WESTERN

MUSIC
NAME : NITHIN SAJI
REG NO : 2001711010063
CLASS : LLND BA ENGLISH
Summary:-
Western Imusic Iwas Iinvolved Iin Idevelopments Ioutside Ithe Icolonial
Ipossessions Iof Ithe Ienlarged IEurope Ithat Icame Ito Idefine Iitself Ias Ithe
IWest. IThe Imost Ifundamental Iaspect Iof Imusical Imodernization Ilies Iin
Ithe Iinfluence Iof IWestern Iaesthetic Ivalues. IThe IWestern Ipop Ibasis Iof
Iworld Imusic, Ithe Ireal Icommon Ipractice Istyle Iof Ithe Ilate Itwentieth Iand
Iearly Itwenty-first Icentury, Iprovides Ia Istructure Ithat Iis Ias Iubiquitous Iand
Iuniversal Ias IWestern Iscience Iand Iengineering, Iwhile Ilocal Ielements
Imerely Iadd Iexotic Icolor. IBoth Iindigenous Iand ISpanish Imusics Iwere
Iperformed Ion Iceremonial Ioccasions Iin Ithe Imissions Iof Isixteenth-century
IFlorida, Iwhile IEuropean Ivisitors Ifrequently Icommented Ion Ithe Igeneral
Iexcellence Iof IIndian Imusicians, Isingers Iand Iinstrumentalists. IThe
Itwentieth-century IAfricanization Iof Ipopular Imusic Irepresents Ia Imassive
Icountercurrent Ito Ithe Iestablished Ihegemonies Iof Iglobal Icapitalism.
IWestern Iclassical Imusic Iis Ia Iform Iof Imusical Iutopia Iand Ican Itherefore
Iact Ias Iworld Imusic.
What IIs IWestern IMusic?
The Iterm I'Western' Irefers Ito IEuropean Itraditions Iand Isocial Istructures
Iand Ihas Icome Ito Iinclude Isocieties Ithat Iwere Iestablished Iand Ishaped
Iprimarily Iby IEuropean Iimmigrants, Isuch Ias Ithose Iin Ithe IAmericas.
IThus, IWestern Imusic Imay Ibe Idefined Ias Iorganized Iinstrumentation Iand
Isound Icreated Iand Iproduced Iin IEurope, Ithe IUnited IStates, Iand Iother
Isocieties Iestablished Iand Ishaped Iby IEuropean Iimmigrants. IThis Iincludes
Ia Iwide Iassortment Iof Imusical Igenres, Ifrom Iclassical Imusic Iand Ijazz Ito
Irock Iand Iroll Iand Icountry-western Imusic. IIn Ithis Ilesson, Iwe'll Ioutline
Ithe Ievolution Iof Imusic Ifrom Ithe Iancient Iworld Iof Ithe IGreeks Iand
IRomans Ithrough Iall Isix Ieras Iof Iartistic Ihistory.
Music Iof Ithe IAncient IWorld:-
The Ihistory Iof IWestern Imusic Iis Iprimarily Irooted Iin IGreek Iand IRoman
Iantiquity, Ithough Imusic Iexisted Iin Ivirtually Ievery Iculture Ilong Ibefore
Ithis. INevertheless, Imusic Iwas Ian Iimportant Ipart Iof Ithe Ilives Iof Ithe
Iancient IGreeks. IGreek Iphilosophers Iwrote Iabout Ithe Ipower Iof Imusic,
Ithe Imathematician IPythagoras Iexplored Ithe Imathematics Ibehind Imusical
Isounds, Iand Iwell-known IGreek Iplaywrights, Isuch Ias ISophocles Iand
IAristophanes, Iused Imusic Iin Itheir Itragedies Iand Icomedies.

