Wednesday, August 20, 2008

The History of the Earth

History of Earth

Geological time put in a diagram called a geological clock, showing the relative lengths of the eons of the Earth's history.
Geological time put in a diagram called a geological clock, showing the relative lengths of the eons of the Earth's history.

The history of Earth covers approximately 4.6 billion years (4,567,000,000 years), from Earth’s formation out of the solar nebula to the present. This article presents a broad overview, summarizing the leading, most current scientific theories.

Origin

The Earth formed as part of the birth of the Solar System: what eventually became the solar system initially existed as a large, rotating cloud of dust, rocks, and gas. It was composed of hydrogen and helium produced in the Big Bang, as well as heavier elements ejected by supernovas. Then, as one theory suggests, about 4.6 billion years ago a nearby star was destroyed in a supernova and the explosion sent a shock wave through the solar nebula, causing it to gain angular momentum. As the cloud began to accelerate its rotation, gravity and inertia flattened it into a protoplanetary disk oriented perpendicularly to its axis of rotation. Most of the mass concentrated in the middle and began to heat up, but small perturbations due to collisions and the angular momentum of other large debris created the means by which protoplanets began to form. The infall of material, increase in rotational speed and the crush of gravity created an enormous amount of kinetic heat at the center. Its inability to transfer that energy away through any other process at a rate capable of relieving the build-up resulted in the disk's center heating up. Ultimately, nuclear fusion of hydrogen into helium began, and eventually, after contraction, a T Tauri star ignited to create the Sun. Meanwhile, as gravity caused matter to condense around the previously perturbed objects outside of the new sun's gravity grasp, dust particles and the rest of the protoplanetary disk began separating into rings. Successively larger fragments collided with one another and became larger objects, ultimately destined to become protoplanets. These included one collection approximately 150 million kilometers from the center: Earth. The solar wind of the newly formed T Tauri star cleared out most of the material in the disk that had not already condensed into larger bodies.

The Hadean eon

Volcanic eruptions would have been common in Earth's early days.
Volcanic eruptions would have been common in Earth's early days.

The early Earth, during the very early Hadean eon, was very different from the world known today. There were no oceans and no oxygen in the atmosphere. It was bombarded by planetoids and other material left over from the formation of the solar system. This bombardment, combined with heat from radioactive breakdown, residual heat, and heat from the pressure of contraction, caused the planet at this stage to be fully molten. During the iron catastrophe heavier elements sank to the center while lighter ones rose to the surface producing the layered structure of the Earth and also setting up the formation of Earth's magnetic field. Earth's early atmosphere would have comprised surrounding material from the solar nebula, especially light gases such as hydrogen and helium, but the solar wind and Earth's own heat would have driven off this atmosphere.

This changed when Earth was about 40% its present radius, and gravitational attraction allowed the retention of an atmosphere which included water. Temperatures plummeted and the crust of the planet was accumulated on a solid surface, with areas melted by large impacts on the scale of decades to hundreds of years between impacts. Large impacts would have caused localized melting and partial differentiation, with some lighter elements on the surface or released to the moist atmosphere.

The surface cooled quickly, forming the solid crust within 150 million years; although new research suggests that the actual number is 100 million years based on the level of hafnium found in the geology at Jack Hills in Western Australia. From 4 to 3.8 billion years ago, Earth underwent a period of heavy asteroidal bombardment. Steam escaped from the crust while more gases were released by volcanoes, completing the second atmosphere. Additional water was imported by bolide collisions, probably from asteroids ejected from the outer asteroid belt under the influence of Jupiter's gravity. The planet cooled. Clouds formed. Rain gave rise to the oceans within 750 million years (3.8 billion years ago), but probably earlier. Recent evidence suggests the oceans may have begun forming by 4.2 billion years ago. The new atmosphere probably contained ammonia, methane, water vapor, carbon dioxide, and nitrogen, as well as smaller amounts of other gases. Any free oxygen would have been bound by hydrogen or minerals on the surface. Volcanic activity was intense and, without an ozone layer to hinder its entry, ultraviolet radiation flooded the surface.

Life

The replicator in virtually all known life is deoxyribonucleic acid. DNA is far more complex than the original replicator and its replication systems are highly elaborate.
The replicator in virtually all known life is deoxyribonucleic acid. DNA is far more complex than the original replicator and its replication systems are highly elaborate.

