Act] of 1992 in the United States, and the 1979 revised [|Berne Convention for the Protection of Literary and Artistic Works] in the United Kingdom, recordings and live performances have also become more accessible through computers, devices and Internet in a form that is commonly known as [|Music-On-Demand]. In many cultures, there is less distinction between performing and listening to music, since virtually everyone is involved in some sort of musical activity, often communal. In industrialized countries, listening to music through a recorded form, such as [|sound recording] or watching a [|music video], became more common than experiencing live performance, roughly in the middle of the 20th century. Sometimes, live performances incorporate prerecorded sounds. For example, a [|disc jockey] uses [|disc records] for [|scratching], and some 20th century works have a solo for an instrument or voice that is performed along with music that is prerecorded onto a tape. [|Computers] and many [|keyboards] can be programmed to produce and play [|Musical Instrument Digital Interface] (MIDI) music. Audiences can also //become// performers by participating in [|karaoke], an activity of Japanese origin centered on a device that plays voice-eliminated versions of well-known songs. Most karaoke machines also have video screens that show lyrics to songs being performed; performers can follow the lyrics as they sing over the instrumental tracks.

Internet
The advent of the [|Internet] has transformed the experience of music, partly through the increased ease of access to music and the increased choice. [|Chris Anderson], in his book //The Long Tail: Why the Future of Business is Selling Less of More//, suggests that while the economic model of [|supply and demand] describes scarcity, the Internet retail model is based on abundance. [|Digital storage] costs are low, so a company can afford to make its whole inventory available online, giving customers as much choice as possible. It has thus become economically viable to offer products that very few people are interested in. Consumers' growing awareness of their increased choice results in a closer association between listening tastes and social identity, and the creation of thousands of [|niche markets].[|[][|24][|]] Another effect of the Internet arises with [|online communities] like [|YouTube] and [|MySpace]. MySpace has made [|social networking] with other musicians easier, and greatly facilitates the distribution of one's music. YouTube also has a large community of both amateur and professional musicians who post videos and comments. [//[|citation needed]//] Professional musicians also use YouTube as a free publisher of promotional material. YouTube users, for example, no longer only download and listen to [|MP3s], but also actively create their own. According to [|Don Tapscott] and [|Anthony D. Williams], in their book //[|Wikinomics]//, there has been a shift from a traditional consumer role to what they call a "[|prosumer]" role, a consumer who both creates and consumes. Manifestations of this in music include the production of [|mashes], [|remixes], and music videos by fans.[|[][|25][|]]

Business
Main article: [|Music industry] The music industry refers to the business industry connected with the creation and sale of music. It consists of record companies, [|labels] and [|publishers] that distribute recorded music products internationally and that often control the rights to those products. Some music labels are "[|independent]," while others are subsidiaries of larger corporate entities or international [|media groups]. In the 2000s, the increasing popularity of listening to music as digital music files on MP3 players, iPods, or computers, and of trading music on file sharing sites or buying it online in the form of digital files had a major impact on the traditional music business. Many smaller independent CD stores went out of business as music buyers decreased their purchases of CDs, and many labels had lower CD sales. Some companies did well with the change to a digital format, though, such as Apple's [|iTunes], an online store that sells digital files of songs over the Internet.

Non-professional
Main article: [|Music education] A Suzuki violin recital with students of varying ages. The incorporation of music training from [|preschool] to [|post secondary education] is common in North America and Europe. Involvement in music is thought to teach basic skills such as concentration, [|counting], listening, and [|cooperation] while also promoting understanding of [|language], improving the ability to [|recall] information, and creating an environment more conducive to learning in other areas.[|[][|26][|]] In [|elementary schools], children often learn to play instruments such as the [|recorder], sing in small choirs, and learn about the history of Western art music. In secondary schools students may have the opportunity to perform some type of musical ensembles, such as choirs, [|marching bands], [|concert bands], jazz bands, or orchestras, and in some school systems, music classes may be available. Some students also take private [|music lessons] with a teacher. Amateur musicians typically take lessons to learn musical rudiments and beginner- to intermediate-level musical techniques. At the [|university] level, students in most arts and [|humanities] programs can receive [|credit] for taking music courses, which typically take the form of an overview course on the [|history of music], or a [|music appreciation] course that focuses on listening to music and learning about different musical styles. In addition, most North American and European universities have some type of musical ensembles that non-music students are able to participate in, such as choirs, marching bands, or orchestras. The study of Western art music is increasingly common outside of North America and Europe, such as the [|Indonesian Institute of the Arts] in [|Yogyakarta], [|Indonesia], or the classical music programs that are available in Asian countries such as South Korea, Japan, and China. At the same time, Western universities and colleges are widening their curriculum to include music of non-Western cultures, such as the [|music of Africa] or Bali (e.g. [|Gamelan] music).