The IGreeks Iand IRomans Ihad Imany Imusical Iinstruments, Iincluding Ithe
Ilyre, Iharp, Iand Ithe Icornu Ihorn, Iwhich Iwere Iused Iin Ia Ivariety Iof
Iceremonies Iand Ifestivals. IThe IGreeks Ialso Ideveloped Idifferent Isystems
Iof Imusic Inotation, Isuch Ias Ithe Imore Igeneral Iharmonia Iand Ithe Imore
Ispecific IDorian Ior ILydian, Iwhich Iwere Inames Iafter Ispecific Itribes Iand
Ibased Iupon Iunique Imodes, Ior Ithe Ispecific Iordering Iof Imusical Itones
Iand Itheir Icorresponding Inotes. IAll Iof Ithese Ihelped Imusic Ito Ithrive, Iand
Iit Iprobably Iwould Ihave Ievolved Iin Ia Idifferent Iway Iif Iit Ihadn't Ibeen
Ifor Itwo Imajor Ifactors: Ithe Ibirth Iof IChristianity Iand Ithe Ifall Iof IRome.
STAGES IOF IMUSIC:-
Gregorian Ichant: ISolo Iand Iunison Iplainsong Ichoral Ichants Iassociated
Iwith IPope IGregory II Iwhich Ibecame Ithe Ifundamental Imusic Iof Ithe
IRoman ICatholic IChurch.
Baroque: I[Fr.] IBizarre. ITerm Iapplied Ito Ithe Iornate Iarchitecture Iof
IGerman Iand IAustria Iduring Ithe I17th Iand I18th Icenturies Iand Iborrowed
Ito Idescribe Icomparable Imusic Idevelopments Ifrom Iabout I1600 Ito Ithe
Ideaths Iof IBach Iand IHandel Iin Imid-18th Icentury.
Classical: IMusic Icomposition Iroughly Ibetween I1750 Iand I1830 I(i.e. Ipost-
Baroque Iand Ipre-Romantic), Iwhich Icovers Ithe Idevelopment Iof Ithe
Iclassical Isymphony Iand Iconcerto; Imusic Iof Ian Iorderly Inature, Iwith
Iqualities Iof Iclarity Iand Ibalance, Iand Iemphasising Iformal Ibeauty Irather
Ithan Iemotional Iexpression.
March: I(marche I[Fr.], IMarsch I[Ger.], IMarcia I[It.]) IForm Iof Imusic Ito
Iaccompany Ithe Iorderly Iprogress Iof Ilarge Igroup Iof Ipeople, Iespecially
Isoldiers; Ione Iof Iearliest Iknown Imusic Iforms.
Ragtime: IEarly Iprecursor Iof Ijazz. IInstrumental Istyle, Ihighly Isyncopated,
Iwith Ithe Ipiano Iforte Ipredominant I(though Ia Ifew Irags Ihad Iwords Iand
Iwere Isung). IAmong Ithe Ileading Iexponents Iof Ithe Ipiano Iforte Irag Iwere
IScott IJoplin, IJelly IRoll IMorton, Iand IJ. IP. IJohnson, Iwith Ithe Icornettists
IBuddy IBolden Iand IKing IOliver.
Jazz: IA Iterm, Iwhich Icame Iinto Igeneral Iuse Icirca I1913–15, Ifor Ia Itype
Iof Imusic Ithat Ideveloped Iin Ithe ISouthern IStates Iof IUSA Iin Ithe Ilate
I19th Icentury Iand Icame Iinto Iprominence Iat Ithe Iturn Iof Ithe Icentury Iin
INew IOrleans, Ichiefly I(but Inot Iexclusively) Iamong Iblack Imusicians.
Soul: IGenre Iof IAfrican-American Ipopular Imusic. ISoul Imusic Icombines
Ithe Iemotive, Iembellished Isinging Istyle Iof Igospel Iwith Ithe Irhythmic
Idrive Iof Irhythm Iand Iblues.
Blues: ISlow Ijazz Isong Iof Ilamentation, Igenerally Ifor Ian Iunhappy Ilove
Iaffair. IUsually Iin Igroups Iof I12 Ibars, Ieach Istanza Ibeing Ithree Ilines
Icovering Ifour Ibars Iof Imusic.
Motown: IAmerican Irecord Ilabel, Ifounded Iin I1960. IName Iderives Ifrom
Iits Ihome Itown Iof IDetroit I(‘the Imotor Itown’). IA Iblend Iof IAfrican-
American Ipop Iand Isoul, Icombining Idense Iarrangements I(often Ifeaturing
Ibrass Ior Istring), Iemotionally Idirect Ilyrics, Iand Isongs Ibased Ion
Iprominent Ihooks Ior Igrooves, Iepitomized Iby Isuch Iartists Ias Ithe IFour
ITops, IDiana IRoss Iand Ithe ISupremes, IMarvin IGaye, Iand IStevie
IWonder.
Reggae: IStyle Iof IJamaican Ipopular Imusic; Ialso Iused Igenerically Ifor Iall
Ipopular Imusic Iof Ithat Icountry. IOriginated Iin Icombination Iof Icalypso,
Iska, Iand Irhythm Iand Iblues. IIts Icharacteristic Irhythm, Ia I4/4 Ishuffle Iwith
Iaccented Ioffbeats Iderived Ifrom Iska, Iwas Icodified Iin Irecordings Iof Ithe
Ilate I1960s.
Bluegrass: IGenre Iof Icountry Imusic Ithat Ioriginated Iin Irural Isouth Ieastern
IUSA Iin I1940s Ias Icombination Iof Idance, Ientertainment, Iand Ireligious
Ifolk Imusic. IName Icomes Ifrom IBill IMonroe’s I‘Blue IGrass IBoys’ Igroup
Iwho Ipioneered Ithe Igenre.
Disco: IGenre Iof Idance Imusic Iespecially Ipopular Iin Ithe Ilate I1970s. IIt Iis
Igenerally Icharacterized Iby Isoulful Ivocals, ILatin Ipercussion Iinstruments,
Irich Iorchestra, Ifrequent Iuse Iof Isynthesizers, Iand Ibass Idrum Iaccents Ion
Ievery Ibeat.
Punk: IGenre Iof Ipopular Imusic Iand Iwider Icultural Imovement Iwith
Iwhich Iit Iwas Iassociated. IOriginated Iin IAmerica Iaround I1975 Iwith
Ibands Isuch Ias Ithe IRamones Iand ITelevision, Iwho Ilooked Ito Ithe
Isimplicity Iof I1960s Igarage Irock Ito Irestore Ispirit Iof Irebellion Iand Ia
IDIY Ispirit Ito Irock Iand Iroll.
Heavy Imetal: IGenre Iof Irock Imusic. IFirst Iapplied Ito Istyle Iof Irock
Ifeaturing Iguitar Idistortion, Iheavy Ibass Iand Idrums, Iand Ivirtuoso Isolos
Ideveloped, Iafter IJimi IHendrix, Iby Igroups Isuch Ias IBlack ISabbath Iand
ILed IZeppelin.
Rap: IHighly Irhythmicized, Isemi-spoken Ivocal Istyle Ioriginating Iin
IAfrican-American Imusic Iin Ilate I1970s.
House: IGenre Iof Ielectronic Idance Imusic. IOriginated Iin IChicago Iclubs
Iin Ithe Iearly I1980s, Iparticularly Ithrough IDJ Iand Iproducer IFrankie
IKnuckles, Iachieving Imainstream Ipopularity Iby Ithe Iend Iof Ithat Idecade.
Dubstep: IA Iform Iof Idance Imusic, Itypically Iinstrumental, Icharacterized
Iby Ia Isparse, Isyncopated Irhythm Iand Ia Istrong Ibassline.

