Music history eras

Early music:
Early music is a general term used to describe music in the European classical tradition from after the fall of the Roman Empire, in 476 CE, until the end of the Baroque era in the middle of the 18th century. Music within this enormous span of time was extremely diverse, encompassing multiple cultural traditions within a wide geographic area; many of the cultural groups out of which medieval Europe developed already had musical traditions, about which little is known. What unified these cultures in the Middle Ages was the Roman Catholic Church, and its music served as the focal point for musical development for the first thousand years of this period. Very little non-Christian music from this period survived, due to its suppression by the Church and the absence of music notation; however, folk music of modern Europe probably has roots at least as far back as the Middle Ages.

Music history eras

Ancient music:
The prehistoric era is considered to have ended with the development of writing, and with it, by definition, prehistoric music. "Ancient music" is the name given to the music that followed. The "oldest known song" was written in cuneiform, dating to 4,000 years ago from Ur. It was deciphered by Prof. Anne Draffkorn Kilmer (University of Calif. at Berkeley), and was demonstrated to be composed in harmonies of thirds, like ancient gymel, and also was written using a Pythagorean tuning of the diatonic scale.
Double pipes, such as those used by the ancient Greeks, and ancient bagpipes, as well as a review of ancient drawings on vases and walls, etc., and ancient writings (such as in Aristotle, Problems, Book XIX.12) which described musical techniques of the time, indicate polyphony. One pipe in the aulos pairs (double flutes) likely served as a drone or "keynote," while the other played melodic passages. Instruments, such as the seven holed flute and various types of stringed instruments have been recovered from the Indus valley civilization archaeological sites.
Indian classical music (marga) can be found from the scriptures of the Hindu tradition, the Vedas. Samaveda, one of the four vedas, describes music at length. The history of musical development in Iran (Persian music) dates back to the prehistoric era. The great legendary king, Jamshid, is credited with the invention of music. Music in Iran can be traced back to the days of the Elamite Empire (2,500-644 B.C). Fragmentary documents from various periods of the country's history establish that the ancient Persians possessed an elaborate musical culture. The Sassanid period (A.D. 226-651), in particular, has left us ample evidence pointing to the existence of a lively musical life in Persia. The names of some important musicians such as Barbod, Nakissa and Ramtin, and titles of some of their works have survived.
The term Early music era may also refer to contemporary but traditional or folk music, including Asian music, Persian music, music of India, Jewish music, Greek music, Roman music, the music of Mesopotamia, the music of Egypt, and Muslim music.

Music history eras

Biblical period:
History of music in the biblical period:
According to Easton's Bible Dictionary, Jubal was the inventor of musical instruments (Gen. 4:21). The Hebrews were much given to the cultivation of music. Their whole history and literature afford abundant evidence of this. After the Deluge, the first mention of music is in the account of Laban's interview with Jacob (Gen. 31:27). After their triumphal passage of the Red Sea, Moses and the children of Israel sang their song of deliverance (Ex. 15). But the period of Samuel, David, and Solomon was the golden age of Hebrew music, as it was of Hebrew poetry. Music was now for the first time systematically cultivated. It was an essential part of training in the schools of the prophets (1 Sam. 10:5; 19:19-24; 2 Kings 3:15; 1 Chr. 25:6). There now arose also a class of professional singers (2 Sam. 19:35; Eccl. 2:8). Solomon's Temple, however, was the great school of music. In the conducting of its services large bands of trained singers and players on instruments were constantly employed (2 Sam. 6:5; 1 Chr. 15; 16; 23;5; 25:1-6). In private life also music seems to have held an important place among the Hebrews (Eccl. 2:8; Amos 6:4-6; Isa. 5:11, 12; 24:8, 9; Ps. 137; Jer. 48:33; Luke 15:25).
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:"
"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 which 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."

Music history eras

Musical eras
Prehistoric
Ancient-(before AD 500)
Early-(500 – 1760)
Common practice-(1600 – 1900)
Modern and contemporary-(1900 – present)

Prehistoric music:
Prehistoric music, once more commonly called primitive music, is the name given to all music produced in preliterate cultures (prehistory), beginning somewhere in very late geological history. Traditional Native American and Australian Aboriginal music could be called prehistoric, but the term is commonly used to refer to the music in Europe before the development of writing there. It is more common to call the "prehistoric" music of non-European continents – especially that which still survives – folk, indigenous, or traditional music.

