Technology in music production

With the growing popularity of the home computer and the vast improvements in music production applications during the 21st century, home-based composers and performers are no longer limited to the facilities of designated recording studios. Though the technology was available in the 1990s, computer hard disk capacities were limited to few Gigabytes and both computer and disk drive access times were also restrictive. With capacities in the region of several Terabytes and access times far quicker for modern top-end computers (and with computers, generally, becoming cheaper), home users can now quickly and easily sample, record, and produce their own music using their own home recording studios, and promote it via the internet. Though the technology is usually restricted to the pop music industry, modern classical composers are starting to become aware of the advantages of this technology, at least in so far as it helps them to hear, in some sense, the sounds they are notating.
There are numerous types of application involved in music production. While many will allow the user to play musical notation back via MIDI (through either external electronic instruments or internal "virtual instruments"), some of them are dedicated solely to notation, others are dedicated solely to live performance, yet others are dedicated solely to the production (i.e. recording) process itself, while a few present all these capabilities in one package. Many of these applications have capabilities to store live sound in WAV or MP3 format (which do not involve notation at all) and often have functions which can tranform the sound (changing the pitch, stretching the sound, merging sounds together, adding effects, and so on). Of course, there are widely used applications which are dedicated solely to recording sound in WAV, MP3, and other formats and some have these tranforming functions.

Listening to music in the 21st Century via internet

The internet has also increased the availability of classical music in the present century. Not only are there sites that allow listeners to tune into radio stations or sample composers' works, there are many sites that allow their members to download music onto their computer or onto other devices, such as MP3 players.

21st century Film scores and TV theme music

Howard Shore and Patrick Doyle have written important film scores in the 21st century. Shore wrote the music for the The Lord of the Rings trilogy, and Doyle wrote the music for Bridget Jones's Diary and Harry Potter and the Goblet of Fire. Tan Dun has written acclaimed operas, but is best known in the West for his film scores (e.g., Crouching Tiger, Hidden Dragon). John Williams has also continued to write important film scores in this century. Aside from the new music for the Star Wars series, they include the scores for the Harry Potter film series and Munich.
Howard Goodall is best known for his theme music for popular TV series. He is Classic FM’s Composer-in-Residence for 2009 and was named Composer of the Year at the Classical BRIT Awards in 2009. He has also written choral works. Karl Jenkins started out as a Jazz musician and later composed for television advertisements, most notably for De Beers diamond merchants. The music was included as the title track of the album Diamond Music. He has since written several important works for chorus and orchestra, including The Armed Man: A Mass for Peace.

21st century Polystylism

Polystylism (or musical eclecticism) is a growing trend in the 21st century. It combines elements of diverse musical genres and compositional techniques into a unified and coherent body of works. Composers will not necessarily employ their entire canon of style and technique in one single work, but rather the composers' body of works as a whole will reveal many different and diverse "styles". While anticipated by earlier trends that incorporated elements of folk music or Jazz into classical works, Polystylism started in the latter part of 20th century, but as more and more styles are embraced in the new century, the movement is becoming more important and diverse. Composers have often started their musical career in one discipline and have later migrated to, or embraced, other disciplines while retaining important elements from the old one. It should be noted here that a composer now labelled "Classical" may have started out in another discipline. Karl Jenkins, for example, started out as a Jazz musician, then moved to writing for TV advertisements, and is now becoming established as a major composer of large-scale choral works. His works The Armed Man: A Mass for Peace, Requiem and Stabat Mater are well-known and incoropate elements of the various styles he used in the past. Paul McCartney has made a similar move from Pop music: he started his main career as a member of The Beatles and has recently composed Standing Stone and Ecce Cor Meum. A specific label for John Zorn's music is difficult to choose: he started out as a performance artist and moved through various genres including Jazz, Hardcore punk, film music, and Classical, and often embraces Jewish musical styles. All of these diverse styles appear in his works.

Julian Anderson combines elements from many different musical genres and practices in his works. Elements of modernism, spectral music and electronic music are combined with elements of the folk music of Eastern Europe and the resulting works are often influenced by the modality of Indian ragas.
Tansy Davies writes music that fuses elements of Pop music and Classical music. Prince and Iannis Xenakis are both major influences.