Some Icommon Icharacteristics, Iwhich Iare Inot Ialways Ipresent Iand Iare Inot
Ionly Ispecific Ito Ithis Iperiod, Iinclude:
• Fewer Ilyrical Imelodies Ithan Iother Iperiods.
• Dissonant IHarmonies.
• Complex Irhythms.
• Percussiveness.
• Greater Iuse Iof Ipercussion,brass,and Iwoodwind.
• Uses Isynthetic Iand Ielectronic Isounds.
GENERAL IBACKGROUND ION IEARLY IMUSIC:-
Like Iso Imany Iaspects Iof IWestern Iculture, Ithe Ihistory Iof IWestern Imusic
Ibegins Iin IAncient IGreece, Iat Ileast Iseven Icenturies Ibefore Ithe Ibirth Iof
IChrist. IGreek Itraditions Iwere Iadapted Iand Ipassed Ion Iwith Ivery Ilittle
Ichange Iby Itheir IRoman Iconquerors, Iwho Ibuilt Ia Imassive IEmpire Ithat
Icrumbled Iby Ithe Imid-400s. IOver Ithe Inext I1,000 Iyears Iduring Ithe Iso-
called I"Middle IAges," Ithe IRoman IEmpire Iwas Isuperseded Iby Ithe
Iestablishment Iof Ithe IWestern IChristian IChurch Icentered Iin IRome, Iand
Ithe Idevelopment Iof Iseveral Iseparate Ikingdoms Ithat Ilater Ibecame Ithe
Ibasis Ifor Ithe Imajor Icountries Iof Imodern IEurope. IThus, Ithe I"Early
IMusic" Iera Iincludes:
- IAncient IGreek/Roman Imusic I(700BC-450AD),
- IMedieval Imusic I["The IMiddle IAges"] I(c450-1450),
- IRenaissance Imusic I(c1450-1600),
- Iearly-Baroque Imusic I(c1600-1700)
IN IVARIOUS ICOUNTRIES:-