20th century music

The 20th Century saw a revolution in music listening as the radio gained popularity worldwide and new media and technologies were developed to record, capture, reproduce and distribute music. Because music was no longer limited to concerts and clubs, it became possible for music artists to quickly gain fame nationwide and sometimes worldwide. Conversely, audiences were able to be exposed to a wider range of music than ever before. Music performances became increasingly visual with the broadcast and recording of music videos and concerts. Music of all kinds also became increasingly portable. Headphones allowed people sitting next to each other to listen to entirely different performances or share the same performance.
20th Century music brought a new freedom and wide experimentation with new musical styles and forms that challenged the accepted rules of music of earlier periods. The invention of musical amplification and electronic instruments, especially the synthesizer, in the mid-20th century revolutionized popular music and accelerated the development of new forms of music.

Western musical History

Before 1800:
The first studies of Western musical history date back to the middle of the 18th century. G.B. Martini published a three volume history titled Storia della musica (History of Music) between 1757 and 1781. Martin Gerbert published a two volume history of sacred music titled De cantu de musica sacra in 1774. Gerbert followed this work with a three volume work Scriptores ecclesiastici de musica sacra containing significant writings on sacred music from the third century AD onwards in 1784.
1800-1950:
Ludwig van Beethoven's manuscript sketch for Piano Sonata No. 28, Movement IV, Geschwind, doch nicht zu sehr und mit Entschlossenheit (Allegro), in his own handwriting. The piece was completed in 1816.
In the twentieth century, the work of Johannes Wolf and others developed studies in Medieval music and early Renaissance music. Wolf's writings on the history of musical notation are considered to be particularly notable by musicologists. Historical musicology has played a critical role in renewed interest in Baroque music as well as medieval and Renaissance music. In particular, the authentic performance movement owes much to historical musicological scholarship. Towards the middle of the twentieth century, musicology (and its largest subfield of historical musicology) expanded significantly as a field of study. Concurrently the number of musicological and music journals increased to create further outlets for the publication of research. The domination of German language scholarship ebbed as significant journals sprang up throughout the West, especially America.

Music history

The field of music history, sometimes called historical musicology, is the highly diverse subfield of the broader discipline of musicology that studies the composition, performance, reception, and criticism of music over time. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres (such as baroque concertos), the social function of music for a particular group of people (such as music at the court), or the modes of performance at a particular place and time (such as the performance forces of Johann Sebastian Bach's choir in Leipzig).
In theory, "music history" could refer to the study of the history of any type or genre of music (e.g., the history of Indian music or the history of rock). In practice, these research topics are nearly always categorized as part of ethnomusicology or cultural studies, whether or not they are ethnographically based.
The methods of music history include source studies (esp. manuscript studies), paleography, philology (especially textual criticism), style criticism, historiography (the choice of historical method), musical analysis, and iconography. The application of musical analysis to further these goals is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of music theory. Some of the intellectual products of music historians include editions of musical works, biography of composers and other musicians, studies of the relationship between words and music, and the reflections upon the place of music in society.

Music

Music is found in every known culture, past and present, varying wildly between times and places. Around 50,000 years ago, early modern humans began to disperse from Africa, reaching all the habitable continents. Since all people of the world, including the most isolated tribal groups, have a form of music, scientists conclude that music must have been present in the ancestral population prior to the dispersal of humans around the world. Consequently music must have been in existence for at least 50,000 years and the first music must have been invented in Africa and then evolved to become a fundamental constituent of human life.
A culture's music is influenced by all other aspects of that culture, including social and economic organization and experience, climate, and access to technology. The emotions and ideas that music expresses, the situations in which music is played and listened to, and the attitudes toward music players and composers all vary between regions and periods. "Music history" is the distinct subfield of musicology and history which studies music (particularly western art music) from a chronological perspective