Music in the 21st century

The BBC Music Magazine asked 10 composers for its October 2009 edition, mostly British, to discuss the latest trends in Western Classical music. The consensus was that no particular style is favoured and that individuality is to be encouraged. The magazine interviewed Brian Ferneyhough, Michael Nyman, Einojuhani Rautavaara, Henri Dutilleux, John Adams, James MacMillan, Jonathan Harvey, Julian Anderson, John Tavener, and Roxanna Panufnik. The works of each of these composers represent different aspects of the music of this century but these composers all came to the same basic conclusion: music is too diverse to categorise or limit. In his interview with the magazine, Dutilleux argued that "there is only good or bad music, whether serious or popular".

Anderson, a British composer, uses popular "house music" or "club music" as the basis for many of his compositions. Indeed works such as Khorovod (1994) seem to anticipate the modern trend. His music combines the music of traditional cultures from outside the Western concert tradition with elements of modernism, spectral music and electronic music. His large-scale Book of Hours for 20 players and live electronics was premiered in 2005.
Tavener, another British composer, draws his inspiration from eastern mysticism and the music of the Orthodox Church .

Nyman is an English Minimalist best known for his film score for The Piano. He often borrows from Baroque music and is an acclaimed composer of operas, including (in this century) Facing Goya and Sparkie. The latter work draws its inspiration from a talking budgie. His shorter works often written for his own Michael Nyman Band.
Often styled the "Father of New Complexity", English composer Brian Ferneyhough has recently started writing works which reference those of past composers. His Dum transisset are based on Elizabethan composer Christopher Tye's works for viol; the fourth string quartet references Schönberg. His opera, Shadowtime (libretto by Charles Bernstein), is based on the life of the German philosopher Walter Benjamin. It was premiered in Munich on 25 May 2004.

Rautavaara is a Finnish composer writing in a variety of forms and styles. His opera Rasputin was premiered in 2003 and he has written a large—and rapidly growing—body of orchestral and chamber works.

Active since the mid-1940s, the French composer Dutilleux follows the Impressionist and Neoclassical tradition of Maurice Ravel, Claude Debussy, and Albert Roussel. His latest works include Correspondances and Le Temps L'Horloge, both of which are song cycles.

Adams is a Pulitzer Prize-winning American composer with strong roots in Minimalism. His best-known recent works include On the Transmigration of Souls (2002), a choral piece commemorating the victims of the 11 September 2001 attacks (for which he won the Pulitzer Prize for Music in 2003) and Doctor Atomic (2005), which covers Robert Oppenheimer, the Manhattan Project, and the building of the first atomic bomb. In October 2008, Adams told BBC Radio 3 that he had been blacklisted by the U.S. Homeland Security department and immigration services.

MacMillan is a Scottish composer and conductor influenced by both traditional Scottish music and his own Roman Catholic faith. His most recent works include operas (The Sacrifice premiered in 2007) and a St John Passion (2008).

Harvey, a British composer, was Composer-in-Association with the BBC Scottish Symphony Orchestra from 2005-2008. His works this century include the large-scale cantata, Mothers shall not Cry (2000) written for the BBC Proms Millennium, and the orchestral works Body Mandala (2006) and Speakings (2008).
Polish composer Roxanna Panufnik is one of the growing number of important female composers working in the 21st-century and is the daughter of Sir Andrzej Panufnik. Her output includes operas, ballets, music theatre, choral works, chamber music, and music for film and television. Her most widely performed works include Westminster Mass, commissioned for Westminster Cathedral Choir on the occasion of Cardinal Hume's 75th birthday, The Music Programme, an opera for Polish National Opera's millennium season which received its UK premiere at the BOC Covent Garden Festival, and settings for solo voices and orchestra of Vikram Seth's Beastly Tales - the first of which was commissioned by the BBC for Patricia Rozario and City of London Sinfonia. The 2008/9 season has seen no less than 18 premieres of her works in nine different countries, performed by such diverse artists such as the Mobius Ensemble, Tasmin Little with the Orchestra of the Swan, The Sixteen, the Dante Quartet , the Choir of King's College Cambridge, and Valery Gergiev conducting the World Orchestra for Peace.

