568:(2000, p. 1285) the discipline of "music lags behind the other arts; it picks up ideas from other media just when they have become outmoded." Only in the 1990s did historical musicologists, preceded by feminist musicologists in the late 1980s, begin to address issues such as gender, sexualities, bodies, emotions, and subjectivities which dominated the humanities for twenty years before (ibid, p. 10). In McClary's words (1991, p. 5), "It almost seems that musicology managed miraculously to pass directly from pre- to postfeminism without ever having to change – or even examine – its ways." Furthermore, in their discussion on musicology and rock music, Susan McClary and Robert Walser also address a key struggle within the discipline: how musicology has often "dismisse questions of socio-musical interaction out of hand, that part of classical music's greatness is ascribed to its autonomy from society." (1988, p. 283)
580:, the strongest criticism of (historical) musicology has been that it generally ignores popular music. Though musicological study of popular music has vastly increased in quantity recently, Middleton's assertion in 1990—that most major "works of musicology, theoretical or historical, act as though popular music did not exist"—holds true. Academic and conservatory training typically only peripherally addresses this broad spectrum of musics, and many (historical) musicologists who are "both contemptuous and condescending are looking for types of production, musical form, and listening which they associate with a
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or the relationship between words and music. On the other hand, historical musicology tends to "neglect or have difficulty with parameters which are not easily notated", such as tone colour or non-Western rhythms. In addition, he claims that the "notation-centric training" of
Western music schools "induces particular forms of
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categories: the establishing of factual and correct data and the interpretation of data. Most historical research does not fall into one category solely, but rather employs a combination of methods from both categories. The act of establishing factual data can never be fully separate from the act of interpretation.
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He cites three main aspects of this problem (p. 104–6). The terminology of historical musicology is "slanted by the needs and history of a particular music ('classical music')." He acknowledges that "there is a rich vocabulary for certain areas , important in musicology's typical corpus"; yet he
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Notational centricity also encourages "reification: the score comes to be seen as 'the music', or perhaps the music in an ideal form." As such, music that does not use a written score, such as jazz, blues, or folk, can become demoted to a lower level of status. As well, historical musicology has "an
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As well, he claims that historical musicology uses "a methodology slanted by the characteristics of notation," 'notational centricity' (Tagg 1979, p. 28–32). As a result, "musicological methods tend to foreground those musical parameters which can be easily notated" such as pitch relationships
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In its most narrow definition, historical musicology is the music history of
Western culture. Such a definition arbitrarily excludes disciplines other than history, cultures other than Western, and forms of music other than "classical" ("art", "serious", "high culture") or notated ("artificial") –
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draws on many of the tools of historical musicology to answer the specific question of how music was performed in various places at various times in the past. Scholars investigate questions such as which instruments or voices were used to perform a given work, what tempos (or tempo changes) were
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movement owes much to historical musicological scholarship. Towards the middle of the 20th century, musicology (and its largest subfield of historical musicology) expanded significantly as a field of study. Concurrently the number of musicological and music journals increased to create further
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of composers can give us a better sense of the chronology of compositions, influences on style and works, and provide important background to the interpretation (by performers or listeners) of works. Thus biography can form one part of the larger study of the cultural significance, underlying
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The methods and tools of music history are nearly as many as its subjects and therefore make a strict categorization impossible. However, a few trends and approaches can be outlined here. Like in any other historical discipline, most research in music history can be roughly divided into two
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points out that there is "an impoverished vocabulary for other areas , which are less well developed" in
Classical music. Middleton argues that a number of "terms are ideologically loaded" in that "they always involve selective, and often unconsciously formulated, conceptions of what music
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implying that the omitted disciplines, cultures, and musical styles/genres are somehow inferior. A somewhat broader definition incorporating all musical humanities is still problematic, because it arbitrarily excludes the relevant (natural) sciences (acoustics, psychology, physiology,
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are most conventionally the province of music analysts rather than historians. However, crucial to the practice of musical semiotics – the interpretation of meaning in a work or style – is its situation in a historical context. The interpretative work of scholars such as
393:, since the 1990s, research in performance practice has examined other historical eras, such as how early Classical era piano concerti were performed, how the early history of recording affected the use of vibrato in classical music, or which instruments were used in
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ideology slanted by the origins and development of a particular body of music and its aesthetic...It arose at a specific moment, in a specific context – nineteenth-century Europe, especially
Germany – and in close association with that movement in the musical
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of the period which was codifying the very repertory then taken by musicology as the centre of its attention." These terminological, methodological, and ideological problems affect even works sympathetic to popular music. However, it is not "that musicology