Violence in Video games

Many of the video games played today by young kids and teenagers contain a great deal of violence. Little do the parents know, these games are altering the minds of their loved ones and setting bad judgment upon them.
According to the National Institute on Media and the Family:
Exposure to violent games increases aggressive thoughts.
Studies measuring cognitive responses to playing violent video games (compared with cognitive responses to non-violent games) have shown that violent games increase aggressive thoughts. These findings have been found for males and females, children and adults, and in experimental and correlational studies. Kirsh (1998) found that exposure to a violent video game increases hostile attribution bias (defined below) in the short term, relative to exposure to a non-violent video game. The term hostile attribution bias has been used to describe the manner in which aggressive children perceive the actions of peers. Children who tend to interpret ambiguous social cues as being of hostile intent (i.e., have a hostile attribution bias) are more aggressive (e.g., Crick & Dodge, 1994). Furthermore, there is a robust relationship between hostile attribution bias and children’s social maladjustment, such as depression, negative self-perceptions, and peer rejection (Crick, 1995). Gentile et al. (under review) also found that children who play more violent games are more likely to have a hostile attribution bias.
Exposure to violent games increases aggressive emotions.
Studies measuring emotional responses to playing violent video games (compared with emotional responses to non-violent games) have shown that violent games increase aggressive emotions. Adolescents themselves often seem to recognize this. When asked to name the "bad things" about computer games, many students reported that they make people more moody and aggressive (Griffiths & Hunt, 1998). In this study, students who were more "addicted" to video games were significantly more likely to be in a bad mood before, during, and after play than were non-addicted students.
Exposure to violent games increases aggressive actions.Studies measuring aggressive behaviors after playing violent video games (compared with behaviors displayed after playing non-violent games) have shown that violent games increase aggression. In one study of college students, students played either a violent or non-violent game. After playing this game, they were given a competitive reaction time task in which they played against another student. If they beat the other student, they got to deliver a loud "noise blast," and were able to control how loud and how long the noise blast would be. Students who had previously played the violent video game delivered longer noise blasts to their opponents (Anderson & Dill, 2000).

Violence In Music

Teenagers who spend most of their time watching violence and sex depicted in the "gangsta life" rap music videos are more likely to mimic what they've seen putting their lives at risk.
After studying a selected 522 girls betweeb the ages of 14 and 18, researchers found that compared to the girls who didn't watch these sexy violent videos, the girls who viewed these "gangsta" videos for about 14 hours a week were far more likely to practice a number of destructive behaviors. Over the course of a one year study, they were:
Three times more likely to hit a teacher
Over 2.5 times more likely to get arrested
Twice as likely to have multiple sexual partners 1.5 times more likely to get a sexually transmitted disease, use drugs, or drink alcohol.

Violence in Movies

There has been a great deal of dispute about the possible connection between violent behavior in young people and their exposure to violent movies, video games, TV programming and music.

Though a direct link between the two has not been convincingly proven, there's a increasing agreement that exposure to violent entertainment is one of the variables to be considered, along with others, including family stability, learning disabilities and personality when examining the behavior of children and teens.
Kids are drawn to movies with scary themes, and watching "horror" films is a rite of passage for teens and even younger kids. Although being steadily exposed to violent images from an early age can have a lasting effect on young children. Studies have shown that 26 percent of adults still have "remaining anxiety" many years after viewing horror movies in childhood.
Because most homes today have VCRs, kids have easy access to movies with graphic violence. Most parents don't understand the ratings systems for films, and even when they do, kids can easily sneak into restricted films at the movies. (The design of most cinemas makes it easy for kids to see the film of their choice once they've paid at the box office).

21st century education

What is 21st century education? It is bold. It breaks the mold. It is flexible, creative, challenging, and complex. It addresses a rapidly changing world filled with fantastic new problems as well as exciting new possibilities. Fortunately, there is a growing body of research supporting an increasing number of 21st century schools. We have living proof, inspiring examples to follow, in schools.
The new millennium was ushered in by a dramatic technological revolution. We now live in an increasingly diverse, globalized, and complex, media-saturated society. This technological revolution will have a greater impact on society than the transition from an oral to a print culture.1
Today's kindergarteners will be retiring in the year 2067. We have no idea of what the world will look in five years, much less 60 years, yet we are charged with preparing our students for life in that world. Our students are facing many emerging issues such as global warming, famine, poverty, health issues, a global population explosion and other environmental and social issues. These issues lead to a need for students to be able to communicate, function and create change personally, socially, economically and politically on local, national and global levels.
Even kindergarten children can make a difference in the world by participating in real-life, real-world service learning projects. You're never too young, or too old, to make your voice heard and create change that makes the world a better place.Emerging technologies and resulting globalization also provide unlimited possibilities for exciting new discoveries and developments such as new forms of energy, medical advances, restoration of environmentally ravaged areas, communications, and exploration into space and into the depths of the oceans. The possibilities are unlimited.