plain whites-hey there delilah

hey there Delilah-Plain white's

	Plain White T';s - Hey There Delilah
	Found at bee mp3 search engine

hey there delilah
wat's it like in New York city?
I'm a thousand mils a way
But girl's tonight you look so preety
Yes you do
Time square cant shine as bright you
I swear its true
Hey there delilah
Dont you worry about the distance
Im right there if you get lonley
give this song another listenclose your eyes
Listen to my voice its my disguise
I'm by your side
(oh its what you do to me)4
what you do to me
hey there delilah I Know times are getting hard
But just believe me,girl
Someday I'll pay the bill with this guitarwe'll have its good we'll have the life we knew we would my word is good
hey there delilah I've got so much left to say
If every simple song I wrote to u.
would take your breath away
I'd write it all
(oh its what you do to me)4
a thousand miles seems preety far
but they've got planes and trains and cars
I'd walk to you if I had no other way
our friends would all make you and of us
and we'll just laugh along becaus we know
that none of them have left this way
Delilah I can promise you
that by the time we get through
the world will never even be the same
and your's to blame
hey there delilah
you be good and dont you miss me two more years and you will be done with school
and I'll be making history like I do
you will know its all bcoz of you
we can do what ever we want to hey there delilah here's to you this one for you
(oh its what you do to me)4

musical instruments

All about Rockers

Creed

Metallica

GNR
Jimorison

Iron Maiden

Queen

Curt Cobin

classic vocal music

Vocal music, broadly speaking, is any music for the voice. Opera and choral music are often broken out into categories of their own, however, leaving solo song and small-group music with one voice to a part. The allmusic.com site uses this more restrictive definition of vocal music. Audiences raised on popular music may find the sound of classical vocal music unfamiliar, but it's worth making the effort to get past any initial disorientation: a song in any tradition is a direct, straightforward mode of expression, and classical songs offer a great way into the whole world of classical music.The vocal category encompasses a great deal of music, for songs of various kinds have been as important in the classical music tradition as in any other. It was the Romantics of the nineteenth century, with their strong appreciation for the connection between poetry and music, who brought the art song (as classical songs are known) to its highest point of development. Art songs from German-speaking lands are called lieder, from the German word for "songs," and German composers pioneered the song cycle, set to a group of related poems that might tell a story or explore a single idea. A song cycle might be compared to the album in the era of recorded music; it is a set of songs unified by a single idea. Schubert wrote several great song cycles, of which Winterreise (A Winter Journey) is one. Beethoven, with his comparatively rarely heard An die ferne Geliebte (To the Distant Beloved), blazed the way for the song cycle as he did for so many other new developments. Schumann and Hugo Wolf were other noted composers of song cycles. Many individual songs that were not part of song cycles have also become well known. Schubert, who once wrote eight songs in a single day, seemed to have a profound understanding of the poetry of Johann Wolfgang von Goethe; his setting of the song Gretchen am Spinnrade (Gretchen at the Spinning Wheel), from Goethe's play Faust, brings the restless obsession of Goethe's wronged young heroine uniquely to life.Solo songs and those for small groups, of course, have constituted an important genre through the entire history of classical music, from the medieval courtly love songs of Guillaume de Machaut to modern times. The lute song of Elizabethan England is a lovely species of melancholy song, with John Dowland as its greatest practitioner. Many composers of the twentieth century favored the art song as well, for the direct appeal of the human voice and the compact size of most songs helped listeners grasp unfamiliar material. Several composers who wrote art songs in English make good places to start with modern vocal music, for example the iconoclastic New Englander Charles Ives, whose songs quote a whole range of American music in clever and philosophically interesting ways, his fellow American Samuel Barber, whose songs are masterpieces of lyric beauty, and the English composer Benjamin Britten, whose works offer an intelligently conducted tour through the best of English poetry, old and new.

Rock N roll

In its purest form, Rock & Roll has three chords, a strong, insistent back beat, and a catchy melody. Early rock & roll drew from a variety of sources, primarily blues, R&B, and country, but also gospel, traditional pop, jazz, and folk. All of these influences combined in a simple, blues-based song structure that was fast, danceable, and catchy. The first wave of rock & rollers — Chuck Berry, Elvis Presley, Little Richard, Jerry Lee Lewis, Buddy Holly, Bo Diddley, Bill Haley, Gene Vincent, the Everly Brothers, and Carl Perkins, among many others — set the template for rock & roll that was followed over the next four decades. During each decade, a number of artists replicated the sound of the first rockers, while some expanded that definition and others completely exploded the constrictions of the genre. From the British Invasion, folk-rock, psychedelia, and through hard rock, heavy metal, glam rock, and punk, most subgenres of rock & roll initially demonstrated an allegiance to the basic structure of rock & roll. Once these permutations emerged, traditional rock & roll faded away from the pop charts, yet there were always artists that kept the flame alive. Some, like the Rolling Stones and the Faces, adhered to the basic rules of traditional rock & roll but played the music fast and loose. Others, like proto-punk rockers the Velvet Underground, the New York Dolls, and the Stooges, kept the basic song structure, but played it with more menace. Still others, like Dave Edmunds and Graham Parker, became rock & roll traditionalists, writing and recording music that never wavered from the sound of the late '50s and early '60s. Although the term "rock & roll" came to refer to a number of different music styles in the decades following its inception, the essential form of the music never changed.
Related Styles
Soul-Blues
Blues-Rock
Boogie-Woogie
Tex-Mex
Skiffle
Rockabilly
Hard Rock
Southern Rock
British Invasion
Doo Wop
Merseybeat
New Orleans R&B
Teen Idol
Pub Rock
British Blues

Types of music

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 which sells digital files of songs over the Internet.