Academia
[|Musicology] is the study of the subject of music. The earliest definitions defined three sub-disciplines: [|systematic musicology], [|historical musicology], and comparative musicology or [|ethnomusicology]. In contemporary scholarship, one is more likely to encounter a division of the discipline into music theory, music history, and ethnomusicology. Research in musicology has often been enriched by cross-disciplinary work, for example in the field of [|psychoacoustics]. The study of music of non-western cultures, and the cultural study of music, is called ethnomusicology. Students can pursue the undergraduate study of musicology, ethnomusicology, music history, and music theory through several different types of degrees, including a [|B.Mus], a B.A. with concentration in music, a B.A. with Honors in Music, or a B.A. in Music History and Literature. Graduates of undergraduate music programs can go on to further study in music graduate programs. Graduate degrees include the [|Master of Music], the [|Master of Arts], the [|Doctor of Philosophy] (PhD) (e.g., in musicology or music theory), and more recently, the [|Doctor of Musical Arts], or DMA. The Master of Music degree, which takes one to two years to complete, is typically awarded to students studying the performance of an instrument, education, voice or composition. The Master of Arts degree, which takes one to two years to complete and often requires a [|thesis], is typically awarded to students studying musicology, music history, or music theory. [|Undergraduate] [|university degrees] in music, including the [|Bachelor of Music], the Bachelor of Music Education, and the [|Bachelor of Arts] (with a major in music) typically take three to five years to complete. These degrees provide students with a grounding in music theory and music history, and many students also study an instrument or learn singing technique as part of their program. The PhD, which is required for students who want to work as university professors in musicology, music history, or music theory, takes three to five years of study after the Master's degree, during which time the student will complete advanced courses and undertake research for a dissertation. The DMAis a relatively new degree that was created to provide a credential for professional performers or composers that want to work as university professors in musical performance or composition. The DMA takes three to five years after a Master's degree, and includes advanced courses, projects, and performances. In Medieval times, the study of music was one of the [|Quadrivium] of the seven [|Liberal Arts] and considered vital to higher learning. Within the quantitative Quadrivium, music, or more accurately [|harmonics], was the study of rational proportions. [|Zoomusicology] is the study of the music of non-human animals, or the musical aspects of sounds produced by non-human animals. As [|George Herzog] (1941) asked, "do animals have music?" [|François-Bernard Mâche]'s //Musique, mythe, nature, ou les Dauphins d'Arion// (1983), a study of "ornitho-musicology" using a technique of [|Nicolas Ruwet]'s //Language, musique, poésie// (1972) [|paradigmatic segmentation analysis], shows that [|bird songs] are organised according to a repetition-transformation principle. Jean-Jacques Nattiez (1990), argues that "in the last analysis, it is a human being who decides what is and is not musical, even when the sound is not of human origin. If we acknowledge that sound is not organised and conceptualised (that is, made to form music) merely by its producer, but by the mind that perceives it, then music is uniquely human." Music theory is the study of music, generally in a highly technical manner outside of other disciplines. More broadly it refers to any study of music, usually related in some form with compositional concerns, and may include [|mathematics], [|physics], and [|anthropology]. What is most commonly taught in beginning music theory classes are guidelines to write in the style of the [|common practice period], or [|tonal music]. Theory, even of music of the common practice period, may take many other forms. [|Musical set theory] is the application of mathematical [|set theory] to music, first applied to [|atonal music]. //Speculative music theory//, contrasted with //analytic music theory//, is devoted to the analysis and synthesis of music materials, for example [|tuning systems], generally as preparation for composition.

