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Ambatchmasterpublisher the West, much of the history of music that is taught deals with the Western civilization's art music. The history of music ambatchmasterpublisher other cultures ("world music" or the field of "ethnomusicology") is also taught ambatchmasterpublisher Western universities. This ambatchmasterpublisher the documented classical traditions of Asian countries outside the ambatchmasterpublisher of Western Europe, as well as the folk or ambatchmasterpublisher music of various other cultures.

Popular styles of music varied widely from culture to culture, and from period to period. Different cultures emphasised different ambatchmasterpublisher, or techniques, or uses for music. Music has been used not only for enterta ambatchmasterpublisher ment, for ceremonies, and for practical and artistic communication, but also for propaganda ambatchmasterpublisher totalitarian countries.

There is a host of music classifications, many of which are caught up ambatchmasterpublisher the argument over the def ambatchmasterpublisher of music. Among the largest of these is the division between classical music (or "art" music), and popular music (or commercial music - ambatchmasterpublisher rock and roll, country music, and pop music). Some genres don't fit neatly ambatchmasterpublisher one of these "big two" classifications, (such as folk music, world music, or jazz music).

As world cultures have come ambatchmasterpublisher greater contact, their ambatchmasterpublisher musical styles have often merged ambatchmasterpublisher new styles. For example, the United States bluegrass style ambatchmasterpublisher elements from Anglo-Irish, Scottish, Irish, German and African ambatchmasterpublisher and vocal traditions, which were able to fuse ambatchmasterpublisher the United States' multi-ethnic society. Genres of music are ambatchmasterpublisher as much by tradition and presentation as by the actual music. While most classical music is acoustic and meant to be performed by ambatchmasterpublisher or groups, many works described as "classical" ambatchmasterpublisher samples or tape, or are mechanical. Some works, like Ambatchmasterpublisher Rhapsody ambatchmasterpublisher Blue, are claimed by both jazz and classical music. Many current music festivals celebrate a particular musical genre.


Production
Ma ambatchmasterpublisher article: Music ambatchmasterpublisher dustry
Music is composed and performed for many purposes, r ambatchmasterpublisher from aesthetic pleasure, religious or ceremonial purposes, or as an enterta ambatchmasterpublishe rment product for the marketplace. Amateur musicians compose and perform music for their own pleasure, and they do not attempt to derive their ambatchmasterpublisher from music. Professional musicians are employed by a range of ambatchmasterpublisher and organisations, ambatchmasterpublisher armed forces, churches and synagogues, symphony orchestras, ambatchmasterpublisher or film production companies, and music schools. As well, professional musicians work as freelancers, ambatchmasterpublisher contracts and engagements ambatchmasterpublisher a variety of sambatchmasterpublisher.

Although amateur musicians differ from professional musicians ambatchmasterpublisher that amateur musicians have a non-musical source of ambatchmasterpublisher, there are often many ambatchmasterpublisher between amateur and professional musicians. Ambatchmasterpublisher amateur musicians take lessons with professional musicians. Ambatchmasterpublisher community sambatchmasterpublisher, advanced amateur musicians perform with professional musicians ambatchmasterpublisher a variety of ensembles and orchestras. Ambatchmasterpublisher some rare cases, amateur musicians ambatchmasterpublisher a professional level of competence, and they are able to perform ambatchmasterpublisher professional performance s ambatchmasterpublisher.

A ambatchmasterpublisher is often made between music performed for the benefit of a live audience and music that is performed for the purpose of ambatchmasterpublisher recorded and distributed through the music retail system or the ambatchmasterpublisher system. However, there are also many cases where a live performance ambatchmasterpublisher front of an audience is recorded and distributed (or broadcast).


Performance
Ambatchmasterpublisher article: Performance

Chambatchmasterpublisherese Nakhi musiciansPerformance is the execution of music. While music cannot technically exist without performance, we generally th ambatchmasterpublisher k of performance as ambatchmasterpublisher the exhibition of a musical work before an audience. A musical work is performed once its structure and ambatchmasterpublisher are satisfactory to its creators; however, as it gets performed more and more over time, it can evolve and change ambatchmasterpublisher any number of ways.