The details of the origin of life are unknown, though the broad principles have been established. Two schools of thought regarding the origin of life have been proposed. The first suggests that organic components may have arrived on Earth from space, while the other argues for terrestrial origins. The mechanisms by which life would initially arise are nevertheless held to be similar. If life arose on Earth, the timing of this event is highly speculative—perhaps it arose around 4 billion years ago. In the energetic chemistry of early Earth, a molecule (or even something else) gained the ability to make copies of itself–the replicator. The nature of this molecule is unknown, its function having long since been superseded by life’s current replicator, DNA. In making copies of itself, the replicator did not always perform accurately: some copies contained an “error.” If the change destroyed the copying ability of the molecule, there could be no more copies, and the line would “die out.” On the other hand, a few rare changes might make the molecule replicate faster or better: those “strains” would become more numerous and “successful.” As choice raw materials (“food”) became depleted, strains which could exploit different materials, or perhaps halt the progress of other strains and steal their resources, became more numerous.cator might have developed. Different replicators have been posited, including organic chemicals such as modern proteins, nucleic acids, phospholipids, crystals, or even quantum systems. There is currently no method of determining which of these models, if any, closely fits the origin of life on Earth. One of the older theories, and one which has been worked out in some detail, will serve as an example of how this might occur. The high energy from volcanoes, lightning, and ultraviolet radiation could help drive chemical reactions producing more complex molecules from simple compounds such as methane and ammonia. Among these were many of the relatively simple organic compounds that are the building blocks of life. As the amount of this “organic soup” increased, different molecules reacted with one another. Sometimes more complex molecules would result—perhaps clay provided a framework to collect and concentrate organic material. The presence of certain molecules could speed up a chemical reaction. All this continued for a very long time, with reactions occurring more or less at random, until by chance there arose a new molecule: the replicator. This had the bizarre property of promoting the chemical reactions which produced a copy of itself, and evolution began properly. Other theories posit a different replicator. In any case, DNA took over the function of the replicator at some point; all known life (with the exception of some viruses and prions) use DNA as their replicator, in an almost identical manner

Cells

A small section of a cell membrane. This modern cell membrane is far more sophisticated than the original simple phospholipid bilayer (the small blue spheres with two tails). Proteins and carbohydrates serve various functions in regulating the passage of material through the membrane and in reacting to the environment.
A small section of a cell membrane. This modern cell membrane is far more sophisticated than the original simple phospholipid bilayer (the small blue spheres with two tails). Proteins and carbohydrates serve various functions in regulating the passage of material through the membrane and in reacting to the environment.

Modern life has its replicating material packaged neatly inside a cellular membrane. It is easier to understand the origin of the cell membrane than the origin of the replicator, since the phospholipid molecules that make up a cell membrane will often form a bilayer spontaneously when placed in water. Under certain conditions, many such spheres can be formed (see “The bubble theory”). It is not known whether this process preceded or succeeded the origin of the replicator (or perhaps it was the replicator). The prevailing theory is that the replicator, perhaps RNA by this point (the RNA world hypothesis), along with its replicating apparatus and maybe other biomolecules, had already evolved. Initial protocells may have simply burst when they grew too large; the scattered contents may then have recolonized other “bubbles.” Proteins that stabilized the membrane, or that later assisted in an orderly division, would have promoted the proliferation of those cell lines. RNA is a likely candidate for an early replicator since it can both store genetic information and catalyze reactions. At some point DNA took over the genetic storage role from RNA, and proteins known as enzymes took over the catalysis role, leaving RNA to transfer information and modulate the process. There is increasing belief that these early cells may have evolved in association with underwater volcanic vents known as “black smokers”. or even hot, deep rocks. However, it is believed that out of this multiplicity of cells, or protocells, only one survived. Current evidence suggests that the last universal common ancestor lived during the early Archean eon, perhaps roughly 3.5 billion years ago or earlier.[20],[21] This “LUCA” cell is the ancestor of all cells and hence all life on Earth. It was probably a prokaryote, possessing a cell membrane and probably ribosomes, but lacking a nucleus or membrane-bound organelles such as mitochondria or chloroplasts. Like all modern cells, it used DNA as its genetic code, RNA for information transfer and protein synthesis, and enzymes to catalyze reactions. Some scientists believe that instead of a single organism being the last universal common ancestor, there were populations of organisms exchanging genes in lateral gene transfer.

Photosynthesis and oxygen

The harnessing of the sun’s energy led to several major changes in life on Earth.
The harnessing of the sun’s energy led to several major changes in life on Earth.

It is likely that the initial cells were all heterotrophs, using surrounding organic molecules (including those from other cells) as raw material and an energy source. As the food supply diminished, a new strategy evolved in some cells. Instead of relying on the diminishing amounts of free-existing organic molecules, these cells adopted sunlight as an energy source. Estimates vary, but by about 3 billion years ago, something similar to modern photosynthesis had probably developed. This made the sun’s energy available not only to autotrophs but also to the heterotrophs that consumed them. Photosynthesis used the plentiful carbon dioxide and water as raw materials and, with the energy of sunlight, produced energy-rich organic molecules (carbohydrates).