21st century classical music

21st century classical music is a diverse art form. Some elements of the previous century have been retained but there is a growing move towards Post-modernism, Polystylism and eclecticism, which seek to combine elements of all styles of music irrespective of whether these are "classical" or not. In other words, there is no longer a differentiation between the various musical genres. "Pop", "Jazz", "Rock", and so on are seen as styles to be used in any work rather than as separate disciplines. The combination of classical music and multimedia is also a notable practice in the present century; the internets, alongside its related technology, are important resources in this respect. The number of important female composers has also increased significantly.

Western Art Music

Romantic music:
The title character from a 19th century performance of Wagner's opera Siegfried In the Romantic period, music became more expressive and emotional, expanding to encompass literature, art, and philosophy. Famous early Romantic composers include Schumann, Chopin, Mendelssohn, Bellini, and Berlioz. 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. Famous composers from the second half of the century include Johann Strauss II, Brahms, Liszt, Tchaikovsky, Verdi, and Wagner. Between 1890 and 1910, a third wave of composers including Dvořák, Mahler, Richard Strauss, Puccini, and Sibelius built on the work of middle Romantic composers to create even more complex – and often much longer – musical works. A prominent mark of late 19th century music is its nationalistic fervor, as exemplified by such figures as Dvořák, Sibelius, and Grieg. Other prominent late-century figures include Saint-Saëns, Fauré, Rachmaninoff and Franck.

Western Art Music

Romantic music:
The title character from a 19th century performance of Wagner's opera Siegfried In the Romantic period, music became more expressive and emotional, expanding to encompass literature, art, and philosophy. Famous early Romantic composers include Schumann, Chopin, Mendelssohn, Bellini, and Berlioz. 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. Famous composers from the second half of the century include Johann Strauss II, Brahms, Liszt, Tchaikovsky, Verdi, and Wagner. Between 1890 and 1910, a third wave of composers including Dvořák, Mahler, Richard Strauss, Puccini, and Sibelius built on the work of middle Romantic composers to create even more complex – and often much longer – musical works. A prominent mark of late 19th century music is its nationalistic fervor, as exemplified by such figures as Dvořák, Sibelius, and Grieg. Other prominent late-century figures include Saint-Saëns, Fauré, Rachmaninoff and Franck.

Western Art Music

Classical music era:
Classical period (music):
The music of the Classical period is characterized by homophonic texture, or an obvious melody with accompaniment. These new melodies tended to be almost voice-like and singable, allowing composers to actually replace singers as the focus of the music. Instrumental music therefore quickly replaced opera and other sung forms (such as oratorio) as the favorite of the musical audience and the epitome of great composition. However, opera did not disappear: during the classical period, several composers began producing operas for the general public in their native languages (previous operas were generally in Italian).
Along with the gradual displacement of the voice in favor of stronger, clearer melodies, counterpoint also typically became a decorative flourish, often used near the end of a work or for a single movement. In its stead, simple patterns, such as arpeggios and, in piano music, Alberti bass (an accompaniment with a repeated pattern typically in the left hand), were used to liven the movement of the piece without creating a confusing additional voice. The now-popular instrumental music was dominated by several well-defined forms: the sonata, the symphony, and the concerto, though none of these were specifically defined or taught at the time as they are now in music theory. All three derive from sonata form, which is used to refer both to the overlying form of an entire work and the structure of a single movement. Sonata form matured during the Classical era to become the primary form of instrumental compositions throughout the 19th century.
The early Classical period was ushered in by the Mannheim School, which included such composers as Johann Stamitz, Franz Xaver Richter, Carl Stamitz, and Christian Cannabich. It exerted a profound influence on Joseph Haydn and, through him, on all subsequent European music. Wolfgang Amadeus Mozart was the central figure of the Classical period, and his phenomenal and varied output in all genres defines our perception of the period. Ludwig van Beethoven and Franz Schubert were transitional composers, leading into the Romantic period, with their expansion of existing genres, forms, and even functions of music.