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to the current era), and depth. Both types of courseoach on a narrower subject while introducing more of the tools of research in music history. The range of possible topics is virtually limitless. Some examples might be "Music during
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courses for non-music majors and music history courses for music majors. The two types of courses will usually differ in length (one to two semesters vs. two to four), breadth (many music appreciation courses begin at the
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focus on the function of music in society as well as its meaning for individuals and society as a whole. Researchers emphasizing the social importance of music (including classical music) are sometimes called
244:. The application of musical analysis to further these goals is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of
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pay records, letters to a patroness of the arts) or to more systematically study a collection of documents related to a musician. In some cases, where records, scores, and letters have been digitized,
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or university) level. In Canada, some music students receive training prior to undergraduate studies because examinations in music history (as well as music theory) are required to complete
514:. Wolf's writings on the history of musical notation are considered to be particularly notable by musicologists. Historical musicology has played a critical role in renewed interest in
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that studies music from a historical point of view. In theory, "music history" could refer to the study of the history of any type or genre of music (e.g., the history of
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outlets for the publication of research. The domination of German language scholarship ebbed as significant journals sprang up throughout the West, especially
America.
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Within historical musicology, scholars have been reluctant to adopt postmodern and critical approaches that are common elsewhere in the humanities. According to
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song that is very rhythmically complex, but then dismiss it as a low-level musical work because it has a very simple melody and only uses two or five chords.
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has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement.
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and music analysis have likewise historically been rather uneasily separated from the most narrow definition of historical musicology.
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sorts of music, appropriately or not". As a result, Western music students trained in historical musicology may listen to a
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understand popular music, or that students of popular music should abandon musicology." (Middleton, p. 104).
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work can be done online. One example of a composer for whom archival materials can be examined online is the
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The first studies of
Western musical history date back to the middle of the 18th century.
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classes, the majority of formal music history courses are offered at the post-secondary (
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This article is about the academic field of music history. For an overview of music, see
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containing significant writings on sacred music from the 3rd century onwards in 1784.
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702:"De cantu et musica sacra (Gerbert, Martin) - IMSLP: Free Sheet Music PDF Download"
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kind of music...'classical music'...and they generally find popular music lacking"
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articles in journals, university press-published music history books, university
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receive some instruction in music history, whether this is the history of
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while courses for music majors traditionally span the period from the
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of composers and other musicians, studies of the relationship between
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557:) as well as musical practice. The musicological sub-disciplines of
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248:. Some of the intellectual products of music historians include
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as well as medieval and
Renaissance music. In particular, the
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and music, and reflections upon the role of music in society.
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in 1774. Gerbert followed this work with a three volume work
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166:, is a highly diverse subfield of the broader discipline of
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The methods of music history include source studies (esp.
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published a two volume history of sacred music titled
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fall between the analytic and the music historical.
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used, and how (or if) ornaments were used. Although
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Evolution of timpani in the 18th and 19th centuries
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71:. Unsourced material may be challenged and removed.
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637:The House of Music: Art in an Era of Institutions
389:was previously confined to early music from the
307:Most medium and large institutions will offer
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419:), and disability, among other approaches.
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276:Although most performers of classical and
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131:Learn how and when to remove this message
469:Scriptores ecclesiastici de musica sacra
451:published a three volume history titled
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753:10.1093/gmo/9781561592630.article.41156
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600:, and these then tend to be applied to
209:, which tends to focus on elite art).
974:Vietnam imperial court music—Nhã nhạc
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69:adding citations to reliable sources
675:Martini, Giovanni Battista (1757).
532:Exclusion of disciplines and musics
27:The academic field of music history
2655:Classical and art music traditions
1082:History of lute-family instruments
899:Cambodian ceremonial music—Pinpeat
639:, published by D.R. Godine, 1984.