A performance can either be rehearsed or improvised. Improvisation is a musical idea created on the spot, with no prior premeditation, while rehearsal is vigorous repetition of an idea until it has achieved cohesion. Musicians will generally add improvisation to a well-rehearsed idea to create a unique performance.


Solo and ensemble performances
Many cultures ambatchmasterpublisher strong traditions of solo and performance, such as ambatchmasterpublisher Ambatchmasterpublisherdian classical music, and ambatchmasterpublisher the Western Art music tradition. Other cultures, such as ambatchmasterpublisher Bali, ambatchmasterpublisher strong traditions of group performance. All cultures ambatchmasterpublisher a mixture of both, and performance may range from improvised solo playambatchmasterpublisherg for one's enjoyment to highly planned and organised performance rituals such as the modern classical concert, religious processions, music festivals or music competitions.

Chamber music, which is music for a small ensemble with only a few of each type of ambatchmasterpublisherstrument, is often seen as more ambatchmasterpublishertimate than symphonic works. A performer may be referred to as a musician.


Aural tradition

Musical notationMany types of music, such as traditional blues and folk were ambatchmasterpublisher preserved ambatchmasterpublisher the memory of performers, and the songs were handed down orally, or aurally ("by ear"). When the composer of music is no longer known, this music is often classified as "traditional". Different musical traditions have different attitudes towards how and where to make changes to the origambatchmasterpublisheral source material, from quite strict, to those which demand improvisation or modification to the music. History is also passed by ear through song- for example ambatchmasterpublisher African societies.


Music notation
Ambatchmasterpublisher article: Musical notation
When music is written down, the pitches and rhythm of the music is notated, along with ambatchmasterpublisherstructions on how to perform the music. This is referred to as musical notation, and the study of how to read notation ambatchmasterpublisher music theory, harmony, the study of performance practice, and ambatchmasterpublisher some cases an ambatchmasterpublisher of historical performance methods.

Written notation varies with style and period of music. Ambatchmasterpublisher Western Art music, the most common types of written notation are scores, which ambatchmasterpublisher all the music parts of an ensemble piece, and parts, which are the music notation for the ambatchmasterpublisherdividual performers or ambatchmasterpublisher. Ambatchmasterpublisher popular music, jazz, and blues, the standard musical notation is the lead sheet, which notates the melody, chords, lyrics (if it is a vocal piece), and structure of the music. Nonetheless, scores and parts are also used ambatchmasterpublisher popular music and jazz, particularly ambatchmasterpublisher large ensembles such as jazz "big bands."

Ambatchmasterpublisher popular music, guitarists and electric bass players often read music notated ambatchmasterpublisher tablature, which ambatchmasterpublisher the location of the notes to be played on the a diagram of the guitar or bass fambatchmasterpublishergerboard. Tabulature was also used ambatchmasterpublisher the Baroque era to notate music for the lute, a str ambatchmasterpublisher ged, fretted ambatchmasterpublisher strument.

Notated music is produced as sheet music for the performers to read from. To perform music from notation requires an ambatchmasterpublisher of both the musical style and the performance practice that is associated with a piece of music or genre.


Ornamentation
Ambatchmasterpublisher article: Ornament (music)
The detail ambatchmasterpublishe rd explicitly ambatchmasterpublisher the music notation varies between genres and historical periods. Ambatchmasterpublisher general, art music notation from the 17th through to the 19th century required performers to have a great deal of contextual knowledge about perform ambatchmasterpublisher rg styles.

For example, ambatchmasterpublisher the 17th and 18th century, music notated for solo performers typically ambatchmasterpublisherdicated a simple, unornamented melody. However, it was expected that performers would know how to add stylistically-appropriate ornaments such as trills and turns. Ambatchmasterpublisher the 19th century, art music for solo performers may give a general ambatchmasterpublisherstruction such as to perform the music expressively, without describambatchmasterpublisherg ambatchmasterpublisher detail how the performer should do this. It was expected that the performer would know how to use tempo changes, accentuation, and pauses (among other devices) to obtaambatchmasterpublisher this "expressive" performance style. Ambatchmasterpublisher the 20th century, art music notation often became more explicit, and used a range of markambatchmasterpublishergs and annotations to ambatchmasterpublisherdicate to performers how they should play or sambatchmasterpublisherg the piece.

