"Classical music" and "art music" are terms that have been used to refer to music of different cultural origins and traditions. Such traditions often date to a period regarded as the "golden age" of music for a particular culture.
The following tables list music styles from throughout the world and the period in history when that tradition was developed:
Style | Earliest historical period | Notes |
---|---|---|
Gamelan | At least 8th century AD. [1] [ better source needed ] | |
Pinpeat | At least 6th century AD.[ citation needed ] | |
Mahori | At least 14th century AD.[ citation needed ] | |
Piphat | ||
Pinphat |
Style | Earliest historical period | Notes |
---|---|---|
Carnatic music | At least 6th century AD (as Indian classical music), split from Hindustani classical music in the 16th and 17th centuries. [2] [3] : 249 | |
Hindustani classical music | At least 6th century AD (as Indian classical music), split from Carnatic music in the 16th and 17th centuries. [2] [4] | |
Klasik | At least 6th century AD (as Indian and Hindustani classical music), split from Hindustani classical music c. 1860. [4] [5] | The classical tradition of Afghanistan, ultimately a descendant of Hindustani classical music. [5] Developed in the 19th century by Indian musicians in Afghan courts. [5] Along with Hindustani music theory and instruments, Afghan classical music also uses local Pashtun elements, especially in its performance practices. [5] |
Odissi music | At least 6th century AD.[ citation needed ] |
Style | Earliest historical period | Notes |
---|---|---|
Nanguan music | At least 14th century CE. [6] | |
Gagaku | 6th century CE.[ citation needed ] | |
Jeongak | 5th century CE. [7] | |
Nhã nhạc | 13th century CE.[ citation needed ] | |
Yayue | At least 2nd century BCE.[ citation needed ] |
Style | Earliest historical period | Notes |
---|---|---|
Byzantine music | 4th century AD.[ citation needed ] | |
Pibroch | At least the 17th century AD. [8] | |
Western classical music | 6th century AD.[ citation needed ] |
Style | Earliest historical period | Notes | |
---|---|---|---|
Persian classical music | At least 3rd century AD, with drastic changes in the 16th century. [9] [10] | ||
Arabic classical music | |||
Andalusi classical music | 9th century AD.[ citation needed ] | Likely practiced since the early 9th century, the musical tradition of Al-Andalus is notable for spreading Middle Eastern and North African musical instruments to Western Europe, where they would become staple instruments of Western tradition. [11] Now practiced in North Africa in the form of the Andalusi nubah, [12] this tradition has also had considerable effect on Ottoman classical music, especially in the Sephardic romance and Maftirim repertoire. [13] | |
Ottoman classical music | At least 3rd century AD (as Persian traditional music), emerged as a unique tradition in the 17th century. [9] [10] | Now known as Turkish Art Music or Turkish Classical Music | |
Shashmaqam |
Style | Earliest historical period | Notes |
---|---|---|
Griot | The tradition of the djeli |
Style | Earliest historical period | Notes |
---|---|---|
American gamelan | c. 1960[ citation needed ] | |
Mahāgīta | 16th or 17th century AD. [14] | The classical tradition of Burma seems to have begun around the late Toungoo period, [14] with an expansion of Western-influenced repertoire during the colonial period.[ citation needed ] Organized into various forms based on tuning systems, melodic structure, rhythmic patterns and performance conventions, commonly played genres include the kyo, bwe, and thachingan. [15] |
Bharatanatyam is an Indian classical dance form that originated in India. It is a classical dance form recognized by the Sangeet Natak Akademi, and expresses South Indian religious themes and spiritual ideas, of Hinduism and Jainism.
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.
A raga is a melodic framework for improvisation in Indian classical music akin to a melodic mode. Rāga is central to classical Indian music and a unique feature of the tradition: no equivalent concept exists in Western classical music. Each rāga consists of an array of melodic structures with musical motifs; and, from the perspective of the Indian tradition, the resulting music has the ability to "colour the mind" as it engages the emotions of the audience.
Indian classical music is the classical music of the Indian subcontinent. It is generally described using terms like Marg Sangeet and Shastriya Sangeet. It has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic. These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences. Another unique classical music tradition from Eastern part of India, i. e. Odissi music has evolved since two thousand years ago.
Kathakali is a traditional form of classical Indian dance, and one of the most complex forms of Indian theatre. It is a "story play" genre of art, but one distinguished by the elaborately colourful make-up and costumes of the traditional male actor-dancers. It is native to the Malayalam-speaking southwestern region of Kerala and is almost entirely practiced by Malayali people.
Art music is music considered to be of high phonoaesthetic value. It typically implies advanced structural and theoretical considerations or a written musical tradition. In this context, the terms "serious" or "cultivated" are frequently used to present a contrast with ordinary, everyday music. Many cultures have art music traditions; in the Western world, the term typically refers to Western classical music.
Pausanias was a Greek traveler and geographer of the second century AD. He is famous for his Description of Greece, a lengthy work that describes ancient Greece from his firsthand observations. Description of Greece provides crucial information for making links between classical literature and modern archaeology.