Education

Non-professional
Main article: Music education
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.[25] 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.
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 that which studies 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
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 in totalitarian countries.
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 and roll, 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.

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.[26] 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.[27] 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." [28][29][30] In November 2006, Dr. Michael J. Crawford[31] and his colleagues also found that music therapy helped schizophrenic patients.[32] In the Ottoman Empire, mental illnesses were treated with music.[33]

Computer music

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 which mixes together sounds which were never played "live". Recording, even of styles which are essentially live, often uses the ability to edit and splice to produce recordings which are 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.[20] During the 1920s live musical performances by orchestras, pianists, and theater organists were common at first-run theaters.[21] 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"[22]
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 which centres around 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.

20th century music

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 which 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.[17] From its early development until the present, jazz has also incorporated music from 19th and 20th century American popular music.[18] 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, digital synthesizers. 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."[19] 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.

Musical 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 which 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" which may create musical sounds; examples of this range from wind chimes, through computer programs which select sounds. Music which contains elements selected by chance 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.

About music

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]
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] According to musicologist Jean-Jacques Nattiez, "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, except that it is 'sound through tim

Cobra Starship

Cobra Starship would likely be the first to agree if you were to call them a joke band. The goofball lyrics, the kitsch-en sink approach to the music, and the day-glo visual images they portray are the work of a band that doesn't take itself seriously at all. The only point of contention would be whether the joke is funny and worth telling repeatedly, or if it's an annoying one that may have been funny once but is now wearing itself thin. If you are in the latter camp, then Hot Mess will hold no appeal for you at all. The silly dance pop, lightweight emo pop, and generally irreverent approach to music will make you want to break the disc in half. On the other hand, if that list sounds good to you, then Hot Mess is just what you'll want to be spinning on hot summer nights, late-night dance parties, and girl/boy's nights out. That their sound includes healthy doses of cheerleader chants, glam rock shouts, corny synth lines (played on the most cheesy of all synths, the keytar), mindless dance beats, arena rock guitars, totally fake hip-hop poses, '80s pop rip-offs, and vocodered vocals makes it a near-perfect pop sound for the age of short attention spans, gossip girls, and guyliner, and sounds like exactly what the title promises. The songs that sound like pre-ordained radio hits like "Good Girls Go Bad" (which features the amazingly post-modern guest list of Gossip Girl's Leighton Meester on vocals, Lil Wayne producer Kevin Rudolf behind the board, and a co-write from pro songwriter/Am Idol judge Kara DioGaurdi), "Wet Hot American Summer" and "Move Like You Gonna Die" have all the spangles, club sweat, and ridiculous energy you'd expect, but this time out you can also hear a little bit of real emotion (on the heartbroken R&B jam "The World Will Never," or the seemingly heartfelt and melancholy "Fold Your Hands Child"), some earnestly sweet melodies (the chorus of "Living in the Sky with Diamonds"), and a feeling that even though the band is a joke, it doesn't have to be a total throw away one-liner all the time. These slight diversions also keep the record from feeling like a non-stop rush of sugar-smacked silliness, which is something that made the last record less than a success. Hot Mess is a complete success and shows that the band could possibly grow past the comedy and become something else entirely. Not that they need to, though, it's be perfectly fine if Cobra Starship stayed a joke and kept making records as fun and frothy as Hot Mess.

Orpheus Brittanicus at 350

September 10 has been established by the experts as the approximate date of birth for Mr. Henry Purcell, England's greatest native-born composer, and this year marks his 350th anniversary. Patsy Morita presents this encomium in lieu of a blowout birthday party, and invites us to celebrate the works of this under-appreciated but brilliant Baroque master of opera, choral, vocal, and instrumental music.

Lyric of Linkin park& pia of green Day

I'm tired of being what you want me to beFeeling so faithless lost under the surfaceDon't know what you're expecting of mePut under the pressure of walking in your shoes(caught in the undertone just caught in the undertone)Every step that I take is another mistake to you(caught in the undertone just caught in the undertone)I've become so numb I can't feel you thereI've become so tired so much more awareI've becoming this all I want to doIs be more like me and be less like youCan't you see that you're smothering meHolding too tightly afraid to lose controlCause everything that you thought I would beHas fallen apart right in front of you(caught in the undertone just caught in the undertone)Every step that I take is another mistake to you(caught in the undertone just caught in the undertone)And every second I waste is more than I can takeI've become so numb I can't feel you thereI've become so tired so much more awareI've becoming this all I want to doIs be more like me and be less like youAnd I knowI may end up failing tooBut I knowYou were just like me with someone disappointed in youI've become so numb I can't feel you thereI've become so tired so much more awareI've becoming this all I want to doIs be more like me and be less like youI've become so numb I can't feel you thereIs everything what you want me to beI've become so numb I can't feel you thereIs everything what you want me to be

Western culture music

Western cultures

During the Medieval music era (500-1400), the only European repertory which has survived 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.[12] 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.

Music

Drama · Tragedy · Comedy · Tragicomedy · Romance · Satire · Epic · Lyric
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]
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] According to musicologist Jean-Jacques Nattiez, "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, except that it is 'sound through time'."[3]