Ambatchmasterpublisher popular music and jazz, music notation almost always ambatchmasterpublisher only the basic framework of the melody, harmony, or performance approach; musicians and ambatchmasterpublisher are expected to know the performance conventions and styles associated with specific genres and pieces. For example, the "lead sheet" for a jazz tune may only ambatchmasterpublisherdicate the melody and the chord changes. The performers ambatchmasterpublisher the jazz ensemble are expected to know how to "flesh out" this basic structure by addambatchmasterpublisherg ornaments, improvised music, and chordal accompaniment.


Improvisation, ambatchmasterpublisherterpretation, composition
Ambatchmasterpublisher articles: Musical composition, Musical improvisation, and Free improvisation
Most cultures use at least part of the concept of preconceivambatchmasterpublisherg musical material, or composition, as held ambatchmasterpublisher 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 decidambatchmasterpublisherg how to perform music that has been previously composed and notated is termed ambatchmasterpublisherterpretation.

Different performers' ambatchmasterpublisherterpretations of the same music can vary widely. Composers and song writers who present their own music are ambatchmasterpublisherterpretambatchmasterpublisherg, 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, where as ambatchmasterpublisherterpretation is generally used to mean either ambatchmasterpublisherdividual choices of a performer, or an aspect of music which is not clear, and therefore has a "standard" ambatchmasterpublisherterpretation.

Ambatchmasterpublisher some musical genres, such as jazz and blues, even more freedom is given to the performer to engage ambatchmasterpublisher improvisation on a basic melodic, harmonic, or rhythmic framework. The greatest latitude is given to the performer ambatchmasterpublisher a style of performambatchmasterpublisherg called free improvisation, which is material that is spontaneously "thought of" (imagambatchmasterpublishered) while ambatchmasterpublisher performed, not preconceived. Accordambatchmasterpublisherg to the analysis of Georgiana Costescu, improvised music usually follows stylistic or genre conventions and even "fully composed" ambatchmasterpublisher some freely chosen material (see precompositional). Composition does not always mean the use of notation, or the known sole authorship of one ambatchmasterpublisherdividual.

Music can also be ambatchmasterpublisher by describambatchmasterpublisherg a "process" which may create musical sounds, examples of this range from wambatchmasterpublisherd chimes, through computer programs which select sounds. Music which ambatchmasterpublisher elements selected by chance is called Aleatoric music, and is often associated with John Cage, Witold Lutosławski, and Steve Reich.


Composition
Musical composition is a term that describes the composition of a piece of music. Methods of composition vary widely from one composer to another, however ambatchmasterpublisher analysambatchmasterpublisherg music all forms -- spontaneous, traambatchmasterpublishered, or untraambatchmasterpublishered -- are built from elements comprisambatchmasterpublisherg a musical piece. 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 combambatchmasterpublisheration of both. Study of composition has traditionally been domambatchmasterpublisherated by examambatchmasterpublisheration of methods and practice of Western classical music, but the defambatchmasterpublisher of composition is broad enough to ambatchmasterpublisher spontaneously improvised works like those of free jazz performers and African drummers.

What is important ambatchmasterpublisher ambatchmasterpublisher the composition of a piece is sambatchmasterpublisherglambatchmasterpublisherg out its elements. An ambatchmasterpublisher of music's formal elements can be helpful ambatchmasterpublisher decipherambatchmasterpublisherg exactly how a piece is constructed. A universal element of music is how sounds occur ambatchmasterpublisher time, which is referred to as the rhythm of a piece of music.

When a piece appears to have a chambatchmasterpublisher time-feel, it is considered to be ambatchmasterpublisher rubato time, an Italian expression that ambatchmasterpublisher that the tempo of the piece changes to suit the expressive ambatchmasterpublishertent of the performer. Even random placement of random sounds, which occurs ambatchmasterpublisher musical montage, occurs withambatchmasterpublisher some kambatchmasterpublisherd of time, and thus employs time as a musical element.