Ethnomusicology
Main article: [|Ethnomusicology] Ethnomusicologist [|Frances Densmore] recording [|Blackfoot] chief Mountain Chief for the [|Bureau of American Ethnology] (1916) In the West, much of the history of music that is taught deals with the Western civilization's art music. The history of music in other cultures ("[|world music]" or the field of "ethnomusicology") is also taught in Western universities. This includes the documented classical traditions of Asian countries outside the influence of Western Europe, as well as the folk or indigenous music of various other cultures. Popular styles of music varied widely from culture to culture, and from period to period. Different cultures emphasised different [|instruments], or techniques, or uses for music. Music has been used not only for entertainment, for ceremonies, and for practical and artistic communication, but also for [|propaganda]. There is a host of music classifications, many of which are caught up in the argument over the definition of music. Among the largest of these is the division between classical music (or "art" music), and popular music (or [|commercial music] – including [|rock music], [|country music], and [|pop music]). Some genres do not fit neatly into one of these "big two" classifications, (such as folk music, world music, or jazz music). As world cultures have come into [|greater contact], their indigenous musical styles have often merged into new styles. For example, the United States [|bluegrass] style contains elements from [|Anglo]-[|Irish], [|Scottish], Irish, [|German] and African instrumental and vocal traditions, which were able to fuse in the United States' multi-ethnic society. Genres of music are determined as much by tradition and presentation as by the actual music. Some works, like [|George Gershwin]'s //[|Rhapsody in Blue]//, are claimed by both jazz and classical music, while Gershwin's //[|Porgy and Bess]// and [|Leonard Bernstein]'s //[|West Side Story]// are claimed by both opera and the [|Broadway musical] tradition. Many current music festivals celebrate a particular musical genre. [|Indian music], for example, is one of the oldest and longest living types of music, and is still widely heard and performed in South Asia, as well as internationally (especially since the 1960s). Indian music has mainly three forms of classical music, [|Hindustani], [|Carnatic], and [|Dhrupad] styles. It has also a large repertoire of styles, which involve only percussion music such as the talavadya performances famous in [|South India].
 * Ethnomusicology**

Music therapy
Main article: [|Music therapy] [|Music therapy] is an interpersonal process in which the therapist uses music and all of its facets—physical, emotional, mental, social, aesthetic, and spiritual—to help clients to improve or maintain their health. In some instances, the client's needs are addressed directly through music; in others they are addressed through the relationships that develop between the client and therapist. Music therapy is used with individuals of all ages and with a variety of conditions, including: psychiatric disorders, medical problems, physical handicaps, sensory impairments, developmental disabilities, substance abuse, communication disorders, interpersonal problems, and aging. It is also used to: improve learning, build self-esteem, reduce stress, [|support physical exercise], and facilitate a host of other health-related activities. One of the earliest mentions of Music Therapy was in [|Al-Farabi's] (c. 872 – 950) treatise //Meanings of the Intellect//, which described the [|therapeutic] effects of music on the [|soul].[|[][|27][|]] Music has long been used to help people deal with their emotions. In the 17th century, the scholar [|Robert Burton]'s //[|The Anatomy of Melancholy]// argued that music and dance were critical in treating [|mental illness], especially [|melancholia].[|[][|28][|]] He noted that music has an "excellent power ...to expel many other diseases" and he called it "a sovereign remedy against despair and melancholy." He pointed out that in Antiquity, Canus, a Rhodian fiddler, used music to "make a melancholy man merry, ...a lover more enamoured, a religious man more devout." [|[][|29][|]][|[][|30][|]][|[][|31][|]] In November 2006, Dr. Michael J. Crawford[|[][|32][|]] and his colleagues also found that music therapy helped [|schizophrenic] patients.[|[][|33][|]] In the [|Ottoman Empire], mental illnesses were treated with music.[|[][|34][|]] media type="custom" key="7203393"