Western Art Music

Baroque music:
Instrumental music became dominant in the Baroque, and most major music forms were defined. Counterpoint was one of the major forces in both the instrumental and the vocal music of the period. Although a strong religious musical tradition continued, secular music came to the fore with the development of the sonata, the concerto, and the concerto grosso.
Much Baroque music was designed for improvisation, with a figured bass provided by the composer for the performer to flesh out and ornament. The keyboard, particularly the harpsichord, was a dominant instrument, and the beginnings of well temperament opened up the possibilities of playing in all keys and of modulation.
The harpsichord:
Much Baroque music featured a basso continuo consisting of a keyboard, either harpsichord or organ (sometimes a lute instead), and a bass instrument, such as a viola da gamba or bassoon. The three outstanding composers of the period were Johann Sebastian Bach, George Frideric Handel, and Antonio Vivaldi, but a host of other composers, some with huge output, were active in the period.

Western Art Music

Renaissance music:
The beginning of the Renaissance in music is not as clearly marked as the beginning of the Renaissance in the other arts, and unlike in the other arts, it did not begin in Italy, but in northern Europe, specifically in the area currently comprising central and northern France, the Netherlands, and Belgium. The style of the Burgundian composers, as the first generation of the Franco-Flemish school is known, was at first a reaction against the excessive complexity and mannered style of the late 14th century ars subtilior, and contained clear, singable melody and balanced polyphony in all voices. The most famous composers of the Burgundian school in the mid-15th century are Guillaume Dufay, Gilles Binchois, and Antoine Busnois.
By the middle of the 15th century, composers and singers from the Low Countries and adjacent areas began to spread across Europe, especially into Italy, where they were employed by the papal chapel and the aristocratic patrons of the arts (such as the Medici, the Este, and the Sforza families). They carried their style with them: smooth polyphony which could be adapted for sacred or secular use as appropriate. Principal forms of sacred musical composition at the time were the mass, the motet, and the laude; secular forms included the chanson, the frottola, and later the madrigal.
The invention of printing had an immense influence on the dissemination of musical styles, and along with the movement of the Franco-Flemish musicians, contributed to the establishment of the first truly international style in European music since the unification of Gregorian chant under Charlemagne. Composers of the middle generation of the Franco-Flemish school included Johannes Ockeghem, who wrote music in a contrapuntally complex style, with varied texture and an elaborate use of canonical devices; Jacob Obrecht, one of the most famous composers of masses in the last decades of the 15th century; and Josquin Desprez, probably the most famous composer in Europe before Palestrina, and who during the 16th century was renowned as one of the greatest artists in any form. Music in the generation after Josquin explored increasing complexity of counterpoint; possibly the most extreme expression is in the music of Nicolas Gombert, whose contrapuntal complexities influenced early instrumental music, such as the canzona and the ricercar, ultimately culminating in Baroque fugal forms.
By the middle of the 16th century, the international style began to break down, and several highly diverse stylistic trends became evident: a trend towards simplicity in sacred music, as directed by the Counter-Reformation Council of Trent, exemplified in the music of Giovanni Pierluigi da Palestrina; a trend towards complexity and chromaticism in the madrigal, which reached its extreme expression in the avant-garde style of the Ferrara School of Luzzaschi and the late century madrigalist Carlo Gesualdo; and the grandiose, sonorous music of the Venetian school, which used the architecture of the Basilica San Marco di Venezia to create antiphonal contrasts. The music of the Venetian school included the development of orchestration, ornamented instrumental parts, and continuo bass parts, all of which occurred within a span of several decades around 1600. Famous composers in Venice included the Gabrielis, Andrea and Giovanni, as well as Claudio Monteverdi, one of the most significant innovators at the end of the era.
Most parts of Europe had active and well-differentiated musical traditions by late in the century. In England, composers such as Thomas Tallis and William Byrd wrote sacred music in a style similar to that written on the continent, while an active group of home-grown madrigalists adapted the Italian form for English tastes: famous composers included Thomas Morley, John Wilbye and Thomas Weelkes. Spain developed instrumental and vocal styles of its own, with Tomás Luis de Victoria writing refined music similar to that of Palestrina, and numerous other composers writing for the new guitar. Germany cultivated polyphonic forms built on the Protestant chorales, which replaced the Roman Catholic Gregorian Chant as a basis for sacred music, and imported the style of the Venetian school (the appearance of which defined the start of the Baroque era there). In addition, German composers wrote enormous amounts of organ music, establishing the basis for the later Baroque organ style which culminated in the work of J.S. Bach. France developed a unique style of musical diction known as musique mesurée, used in secular chansons, with composers such as Guillaume Costeley and Claude Le Jeune prominent in the movement.
One of the most revolutionary movements in the era took place in Florence in the 1570s and 1580s, with the work of the Florentine Camerata, who ironically had a reactionary intent: dissatisfied with what they saw as contemporary musical depravities, their goal was to restore the music of the ancient Greeks. Chief among them were Vincenzo Galilei, the father of the astronomer, and Giulio Caccini. The fruits of their labors was a declamatory melodic singing style known as monody, and a corresponding staged dramatic form: a form known today as opera. The first operas, written around 1600, also define the end of the Renaissance and the beginning of the Baroque eras.
Music prior to 1600 was modal rather than tonal. Several theoretical developments late in the 16th century, such as the writings on scales on modes by Gioseffo Zarlino and Franchinus Gaffurius, led directly to the development of common practice tonality. The major and minor scales began to predominate over the old church modes, a feature which was at first most obvious at cadential points in compositions, but gradually became pervasive. Music after 1600, beginning with the tonal music of the Baroque era, is often referred to as belonging to the common practice period.