Moreover, oxygen was produced as a waste product of photosynthesis. At first it became bound up with limestone, iron, and other minerals. There is substantial proof of this in iron-oxide rich layers in geological strata that correspond with this time period. The oceans would have turned to a green color while oxygen was reacting with minerals. When the reactions stopped, oxygen could finally enter the atmosphere. Though each cell only produced a minute amount of oxygen, the combined metabolism of many cells over a vast period of time transformed Earth’s atmosphere to its current state. Among the oldest examples of oxygen-producing lifeforms are fossil Stromatolites.

This, then, is Earth’s third atmosphere. Some of the oxygen was stimulated by incoming ultraviolet radiation to form ozone, which collected in a layer near the upper part of the atmosphere. The ozone layer absorbed, and still absorbs, a significant amount of the ultraviolet radiation that once had passed through the atmosphere. It allowed cells to colonize the surface of the ocean and ultimately the land; without the ozone layer, ultraviolet radiation bombarding the surface would have caused unsustainable levels of mutation in exposed cells. Besides making large amounts of energy available to life-forms and blocking ultraviolet radiation, the effects of photosynthesis had a third, major, and world-changing impact. Oxygen was toxic; probably much life on Earth died out as its levels rose (the “Oxygen Catastrophe”).Resistant forms survived and thrived, and some developed the ability to use oxygen to enhance their metabolism and derive more energy from the same food.

Endosymbiosis and the three domains of life

Main article: Endosymbiotic theory
Some of the pathways by which the various endosymbionts might have arisen.
Some of the pathways by which the various endosymbionts might have arisen.

Modern taxonomy classifies life into three domains. The time of the origin of these domains are speculative. The Bacteria domain probably first split off from the other forms of life (sometimes called Neomura), but this supposition is controversial. Soon after this, by 2 billion years ago, the Neomura split into the Archaea and the Eukarya. Eukaryotic cells (Eukarya) are larger and more complex than prokaryotic cells (Bacteria and Archaea), and the origin of that complexity is only now coming to light. Around this time period a bacterial cell related to today’s Rickettsia entered a larger prokaryotic cell. Perhaps the large cell attempted to ingest the smaller one but failed (maybe due to the evolution of prey defenses). Perhaps the smaller cell attempted to parasitize the larger one. In any case, the smaller cell survived inside the larger cell. Using oxygen, it was able to metabolize the larger cell’s waste products and derive more energy. Some of this surplus energy was returned to the host. The smaller cell replicated inside the larger one, and soon a stable symbiotic relationship developed. Over time the host cell acquired some of the genes of the smaller cells, and the two kinds became dependent on each other: the larger cell could not survive without the energy produced by the smaller ones, and these in turn could not survive without the raw materials provided by the larger cell. Symbiosis developed between the larger cell and the population of smaller cells inside it to the extent that they are considered to have become a single organism, the smaller cells being classified as organelles called mitochondria. A similar event took place with photosynthetic cyano bacteria entering larger heterotrophic cells and becoming chloroplasts.Probably as a result of these changes, a line of cells capable of photosynthesis split off from the other eukaryotes some time before one billion years ago. There were probably several such inclusion events, as the figure at left suggests. Besides the well-established endosymbiotic theory of the cellular origin of mitochondria and chloroplasts, it has been suggested that cells gave rise to peroxisomes, spirochetes gave rise to cilia and flagella, and that perhaps a DNA virus gave rise to the cell nucleus, though none of these theories are generally accepted. During this period, the supercontinent Columbia is believed to have existed, probably from around 1.8 to 1.5 billion years ago; it is the oldest hypothesized supercontinent.

Multicellularity

Volvox aureus is believed to be similar to the first multicellular plants.
Volvox aureus is believed to be similar to the first multicellular plants.

Archaeans, bacteria, and eukaryotes continued to diversify and to become more sophisticated and better adapted to their environments. Each domain repeatedly split into multiple lineages, although little is known about the history of the archaea and bacteria. Around 1.1 billion years ago, the supercontinent Rodinia was assembling. The plant, animal, and fungi lines had all split, though they still existed as solitary cells. Some of these lived in colonies, and gradually some division of labor began to take place; for instance, cells on the periphery might have started to assume different roles from those in the interior. Although the division between a colony with specialized cells and a multicellular organism is not always clear, around 1 billion years ago, the first multicellular plants emerged, probably green algae. Possibly by around 900 million years ago, true multicellularity had also evolved in animals. At first it probably somewhat resembled that of today’s sponges, where all cells were totipotent and a disrupted organism could reassemble itself. As the division of labor became more complete in all lines of multicellular organisms, cells became more specialized and more dependent on each other; isolated cells would die. Many scientists believe that a very severe ice age began around 770 million years ago, so severe that the surface of all the oceans completely froze (Snowball Earth). Eventually, after 20 million years, enough carbon dioxide escaped through volcanic outgassing that the resulting greenhouse effect raised global temperatures. By around the same time, 750 million years ago, Rodinia began to break up.