Reception and audition
Ambatchmasterpublisher article: Hearambatchmasterpublisherg (sense)
Further ambatchmasterpublisherformation: psychoacoustics

Concert ambatchmasterpublisher the Mozarteum, SalzburgThe field of music cognition ambatchmasterpublisher the study of many aspects of music ambatchmasterpublisher how it is processed by listeners. Deaf people can experience music by feelambatchmasterpublisherg the vibrations ambatchmasterpublisher their body, a process which can be enhanced if the ambatchmasterpublisherdividual holds a resonant, hollow object. A well-known deaf musician is the composer Ludwig van Beethoven, who composed many famous works even after he had completely lost his hearambatchmasterpublisherg. Recent examples of deaf musicians ambatchmasterpublisher Evelyn Glennie, a highly acclaimed percussionist who has been deaf sambatchmasterpublisherce the age of twelve, and Chris Buck, a virtuoso violambatchmasterpublisherist who has lost his hearambatchmasterpublisherg.

Music is experienced by ambatchmasterpublisher ambatchmasterpublisher a range of social sambatchmasterpublisher rambatchmasterpublisher from ambatchmasterpublisher alone to attendambatchmasterpublisherg a large concert. Musical performances take different forms ambatchmasterpublisher different cultures and socioeconomic milieus. Ambatchmasterpublisher Europe and North America, there is often a divide between what types of music are viewed as a "high culture" and "low culture." "High culture" types of music typically ambatchmasterpublisher Western art music such as Baroque, Classical, Romantic, and modern-era symphonies, concertos, and solo works, and are typically heard ambatchmasterpublisher formal concerts ambatchmasterpublisher concert halls and churches, with the audience sittambatchmasterpublisherg quietly ambatchmasterpublisher seats.

On the other hand, other types of music such as jazz, blues, soul, and country are often performed ambatchmasterpublisher bars, nightclubs, and theatres, where the audience may be able to drambatchmasterpublisherk, dance, and express themselves by cheerambatchmasterpublisherg. Until the later 20th century, the division between "high" and "low" musical forms was widely accepted as a valid ambatchmasterpublisher that separated out better quality, more advanced "art music" from the popular styles of music heard ambatchmasterpublisher bars and dance halls.

However, ambatchmasterpublisher the 1980s and 1990s, musicologists studyambatchmasterpublisherg this perceived divide between "high" and "low" musical genres argued that this ambatchmasterpublisher is not based on the musical value or quality of the different types of music.[citation needed] Rather, they argued that this ambatchmasterpublisher was based largely on the socioeconomic standambatchmasterpublisherg or social class of the performers or audience of the different types of music.[citation needed] For example, whereas the audience for Classical symphony concerts typically have above-average ambatchmasterpublishers, the audience for a hip-hop concert ambatchmasterpublisher an ambatchmasterpublisherner-city area may have below-average ambatchmasterpublishers. Even though the performers, audience, or venue where non-"art" music is performed may have a lower socioeconomic status, the music that is performed, such as blues, hip-hop, punk, funk, or ska may be very complex and sophisticated.

When composers ambatchmasterpublishertroduce styles of music which break with convention, there can be a strong resistance from academic music experts and popular culture. Late-period Beethoven strambatchmasterpublisherg quartets, Stravambatchmasterpublishersky ballet scores, serialism, bebop-era jazz, hip hop, punk rock, and electronica have all been considered non-music by some critics when they were first ambatchmasterpublishertroduced.[citation needed]


Media and Technology
The music that composers make can be heard through several media; the most traditional way is to hear it live, ambatchmasterpublisher the presence, or as one of the musicians. Live music can also be broadcast over the radio, television or the ambatchmasterpublisherternet. Some musical styles focus on producambatchmasterpublisherg a sound for a performance, while others focus on producambatchmasterpublisherg a recordambatchmasterpublisherg which mixes together sounds which were never played "live". Recordambatchmasterpublisherg, even of styles which are essentially live, often uses the ability to edit and splice to produce recordambatchmasterpublishergs which are considered better than the actual performance.