Western Art Music

Medieval music:
While musical life was undoubtedly rich in the early Medieval era, as attested by artistic depictions of instruments, writings about music, and other records, the only repertory of music which has survived from before 800 to the present day is the plainsong liturgical music of the Roman Catholic Church, the largest part of which is called Gregorian chant. Pope Gregory I, who gave his name to the musical repertory and may himself have been a composer, is usually claimed to be the originator of the musical portion of the liturgy in its present form, though the sources giving details on his contribution date from more than a hundred years after his death. Many scholars believe that his reputation has been exaggerated by legend. Most of the chant repertory was composed anonymously in the centuries between the time of Gregory and Charlemagne.
During the 9th century several important developments took place. First, there was a major effort by the Church to unify the many chant traditions, and suppress many of them in favor of the Gregorian liturgy. Second, the earliest polyphonic music was sung, a form of parallel singing known as organum. Third, and of greatest significance for music history, notation was reinvented after a lapse of about five hundred years, though it would be several more centuries before a system of pitch and rhythm notation evolved having the precision and flexibility that modern musicians take for granted.
Several schools of polyphony flourished in the period after 1100: the St. Martial school of organum, the music of which was often characterized by a swiftly moving part over a single sustained line; the Notre Dame school of polyphony, which included the composers Léonin and Pérotin, and which produced the first music for more than two parts around 1200; the musical melting-pot of Santiago de Compostela in Galicia, a pilgrimage destination and site where musicians from many traditions came together in the late Middle Ages, the music of whom survives in the Codex Calixtinus; and the English school, the music of which survives in the Worcester Fragments and the Old Hall Manuscript. Alongside these schools of sacred music a vibrant tradition of secular song developed, as exemplified in the music of the troubadours, trouvères and Minnesänger. Much of the later secular music of the early Renaissance evolved from the forms, ideas, and the musical aesthetic of the troubadours, courtly poets and itinerant musicians, whose culture was largely exterminated during the Albigensian Crusade in the early 13th century.
Forms of sacred music which developed during the late 13th century included the motet, conductus, discant, and clausulae. One unusual development was the Geisslerlieder, the music of wandering bands of flagellants during two periods: the middle of the 13th century (until they were suppressed by the Church); and the period during and immediately following the Black Death, around 1350, when their activities were vividly recorded and well-documented with notated music. Their music mixed folk song styles with penitential or apocalyptic texts. The 14th century in European music history is dominated by the style of the ars nova, which by convention is grouped with the medieval era in music, even though it had much in common with early Renaissance ideals and aesthetics. Much of the surviving music of the time is secular, and tends to use the formes fixes: the ballade, the virelai, the lai, the rondeau, which correspond to poetic forms of the same names. Most pieces in these forms are for one to three voices, likely with instrumental accompaniment: famous composers include Guillaume de Machaut and Francesco Landini.