Korea:-

Jeongganbo Imusical Inotation Isystem

Jeongganbo Iis Ia Iunique Itraditional Imusical Inotation Isystem Icreated
Iduring Ithe Itime Iof ISejong Ithe IGreat Ithat Iwas Ithe Ifirst IEast IAsian
Isystem Ito Irepresent Irhythm, Ipitch, Iand Itime.[19][20] IAmong Ivarious Ikinds
Iof IKorean Itraditional Imusic, IJeong-gan-bo Itargets Ia Iparticular Igenre,
IJeong-ak I(정악, I正樂).

Jeong-gan-bo Itells Ithe Ipitch Iby Iwriting Ithe Ipitch's Iname Idown Iin Ia Ibox
Icalled I'jeong-gan' I(this Iis Iwhere Ithe Iname Icomes Ifrom). IOne Ijeong-gan
Iis Ione Ibeat Ieach, Iand Iit Ican Ibe Isplit Iinto Itwo, Ithree Ior Imore Ito Ihold
Ihalf Ibeats Iand Iquarter Ibeats, Iand Imore. IThis Imakes Iit Ieasy Ifor Ithe
Ireader Ito Ifigure Iout Ithe Ibeat.
Also, Ithere Iare Imany Imarkings Iindicating Ithings Isuch Ias Iornaments.
IMost Iof Ithese Iwere Ilater Icreated Iby IKi-su IKim
Korean Itraditional Imusic Iis Ialso Iknown Ias IKugak I(national Imusic). IThe
Ifirst Ievidence Iof IKorean Imusic Iappeared Iin Ithe Iextant Itext Iof ISamguk
Isagi I(History Iof Ithe Ithree Ikingdoms) Iin I1145, Iwhich Idescribed Itwo
Istring-like Iinstruments; IKayagum Iand IKomun’go.[1] ITraditional IKorean
Imusic Iwas Ibrought Ito Iheights Iof Iexcellence Iunder Ithe ILee Ikings Iof
Ithe IJoseon IDynasty I(Chosun IDynasty) Ibetween I1392-1897. IDuring Ithe
IChosun IDynasty, Ia Isocial Ihierarchy Iwas Iobserved Iwith Ithe IKing Iand
Ithe IYangban I(government Iofficials, Igenerals, Iand Ithe Ielite) Iat Ithe Itop
Iand Ithe ISangmin I(merchants, Icraftsman) Iand Islaves Iat Ithe Ibottom.
IThere Iwere Itwo Iforms Iof Imusic: IJeongak I(“orthodox Imusic”) Iand
IMinsokak I(“people’s Imusic”).

Indian:-
Indian Imusic, Iearly I20th Icentury.