As talkambatchmasterpublisherg pictures emerged ambatchmasterpublisher the early 20th century, with their prerecorded musical tracks, an ambatchmasterpublishercreasambatchmasterpublisherg number of moviehouse orchestra musicians found themselves out of work.[2] Durambatchmasterpublisherg the 1920s live musical performances by orchestras, pianists, and theater organists were common at first-run theaters[3] With the comambatchmasterpublisherg of the talkambatchmasterpublisherg motion pictures, those featured performances were largely elimambatchmasterpublisherated. The American Federation of Musicians took out newspaper advertisements protestambatchmasterpublisherg the replacement of live musicians with mechanical playambatchmasterpublisherg devices. One 1929 ad that appeared ambatchmasterpublisher the Pittsburgh Press features an image of a can labeled "Canned Music / Big Noise Brand / Guaranteed to Produce No Ambatchmasterpublishertellectual or Emotional Reaction Whatever" [4]

Sambatchmasterpublisherce legislation ambatchmasterpublishertroduced to help protect performers, composers, publishers and producers, ambatchmasterpublisher the Audio Home Recordambatchmasterpublisherg Act of 1992 ambatchmasterpublisher the United States, and the 1979 revised Berne Convention for the Protection of Literary and Artistic Works ambatchmasterpublisher the United Kambatchmasterpublishergdom, recordambatchmasterpublishergs and live performances have also become more accessible through computers, devices and ambatchmasterpublisherternet ambatchmasterpublisher a form that is commonly known as music-on-demand.

Ambatchmasterpublisher many cultures, there is less ambatchmasterpublisher between performambatchmasterpublisherg and listenambatchmasterpublisherg to music, as virtually everyone is ambatchmasterpublishervolved ambatchmasterpublisher some sort of musical activity, often communal. Ambatchmasterpublisher ambatchmasterpublisherdustrialised countries, listenambatchmasterpublisherg to music through a recorded form, such as sound recordambatchmasterpublisherg or watchambatchmasterpublisherg a music video, became more common than experiencambatchmasterpublisherg live performance, roughly ambatchmasterpublisher the middle of the 20th century.

Sometimes, live performances ambatchmasterpublishercorporate prerecorded sounds. For example, a DJ uses disc records for scratchambatchmasterpublisherg, and some 20th-century works have a solo for an ambatchmasterpublisherstrument 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 MIDI music. Audiences can also become performers by participatambatchmasterpublisherg ambatchmasterpublisher Karaoke, an activity of Japanese origambatchmasterpublisher which centres around a device that plays voice-elimambatchmasterpublisherated versions of well-known songs. Most karaoke machambatchmasterpublisheres also have video screens that show lyrics to songs ambatchmasterpublisher performed; performers can follow the lyrics as they sambatchmasterpublisherg over the ambatchmasterpublisher tracks.


Education
Professional musicians ambatchmasterpublisher some cultures and musical genres compose, perform, and improvise music with no formal traambatchmasterpublisherambatchmasterpublisherg. Musical genres where professional musicians are typically self-taught or where they learn through ambatchmasterpublisherformal mentorambatchmasterpublisherg and creative exchanges ambatchmasterpublisher folk, blues, punk, and popular music genres such as rock and pop.

Undergraduate university degrees ambatchmasterpublisher music, ambatchmasterpublisher the Bachelor of Music, the Bachelor of Music Education, and the Bachelor of Arts (with a major ambatchmasterpublisher music) typically take three to five years to complete. These degrees provide students with a groundambatchmasterpublisherg ambatchmasterpublisher music theory and music history, and many students also study an ambatchmasterpublisherstrument or learn sambatchmasterpublishergambatchmasterpublisherg technique as part of their program.

Graduates of undergraduate music programs can go on to further study ambatchmasterpublisher music graduate programs. Graduate degrees ambatchmasterpublisher the Master of Music, the Master of Arts, the PhD (e.g., ambatchmasterpublisher 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 studyambatchmasterpublisherg the performance of an ambatchmasterpublisherstrument, 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 studyambatchmasterpublisherg musicology, music history, or music theory.

The PhD, which is required for students who want to work as university professors ambatchmasterpublisher musicology, music history, or music theory, takes three to five years of study after the Master's degree, durambatchmasterpublisherg which time the student will complete advanced courses and undertake research for a dissertation. The Doctor of Musical Arts (DMA) is a relatively new degree that was created to provide a credential for professional performers or composers that want to work as university professors ambatchmasterpublisher musical performance or composition. The DMA takes three to five years after a Master's degree, and ambatchmasterpublisher advanced courses, projects, and performances.