Classical Music MIDDLE EAST

Greece
Music of Greece:
Greek written history extends far back into Ancient Greece, and 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.
The connection of the music environment of Greece with that of the European Renaissance can be traced mainly in Crete until 1669, where its vivid urban music benefited from the creative assimilation with the venetian culture. The most important musical figure of Crete was Fragiskos Leondaritis (Francesco Leondariti or Londariti), organist and composer of sacred and secular music. Another key-figure of that era was Ieronimos o Tragodistis (Hieronymus the Chanter), a Cypriot student of Gios. Zarlino, who flourished around 1571 and, among others, proposed a system that enabled medieval Byzantine chant to correspont to the current contrapuntal practices via the cantus firmus paraphrase. In the 18th century art music was mainly cultivated in Ionian Islands, where from 1733 opera became the most distinctive music genre. This dynamic had as a consequence in 19th century, composers like Nikolaos Mantzaros (Niccolo Calichiopulo Manzaro, 1795 - 1872), Spyridon Xyndas (1812 - 1896), Pavlos Karrer (Paolo Carrer, 1829-1896) and Spyridon Samaras (1861 - 1917) to revitalize Greek art music. Instrumental music was also cultivated in 19th century by composers, such as Dionysios Rodotheatos from Ithaca and Dimitris Lialios from Patras, both of them adopting the -with the broader sense-wagnerian novelties in the style and aesthetics. In the first decade of 20th century, the social and historical conditions enabled the revisiting of nationalism in music by the composers of the so-called 'National School'.
The prevailing current for 'national music' was that of Manolis Kalomiris, which eventually became wider accepted compared to that of Georgios Lambelet. 'National School' succeeded in concentrating under its aesthetic 'credo' composer with different backgrounds, such as Marios Varvoglis, Petros Petrides, Dimetrios Levidis, Aimilios Riadis or Antiohos Evagellatos. On the other hand, modernism made also its appearance with Nikos Skalkottas, a student of Arn. Schoenberg, being the most notable (and at the same time, neglected) representative. Dimitris Mitropoulos also contributed to the music literature of Greek modernism before committing himself to conducting. After the Second World War modernism began to prevail, with considerable difficulty, mainly because of the social and political conditions of the postwar period in Greece, as well as the dominance of the 'National School'. However, composers like Mihalis Adamis, Thodoros Antoniou, Iannis Xenakis, Y.A. Papaioannou and Janni Christou succeeded in giving new perspectives to such aesthetic ways. In the maintime, a strong current of populism related to the political conditions especially after 1949, as well as to the brief change of taste of the urban class and the initiation of the touristic enterprise in 1960s, enabled the gradual promotion of the popular song as the prevalent form, which the last decades has regretably become synonymous to 'Greek music', as a whole.

Classical Music MIDDLE EAST

Persia
Persian 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).

Classical Music

Middle East
Persia
Persian 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).

Classical Music CHINA

Chinese classical music:
Chinese classical music is the traditional art or court music of China. It has a long history stretching for more than 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.

Classical Music ASIA

Asian music:
Asian music covers the music cultures of Arabia, Central Asia, East Asia, South Asia, and Southeast Asia.
India
Indian classical music:
Indian music is one of the oldest musical traditions in the world. The Indus Valley civilization left sculptures which show dance and musical instruments (some no longer in use), 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. The Rigveda has elements of present Indian music, with a musical notation to denote the metre and the mode of chanting. Early Indian musical tradition also speaks of three accents and vocal music known as "Samagan" (Sama meaning melody and Gan meaning to sing). The classical music of India includes two major traditions: the southern Carnatic music and the northern Hindustani classical music. India's classical music tradition is millennia long and remains important to the lives of Indians today as a source of religious inspiration, cultural expression, and entertainment.
Indian classical music (marga) is monophonic, and based around a single melody line or raga rhythmically organized through talas. Carnatic music 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. In contrast to Carnatic music, Hindustani music was not only influenced by ancient Hindu musical traditions, Vedic philosophy and native Indian sounds but also by the Persian performance practices of the Afghan Mughals. The origins of Indian classical music can be found from the oldest of scriptures, part of the Hindu tradition, the Vedas. Samaveda, one of the four vedas describes music at length.

Classical Music

Classical music is a broad, somewhat imprecise term, referring to music produced in, or rooted in the traditions of art, ecclesiastical and concert music. A music is classical if it includes some of the following features: a learned tradition, support from the church or government, or greater cultural capital. Classical music is also described as complex, lasting, transcendent, and abstract. In many cultures a classical tradition coexisted with traditional or popular music, occasionally for thousands of years, and with different levels of mutual borrowing with the parallel tradition.

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.