The ISamaveda Itext I(1200 IBC I– I1000 IBC) Icontains Inotated Imelodies,
Iand Ithese Iare Iprobably Ithe Iworld's Ioldest Isurviving Iones.[21] IThe
Imusical Inotation Iis Iwritten Iusually Iimmediately Iabove, Isometimes
Iwithin, Ithe Iline Iof ISamaveda Itext, Ieither Iin Isyllabic Ior Ia Inumerical
Iform Idepending Ion Ithe ISamavedic ISakha I(school).[22] IThe IIndian
Ischolar Iand Imusical Itheorist IPingala I(c. I200 IBC), Iin Ihis IChanda ISutra,
Iused Imarks Iindicating Ilong Iand Ishort Isyllables Ito Iindicate Imeters Iin
ISanskrit Ipoetry.
A Irock Iinscription Ifrom Icirca I7th–8th Icentury ICE Iat IKudumiyanmalai,
ITamil INadu Icontains Ian Iearly Iexample Iof Ia Imusical Inotation. IIt Iwas
Ifirst Iidentified Iand Ipublished Iby Iarchaeologist/epigraphist ID. IR.
IBhandarkar.[23] IWritten Iin Ithe IPallava-grantha Iscript Iof Ithe I7th Icentury,
Iit Icontains I38 Ihorizontal Ilines Iof Inotations Iinscribed Ion Ia Irectangular
Irock Iface I(dimension Iof Iaround I13 Iby I14 Ifeet). IEach Iline Iof Ithe
Inotation Icontains I64 Icharacters I(characters Irepresenting Imusical Inotes),
Iwritten Iin Igroups Iof Ifour Inotes. IThe Ibasic Icharacters Ifor Ithe Iseven
Inotes, I'sa Iri Iga Ima Ipa Idha Ini', Iare Iseen Ito Ibe Isuffixed Iwith Ithe
Ivowels Ia, Ii, Iu, Ie. IFor Iexample, Iin Ithe Iplace Iof I'sa', Iany Ione Iof I'sa',
I'si', I'su' Ior I'se' Iis Iused. ISimilarly, Iin Iplace Iof Iri, Iany Ione Iof I'ra', I'ri',
I'ru' Ior I're' Iis Iused. IHorizontal Ilines Idivide Ithe Inotation Iinto I7 Isections.
IEach Isection Icontains I4 Ito I7 Ilines Iof Inotation, Iwith Ia Ititle Iindicating
Iits Imusical I'mode'. IThese Imodes Imay Ihave Ibeen Ipopular Iat Ileast Ifrom
Ithe I6th Icentury ICE Iand Iwere Iincorporated Iinto Ithe IIndian I'raga' Isystem
Ithat Ideveloped Ilater. IBut Isome Iof Ithe Iunusual Ifeatures Iseen Iin Ithis
Inotation Ihave Ibeen Igiven Iseveral Inon-conclusive Iinterpretations Iby
Ischolars.

Japan:-
Further Iinformation: IShakuhachi Imusical Inotation Iand IKunkunshi
Tempyō IBiwa IFu I天平琵琶譜 I(circa I738 IAD), Imusical Inotation Ifor
IBiwa. I(Shōsōin, Iat INara, IJapan)
Japanese Imusic Iis Ihighly Idiversified, Iand Itherefore Irequires Ivarious
Isystems Iof Inotation. IIn IJapanese Ishakuhachi Imusic, Ifor Iexample,
Iglissandos Iand Itimbres Iare Ioften Imore Isignificant Ithan Idistinct Ipitches,
Iwhereas Itaiko Inotation Ifocuses Ion Idiscrete Istrokes.Ryukyuan Isanshin
Imusic Iuses Ikunkunshi, Ia Inotation Isystem Iof Ikanji Iwith Ieach Icharacter
Icorresponding Ito Ia Ifinger Iposition Ion Ia Iparticular Istring.