HISTORY OF MUSIC

History of music




Music is found in every known culture, past and present, varying wildly between times and places. Scientists now believe that modern humans emerged from Africa 160,000 years ago. Around 50,000 years ago these 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.

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.

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 (Kilmer, Crocker, Brown, Sounds from Silence, 1976, Bit Enki, Berkeley, Calif., LCC 76-16729), and also was written using a Pythagorean tuning of the diatonic scale.

Double pipes, such as 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 [Persia] 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 Sassanian 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.

Early music

History of European art music
Early
Medieval (500 – 1400)
Renaissance (1400 – 1600)
Common practice
Baroque (1600 – 1760)
Classical (1730 – 1820)
Romantic (1815 – 1910)
Modern and contemporary
20th century classical (1900 – 2000)
Contemporary classical (1975 – present)

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.

Western Art Music

Medieval music

Main article: 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 Worchester 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.

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 the Renaissance 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 overspread Europe, moving especially into Italy where they were employed by the papal chapel and the aristocratic patrons of the arts, such as the Medici, the Este family in Ferrara, and the Sforza family in Milan. 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 throughout Europe, contributed to the establishment of the first truly international style in European music since the unification of Gregorian chant under Charlemagne seven hundred years before.

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 of this tendency 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.

Portrait of Renaissance composer Claudio Monteverdi in Venice, 1640, by Domenico Fetti.
Portrait of Renaissance composer Claudio Monteverdi in Venice, 1640, by Domenico Fetti.

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, and as exemplified in the austere perfection of 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 took advantage of the architecture of the Basilica San Marco di Venezia to create a music of antiphonal contrasts. The music of the Venetian school can be seen on the cusp of the Renaissance and the Baroque eras, and 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 a new instrument called the 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 wholesale 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 spectacular flowering of the 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 dramatic form consisting of staged, acted monody: 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.

Johann Sebastian Bach is one of the most notable composers of the Baroque period
Johann Sebastian Bach is one of the most notable composers of the Baroque period

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.

The harpsichord played a central role in a great deal of Baroque music.
The harpsichord played a central role in a great deal of Baroque music.

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. 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.

Classical music era

Wolfgang Amadeus Mozart's compositions characterized music of the classical era.
Wolfgang Amadeus Mozart's compositions characterized music of the classical era.

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 at the time to actually replace singer(s) 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. This is not to say that opera disappeared. Indeed, 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 forms were specifically defined or taught at the time as they are now in the field of 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 title character from a 19th century performance of Wagner's opera Siegfried
The title character from a 19th century performance of Wagner's opera Siegfried

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.

Romantic music

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.

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.

Classical traditions

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.

Europe

'Classical European music' is a somewhat broad term, referring to music produced in or rooted in the traditions of European art, ecclesiastical, and concert music, particularly between 1000 and 1900. The central norms of this tradition developed between 1550 and 1825 centering on what is known as the common practice period.

Asia


Asian music covers the music cultures of Arabia, Central Asia, East Asia, South Asia, and Southeast Asia.


India

Purandara Dasa, the father of Carnatic music
Purandara Dasa, the father of Carnatic music

The Indian music is one of the oldest musical traditions in the world.[2] The Indus Valley civilization has sculptures which show dance and old musical instruments, like the seven holed flute. Various types of stringed instruments and drums have been recovered from Harrappa and Mohenjo Daro by excavations carried out by Sir Mortimer Wheeler. 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 of the southern Carnatic music and the northern Hindustani classical music. India's classical music tradition has a history spanning millennia and, developed over several eras, remains fundamental to the lives of Indians today as sources of religious inspiration, cultural expression and pure 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.


China

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.

Middle East

See also: Arab classical music and Andalusian classical music

Persia

Ancient Iranians attached great importance to music and poetry, as they still do today. 7th century plate depicts Sassanid era musicians. The British Museum.
Ancient Iranians attached great importance to music and poetry, as they still do today. 7th century plate depicts Sassanid era musicians. The British Museum.
Main article: 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). See: Music of Iran, Music of Afghanistan, Music of Tajikistan, Music of Uzbekistan.

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 Spyros 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.