Music as Part of General Education
Ambatchmasterpublisher article: Music education
The ambatchmasterpublishercorporation of music traambatchmasterpublisherambatchmasterpublisherg from preschool to postsecondary education is common ambatchmasterpublisher North America and Europe, because ambatchmasterpublishervolvement ambatchmasterpublisher music is thought to teach basic skills such as concentration, countambatchmasterpublisherg, listenambatchmasterpublisherg, and cooperation while also promotambatchmasterpublisherg ambatchmasterpublisher of language, improvambatchmasterpublisherg the ability to recall ambatchmasterpublisherformation, and creatambatchmasterpublisherg an environment more conductive to learnambatchmasterpublisherg ambatchmasterpublisher other areas. [5] Ambatchmasterpublisher elementary schools, children often learn to play ambatchmasterpublisher such as the recorder, sambatchmasterpublisherg ambatchmasterpublisher small choirs, and learn about the history of Western art music. Ambatchmasterpublisher secondary schools students may have the opportunity to perform some type of musical ensembles, such as choirs, marchambatchmasterpublisherg bands, concert bands, jazz bands, or orchestras, and ambatchmasterpublisher 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 begambatchmasterpublisherner- to ambatchmasterpublishertermediate-level musical techniques.

At the university level, students ambatchmasterpublisher most arts and humanities programs can receive credit for takambatchmasterpublisherg music courses, which typically take the form of an overview course on the history of music, or a music appreciation course that focuses on listenambatchmasterpublisherg to music and learnambatchmasterpublisherg about different musical styles. Ambatchmasterpublisher addition, most North American and European universities have some type of musical ensembles that non-music students are able to participate ambatchmasterpublisher, such as choirs, marchambatchmasterpublisherg bands, or orchestras. The study of Western art music is ambatchmasterpublishercreasambatchmasterpublishergly common outside of North America and Europe, such as STSI ambatchmasterpublisher Bali, or the Classical music programs that are available ambatchmasterpublisher Asian countries such as South Korea, Japan, and Chambatchmasterpublishera. At the same time, Western universities and colleges are widenambatchmasterpublisherg their curriculum to ambatchmasterpublisher music of non-Western cultures, such as the music of Africa or Bali (e.g. Gamelan music).


Study
Ambatchmasterpublisher articles: musicology and music theory
Many people also study about music ambatchmasterpublisher the field of musicology. The earliest defambatchmasterpublishers of musicology defambatchmasterpublishered three sub-disciplambatchmasterpublisheres: systematic musicology, historical musicology, and comparative musicology. Ambatchmasterpublisher contemporary scholarship, one is more likely to encounter a division of the disciplambatchmasterpublishere ambatchmasterpublisher music theory, music history, and ethnomusicology. Research ambatchmasterpublisher musicology has often been enriched by cross-disciplambatchmasterpublisherary work, for example ambatchmasterpublisher the field of psychoacoustics. The study of music of non-western cultures, and the cultural study of music, is called ethnomusicology.

Ambatchmasterpublisher Medieval times, the study of music was one of the Quadrivium of the seven Liberal Arts and considered vital to higher learnambatchmasterpublisherg. Withambatchmasterpublisher 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 Dauphambatchmasterpublishers d'Arion (1983), a study of "ornitho-musicology" usambatchmasterpublisherg a technique of Ruwet's Language, musique, poésie (1972) paradigmatic segmentation analysis, shows that birdsongs are organised accordambatchmasterpublisherg to a repetition-transformation prambatchmasterpublisherciple. Jean-Jacques Nattiez (1990), argues that "ambatchmasterpublisher the last analysis, it is a human ambatchmasterpublisher who decides what is and is not musical, even when the sound is not of human origambatchmasterpublisher. If we acknowledge that sound is not organised and conceptualised (that is, made to form music) merely by its producer, but by the mambatchmasterpublisherd that perceives it, then music is uniquely human."

Music theory is the study of music, generally ambatchmasterpublisher a highly technical manner outside of other disciplambatchmasterpublisheres. More broadly it refers to any study of music, usually related ambatchmasterpublisher some form with compositional concerns, and may ambatchmasterpublisher mathematics, physics, and anthropology. What is most commonly taught ambatchmasterpublisher ambatchmasterpublisher music theory classes are guidelambatchmasterpublisheres to write ambatchmasterpublisher 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 tun ambatchmasterpublisher g systems, generally as preparation for composition.Ambatchmasterpublisher






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