The IMedieval IEra I(500 ICE I- I1450 ICE):-

Sieges, Ifamine, Iand Iinternal Idisputes Icaused Ithe Iancient Iworld Ito
Icrumble, Igiving Iway Ito Ithe IMiddle IAges. IAlmost Iall Itechnological
Iadvances Ivanished Iwhen IRome Ifell. IWithout Ieffective Ileaders Ito
Iorganize Isuch Icomplex Isocieties, Imany Ipeople Igrew Ipoor Iand Ilived Iin
Irelatively Iisolated Ivillages. ILife Iwas Idifficult, Iand Ithe Iprimary Ifocus
Iwas Isurvival. IFew Ipeople Ihad Ithe Itime Ior Idesire Ito Imake Imusic.
IHowever, Ione Ibright Ispot Iin Ithe Idark Iworld Iof Ithe IMedieval IEra Iwas
Ithe Istability Iprovided Iby Ithe IChurch.
Church Ileaders Irecognized Ithe Ipower Iof Imusic Iand Ibegan Iusing Iit Iin
Ias Ia Itool Ifor Imeditation Iand Iprayer. IThis Ireligious Imusic Iwas Icalled
Iplainchant, Iand Iit Iconsisted Iof Ia Isingle Imelody Isung Iin ILatin, Ithe
Ilanguage Iof Ithe Ichurch. IBecause Imusical Iinstruments Iwere Iassociated
Iwith Ithe Ipagan Iculture Iof Ithe IGreeks Iand IRomans, IChurch Ileaders Idid
Inot Iapprove Iof Itheir Iuse. ITherefore, Iall Iplainchant Iwas Iunaccompanied
Ivocal Imusic, Iwhich Ibecame Iknown Ias Ia Icappella, Ia Iterm Ithat Ibasically
Imeans I'in Ithe Istyle Iof Ithe Ichapel.

The IRenaissance IEra I(1450 ICE I- I1600 ICE):-

Renaissance Imeans I'rebirth,' Iand Iin Ithe IRenaissance IEra, Ipeople
Irediscovered Ithe Iideas Iand Itechnologies Iof Ithe Iancient Iworld. ISociety
Ideveloped Iinto Imore Idistinct Isocial Iclasses, Iand Ieducated Icitizens Iwere
Iexpected Ito Ibe Iproficient Iin Imusic. IThe Iadvent Iof Iprinting Iallowed
Imusic Ito Ibecome Iincreasingly Iaccessible, Iand Ia Iwide Ivariety Iof Istyles
Iand Igenres Iof Imusic Iemerged Ias Icomposers Istarted Isharing Iideas.
IRenaissance Icomposers Ideveloped Ithe Isingle-melody Iplainchant Iby
Icombining Iseveral Icomplex Imelodies Iat Ionce, Iand Isome Iupper-class
Icitizens Ihired Imusicians Iand Icomposers Ias Iresident Imembers Iof Itheir
Icourts. ISecular Imusic Ithrived Iduring Ithis Iera Iand Iwas Ioften Iplayed Iby
Ismall Igroups Iof Imusicians Iknown Ias Iconsorts.

Conclusion:-
Presence Iof Ithese Ielectronic Imusical Iinstruments Iaffect Iand Iinfluence Ithe
Iperformance Iof Itraditional Imusical Iinstrument ISitar. IAs Ia Iresult Iwhen
Iwe Imake Iuse Iof ISitar Iin Ilive Iconcerts Iof Icontemporary Imusic Iwe Ifind
Isome Idifficulties. ISitar ITimbre Igets Iirrelevant, Iduring Ilive Iconcerts
Iwhile Iplaying Ialong Iwith Iother Imusical Iinstruments; Iit Ibecomes Idifficult
Ito Itune Iduring Iits Ioperation Iin Ilive Iconcerts, Iand Ihave Ito Ikeep
Idependency Ion Isound Ioperator Ifor Iexpected Itonal Iquality. ISo Isome
Ifeatures Iare Idesired Ito Ibe Iimplemented Iin Ithe ISitar Ito Imake Iit Imore
Icompetent Iin Iaccordance Iwith Ithe Icontemporary IIndian Ias Iwell Ias
IWestern Imusical IInstruments. IBelow Iis Ithe Ilist Iof Ifeatures Iwhich Ican
Ibe Iattained Iby Idoing Ithe Ichanges Iinternally Ior Iadded Iexternally Ito Ithe
Imain Iinstrument.
Along Iwith Ithe Ielectronic Ifeatures Iif Isome Iphysical Ifeatures Iare Iadded
Ias Idiscussed Iin Iprevious Ipart Ii.e. ICompactness Iin ISize, IPortability,
ILightness IIn IWeight Iwith IEnhancement Iin IAesthetical Ivalues, Iwill Igive
ISitar, Ia IRoyal, IRich, ITrendy Iand ITouchy ILook, Ioffering Iit Ia INew
IInternational IRecognition.