Jay Z History Music Download

Although definitions of music vary wildly throughout the world, every known culture partakes in it, and it is thus considered a cultural universal. The origins of music remain highly contentious; commentators often relate it to the origin of language, with much disagreement surrounding whether music arose before, after or simultaneously with language. Many theories have been proposed by scholars from a wide range of disciplines, though none has achieved broad approval. Most cultures have their own mythical origins concerning the invention of music, generally rooted in their respective mythological, religious or philosophical beliefs.

Historically, religions have often been catalysts for music. The Vedas of Hinduism immensely influenced Indian classical music, and the Five Classics of Confucianism laid the basis for subsequent Chinese music. Following the rapid spread of Islam in the 6th century, Islamic music dominated Persia and the Arab world, and the Islamic Golden Age saw the presence of numerous important music theorists. Music written for and by the early Christian Church properly inaugurates the Western classical music tradition,[1] which continues into medieval music where polyphony, staff notation and nascent forms of many modern instruments developed. In addition to religion or the lack thereof, a society's music is influenced by all other aspects of its culture, including social and economic organization and experience, climate, and access to technology. Many cultures have coupled music with other art forms, such as the Chinese four arts and the medieval quadrivium. The emotions and ideas that music expresses, the situations in which music is played and listened to, and the attitudes toward musicians and composers all vary between regions and periods. Many cultures have or continue to distinguish between art music (or 'classical music'), folk music, and popular music.

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Music is regarded as a cultural universal,[3][4] though definitions of it vary depending on culture and throughout history.[5] As with many aspects of human cognition, it remains debated as to what extent the origins of music will ever be understood, with scholars often taking polarizing positions.[6] The origin of music is often discussed alongside the origin of language, with the nature of their connection being the subject of much debate.[7] However, before the mid-late 20th century, both topics were seldom given substantial attention by academics.[8][9][n 1] Since the topic's resurgence, the principal source of contention is divided into three perspectives: whether music began as a kind of proto-language (a result of adaptation) that led to language; if music is a spandrel (a phenotypic by-product of evolution) that was the result of language; or if music and language both derived from a common antecedent.[11][12][n 2][n 3]

There is little consensus on any particular theory for the origin of music, which have included contributions from archaeologists, cognitive scientists, ethnomusicologists, evolutionary biologists, linguists, neuroscientists, paleoanthropologists, philosophers, and psychologists (developmental and social).[21][n 4] Some of the most prominent theories are as follows:

Prehistoric cultures are thought to have had a wide variety of uses for music, with little unification between different societies.[54] Music was likely of particular value when food and other basic needs were scarce.[54] It is also probable that prehistoric cultures viewed music as intrinsically connected with nature, and may have believed its use influenced the natural world directly.[54]

Greek written history extends far back into Ancient Greece, and was a major part of ancient Greek theatre. In ancient Greece, mixed-gender choruses performed for entertainment, celebration and spiritual reasons.[citation needed] Instruments included the most important wind instrument, the double-reed aulos,[109] as well as the plucked string instrument, the lyre,[110] especially the special kind called a kithara.

The principal sources on the music of ancient India are textual and iconographical; specifically, some theoretical treatises in Sanskrit survive, there are brief mentions in general literature and many sculptures of Ancient Indian musicians and their instruments exist.[111] Ancient Sanskrit, Pali, and Prakrit literature frequently contains musical references, from the Vedas to the works of Kalidasa and the Ilango Adigal's epic Silappatikaram.[112] Despite this, little is known on the actual musical practices of ancient India and the information available forces a somewhat homogeneous perspective on the music of the time, even though evidence indicates that in reality, it was far more diverse.[111]

The monumental arts treatise Natya Shastra is among the earliest and chief sources for Ancient Indian music; the music portions alone are likely from the Gupta period (4th century to 6th century CE).[113]

The Parthian Empire (247 BCE to 224 CE) saw an increase in textual and iconographical depictions of musical activity and instruments. 2nd century BCE Parthian rhuta (drinking horns) found in the ancient capital of Nisa include some of the most vivid depictions of musicians from the time. Pictorial evidence such as terracotta plaques show female harpists, while plaques from Babylon show panpipes, as well as string (harps, lutes and lyres) and percussion instruments (tambourines and clappers). Bronze statues from Dura-Europos depict larger panpipes and double aulos. Music was evidently used in ceremonies and celebrations; a Parthian-era stone frieze in Hatra shows a wedding where musicians are included, playing trumpets, tambourines, and a variety of flutes. Other textual and iconographical evidence indicates the continued prominence of gsn minstrels. However, like the Achaemenid period, Greek writers continue to be a major source for information on Parthian music. Strabo recorded that the gsn learned songs telling tales of gods and noblemen, while Plutarch similarly records the gsn lauding Parthian heroes and mocking Roman ones. Plutarch also records, much to his bafflement, that rhoptra (large drums) were used by the Parthian army to prepare for war.[125]

Modern scholars generally define 'Medieval music' as the music of Western Europe during the Middle Ages,[136] from approximately the 6th to 15th centuries. Music was certainly prominent in the Early Middle Ages, as attested by artistic depictions of instruments, writings about music, and other records; however, 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 the 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 Lonin and Protin, 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 the secular song developed, as exemplified in the music of the troubadours, trouvres, and Minnesnger. 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. e24fc04721