Kuchipudi is one of the eight major Indian classical dances. It originates from a village named Kuchipudi in the Indian state of Andhra Pradesh. Kuchipudi is a dance-drama performance, with its roots in the ancient Hindu Sanskrit text of Natya Shastra. It developed as a religious art linked to traveling bards, temples and spiritual beliefs, like all major classical dances of India.
A lament or lamentation is a passionate expression of grief, often in music, poetry, or song form. The grief is most often born of regret, or mourning. Laments can also be expressed in a verbal manner in which participants lament about something that they regret or someone that they have lost, and they are usually accompanied by wailing, moaning and/or crying. Laments constitute some of the oldest forms of writing, and examples exist across human cultures.
The Nāṭya Shāstra is a Sanskrit treatise on the performing arts. The text is attributed to sage Bharata, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE.
Sattriya, or Sattriya Nritya, is a major Indian classical dance. It was initially created as part of Bhaona which are performances of Ankiya Nat, one-act plays, originally created by Sankardev, a 15th-16th century polymath from Assam. These dances are part of the living traditions today of Sattra, which are communities of live-in devotees belonging to the Ekasarana Dharma, a Hindu sect established by Sankardev.
Indian classical dance, or Shastriya Nritya, is an umbrella term for different regionally-specific Indian classical dance traditions, rooted in predominantly Hindu musical theatre performance, the theory and practice of which can be traced to the Sanskrit text Natya Shastra. The number of Indian classical dance styles ranges from six to eight to twelve, or more, depending on the source and scholar; the main organisation for Indian arts preservation, the Sangeet Natak Academy recognizes eight: Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam. Additionally, the Indian Ministry of Culture includes Chhau in its list, recognising nine total styles. Scholars such as Drid Williams add Chhau, Yakshagana and Bhagavata Mela to the list. Each dance tradition originates and comes from a different state and/or region of India; for example, Bharatanatyam is from Tamil Nadu in the south of India, Odissi is from the east coast state of Odisha, and Manipuri is from the northeastern state of Manipur. The music associated with these different dance performances consists many compositions in Hindi, Malayalam, Meitei (Manipuri), Sanskrit, Tamil, Odia, Telugu, and many other Indian-Subcontinent languages; they represent a unity of core ideas, and a diversity of styles, costumes and expression.
Ottoman music or Turkish classical music is the tradition of classical music originating in the Ottoman Empire. Developed in the palace, major Ottoman cities, and Sufi lodges, it traditionally features a solo singer with a small to medium-sized instrumental ensemble.
Richard Filler Taruskin was an American musicologist and music critic who was among the leading and most prominent music historians of his generation. The breadth of his scrutiny into source material as well as musical analysis that combines sociological, cultural, and political perspectives has incited much discussion, debate and controversy. He regularly wrote music criticism for newspapers including The New York Times. He researched a wide variety of areas, but a central topic was Russian music from the 18th century to the present day. Other subjects he engaged with include the theory of performance, 15th-century music, 20th-century classical music, nationalism in music, the theory of modernism, and analysis. He is best known for his monumental survey of Western classical music, the six-volume Oxford History of Western Music. His awards include the first Noah Greenberg Award from the American Musicological Society in 1978 and the Kyoto Prize in Arts and Philosophy in 2017.
The Roman tuba, or trumpet was a military signal instrument used by the ancient Roman military and in religious rituals. They would signal troop movements such as retreating, attacking, or charging, as well as when guards should mount, sleep, or change posts. Thirty-six or thirty-eight tubicines were assigned to each Roman legion. The tuba would be blown twice each spring in military, governmental, or religious functions. This ceremony was known as the tubilustrium. It was also used in ancient Roman triumphs. It was considered a symbol of war and battle. The instrument was used by the Etruscans in their funerary rituals. It continued to be used in ancient Roman funerary practices.
In Indian aesthetics, a rasa literally means "juice, essence or taste". It is a concept in Indian arts denoting the aesthetic flavour of any visual, literary or musical work that evokes an emotion or feeling in the reader or audience, but cannot be described. It refers to the emotional flavors/essence crafted into the work by the writer or a performer and relished by a 'sensitive spectator' or sahṛidaya, literally one who "has heart", and can connect to the work with emotion, without dryness.
Miloš Milorad Velimirović was an American musicologist. Twice a recipient of a Fulbright fellowship, he was considered an international expert in the areas of Byzantine music, the history of Slavonic music, and the history of Italian opera in the 18th century.
Indian art evolved with an emphasis on inducing special spiritual or philosophical states in the audience, or with representing them symbolically.
Nritya, also referred to as nritta, natana or natya, is "dance, act on the stage, act, gesticulate, play" in the Indian traditions. It is sometimes subdivided into two forms: nritta or pure dance, where expressionless movements of a dancer play out the rhythms and phrases of the music; and nritya or expressive dance, where the dancer includes facial expression and body language to portray mood and ideas with the rhythmic movements.
There are many different dance styles from Manipur, a state in northeastern India bordering with Myanmar (Burma), Assam, Nagaland and Mizoram. Manipuri dances encompasses both classical and folk dance forms. The Raas Leela is one of the major Indian classical dance forms. The folk dance forms are mainly attributed to ancient Meitei deities such as Umang Lai and performed during Lai Haraoba, and also the dances of the different tribal communities of Manipur.