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502:In the 20th century, the work of
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894:Burmese classical music—Mahāgīta
506:and others developed studies in
320:eras and might omit music after
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2675:Jazz and popular music glossary
677:"Storia Della Musica: Volume 1"
344:music," "Music and politics," "
56:needs additional citations for
1916:Federated States of Micronesia
1:
954:Philippine art songs—Kundiman
874:Afghan classical music—Klasik
2820:Record production portal
2665:Cultural and regional genres
919:Indonesian art music—Gamelan
770:UK public library membership
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969:Thai classical music—Piphat
924:Japanese court music—Gagaku
298:Royal Conservatory of Music
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1077:History of the harpsichord
964:Kandyan dance of Sri Lanka
572:Exclusion of popular music
186:, whether or not they are
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486:'s manuscript sketch for
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151:guqin "Jiu Han Pei". The
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1334:Computational musicology
879:Andalusi classical music
465:De cantu de musica sacra
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979:Western classical music
949:Persian classical music
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278:traditional instruments
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1277:Doctor of Musical Arts
1097:History of the trumpet
909:Indian classical music
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2361:Saint Kitts and Nevis
2341:Republic of the Congo
1102:History of the violin
520:authentic performance
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300:certification at the
164:historical musicology
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34:. For the album, see
2556:United Arab Emirates
1329:Cognitive musicology
484:Ludwig van Beethoven
408:Sociological studies
401:Biographical studies
387:performance practice
382:Performance practice
228:), style criticism,
201:, sometimes called "
65:improve this article
2706:Aesthetics of music
2521:Trinidad and Tobago
1656:Antigua and Barbuda
1135:Band (rock and pop)
1059:Musical instruments
934:Lao classical music
681:UNT Digital Library
551:empirical sociology
488:Piano Sonata No. 28
453:Storia della musica
162:, sometimes called
2768:Musical instrument
2736:Music and politics
1866:Dominican Republic
1614:By sovereign state
929:Korean court music
889:Azerbaijani Mugham
740:Grove Music Online
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309:music appreciation
256:, new editions of
174:or the history of
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1387:A-side and B-side
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1267:Bachelor of Music
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1044:Psychedelic music
1039:Progressive music
959:Scottish Ceòl Mór
768:(subscription or
762:978-1-56159-263-0
578:Richard Middleton
547:computer sciences
512:Renaissance music
413:New musicologists
376:Arnold Schoenberg
234:historical method
226:textual criticism
205:" (by analogy to
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1868:
1863:
1858:
1853:
1848:
1843:
1841:Czech Republic
1838:
1833:
1828:
1823:
1818:
1813:
1808:
1803:
1798:
1793:
1788:
1783:
1778:
1773:
1768:
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1758:
1753:
1748:
1743:
1738:
1733:
1728:
1723:
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1713:
1708:
1703:
1698:
1693:
1688:
1683:
1678:
1673:
1668:
1663:
1658:
1653:
1648:
1643:
1638:
1633:
1628:
1625:
1624:
1621:
1615:
1611:
1610:
1608:
1607:
1606:
1605:
1600:
1595:
1585:
1584:
1583:
1576:North American
1573:
1572:
1571:
1569:South American
1566:
1559:Latin American
1556:
1555:
1554:
1549:
1539:
1538:
1537:
1532:
1527:
1525:Middle Eastern
1522:
1517:
1507:
1506:
1505:
1500:
1495:
1490:
1485:
1474:
1472:
1465:
1462:
1461:
1459:
1458:
1453:
1448:
1443:
1438:
1433:
1428:
1423:
1418:
1416:Audio engineer
1413:
1412:
1411:
1406:
1401:
1391:
1390:
1389:
1378:
1376:
1372:
1371:
1369:
1368:
1367:
1366:
1361:
1356:
1351:
1349:New musicology
1346:
1341:
1336:
1331:
1326:
1316:
1315:
1314:
1304:
1299:
1294:
1289:
1284:
1279:
1274:
1269:
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1215:
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1204:
1199:
1193:
1190:
1189:
1187:
1186:
1185:
1184:
1179:
1169:
1164:
1159:
1154:
1153:
1152:
1150:Rhythm section
1147:
1142:
1131:
1129:
1127:
1126:
1121:
1115:
1112:
1111:
1108:
1107:
1105:
1104:
1099:
1094:
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1084:
1079:
1074:
1069:
1063:
1061:
1055:
1054:
1052:
1051:
1046:
1041:
1036:
1031:
1026:
1021:
1016:
1011:
1006:
1001:
995:
993:
985:
984:
982:
981:
976:
971:
966:
961:
956:
951:
946:
941:
936:
931:
926:
921:
916:
911:
906:
901:
896:
891:
886:
881:
876:
870:
868:
859:
858:
853:
852:
851:
841:
836:
831:
826:
820:
818:
812:
811:
806:
804:
803:
796:
789:
781:
775:
774:
761:
723:
720:
718:
717:
693:
667:
655:
653:
650:
648:
647:
632:
630:
627:
573:
570:
533:
530:
528:
525:
508:Medieval music
476:
473:
461:Martin Gerbert
444:
441:
439:
436:
273:
270:
230:historiography
172:Nigerian music
139:
138:
53:
51:
44:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2871:
2860:
2857:
2855:
2854:Music history
2852:
2851:
2849:
2834:
2833:
2824:
2822:
2821:
2810:
2808:
2807:
2796:
2795:
2792:
2786:
2783:
2779:
2776:
2774:
2771:
2770:
2769:
2766:
2764:
2763:Music therapy
2761:
2759:
2756:
2754:
2751:
2747:
2744:
2742:
2739:
2738:
2737:
2734:
2732:
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2697:
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2678:
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2651:
2648:
2646:
2643:
2641:
2638:
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2630:
2626:
2617:
2614:
2612:
2609:
2607:
2604:
2602:
2599:
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2594:
2592:
2589:
2587:
2584:
2582:
2579:
2577:
2574:
2572:
2569:
2567:
2566:United States
2564:
2562:
2559:
2557:
2554:
2552:
2549:
2547:
2544:
2542:
2539:
2537:
2534:
2532:
2529:
2527:
2524:
2522:
2519:
2517:
2514:
2512:
2509:
2507:
2504:
2502:
2499:
2497:
2494:
2492:
2489:
2487:
2484:
2482:
2479:
2477:
2474:
2472:
2469:
2467:
2464:
2462:
2459:
2457:
2454:
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2437:
2434:
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2429:
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2409:
2407:
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2402:
2399:
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2379:
2377:
2374:
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2354:
2352:
2349:
2347:
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2342:
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2334:
2332:
2329:
2327:
2324:
2322:
2319:
2317:
2314:
2312:
2309:
2307:
2304:
2302:
2299:
2297:
2294:
2292:
2289:
2287:
2284:
2282:
2279:
2277:
2274:
2272:
2269:
2267:
2264:
2262:
2259:
2257:
2254:
2252:
2249:
2247:
2244:
2242:
2239:
2237:
2234:
2232:
2229:
2227:
2224:
2222:
2219:
2217:
2214:
2212:
2209:
2207:
2204:
2202:
2199:
2197:
2194:
2192:
2189:
2187:
2184:
2182:
2179:
2177:
2174:
2172:
2169:
2167:
2164:
2162:
2159:
2157:
2154:
2152:
2149:
2147:
2144:
2142:
2139:
2137:
2134:
2132:
2129:
2127:
2126:Liechtenstein
2124:
2122:
2119:
2117:
2114:
2112:
2109:
2107:
2104:
2102:
2099:
2097:
2094:
2092:
2089:
2087:
2084:
2082:
2079:
2077:
2074:
2072:
2069:
2067:
2064:
2062:
2059:
2057:
2054:
2052:
2049:
2047:
2044:
2042:
2039:
2037:
2034:
2032:
2029:
2027:
2024:
2022:
2019:
2017:
2014:
2012:
2009:
2007:
2004:
2002:
1999:
1997:
1994:
1992:
1989:
1987:
1984:
1982:
1981:Guinea-Bissau
1979:
1977:
1974:
1972:
1969:
1967:
1964:
1962:
1959:
1957:
1954:
1952:
1949:
1947:
1944:
1942:
1939:
1937:
1934:
1932:
1929:
1927:
1924:
1922:
1919:
1917:
1914:
1912:
1909:
1907:
1904:
1902:
1899:
1897:
1894:
1892:
1889:
1887:
1884:
1882:
1879:
1877:
1874:
1872:
1869:
1867:
1864:
1862:
1859:
1857:
1854:
1852:
1849:
1847:
1844:
1842:
1839:
1837:
1834:
1832:
1829:
1827:
1824:
1822:
1819:
1817:
1814:
1812:
1809:
1807:
1804:
1802:
1799:
1797:
1794:
1792:
1789:
1787:
1784:
1782:
1779:
1777:
1774:
1772:
1769:
1767:
1764:
1762:
1759:
1757:
1754:
1752:
1749:
1747:
1744:
1742:
1739:
1737:
1734:
1732:
1729:
1727:
1724:
1722:
1719:
1717:
1714:
1712:
1709:
1707:
1704:
1702:
1699:
1697:
1694:
1692:
1689:
1687:
1684:
1682:
1679:
1677:
1674:
1672:
1669:
1667:
1664:
1662:
1659:
1657:
1654:
1652:
1649:
1647:
1644:
1642:
1639:
1637:
1634:
1632:
1629:
1626:
1619:
1616:
1612:
1604:
1601:
1599:
1596:
1594:
1591:
1590:
1589:
1586:
1582:
1579:
1578:
1577:
1574:
1570:
1567:
1565:
1562:
1561:
1560:
1557:
1553:
1550:
1548:
1545:
1544:
1543:
1540:
1536:
1533:
1531:
1528:
1526:
1523:
1521:
1518:
1516:
1513:
1512:
1511:
1508:
1504:
1501:
1499:
1496:
1494:
1491:
1489:
1486:
1484:
1481:
1480:
1479:
1476:
1475:
1473:
1470:
1467:Cultural and
1463:
1457:
1454:
1452:
1449:
1447:
1444:
1442:
1439:
1437:
1434:
1432:
1429:
1427:
1424:
1422:
1419:
1417:
1414:
1410:
1407:
1405:
1402:
1400:
1397:
1396:
1395:
1394:Extended play
1392:
1388:
1385:
1384:
1383:
1380:
1379:
1377:
1373:
1365:
1364:Zoomusicology
1362:
1360:
1357:
1355:
1352:
1350:
1347:
1345:
1342:
1340:
1339:Ecomusicology
1337:
1335:
1332:
1330:
1327:
1325:
1324:Biomusicology
1322:
1321:
1320:
1317:
1313:
1310:
1309:
1308:
1305:
1303:
1300:
1298:
1297:Music history
1295:
1293:
1290:
1288:
1285:
1283:
1280:
1278:
1275:
1273:
1270:
1268:
1265:
1264:
1262:
1259:
1255:
1249:
1246:
1244:
1241:
1239:
1236:
1234:
1231:
1229:
1228:Improvisation
1226:
1224:
1221:
1219:
1216:
1214:
1211:
1210:
1208:
1203:
1200:
1198:
1195:
1194:
1191:
1183:
1180:
1178:
1177:Lead vocalist
1175:
1174:
1173:
1172:Military band
1170:
1168:
1165:
1163:
1160:
1158:
1155:
1151:
1148:
1146:
1143:
1141:
1138:
1137:
1136:
1133:
1132:
1130:
1125:
1122:
1120:
1117:
1116:
1113:
1103:
1100:
1098:
1095:
1093:
1090:
1088:
1085:
1083:
1080:
1078:
1075:
1073:
1070:
1068:
1065:
1064:
1062:
1060:
1056:
1050:
1047:
1045:
1042:
1040:
1037:
1035:
1032:
1030:
1027:
1025:
1024:Hip hop music
1022:
1020:
1017:
1015:
1014:Country music
1012:
1010:
1007:
1005:
1002:
1000:
997:
996:
994:
992:
986:
980:
977:
975:
972:
970:
967:
965:
962:
960:
957:
955:
952:
950:
947:
945:
944:Ottoman music
942:
940:
937:
935:
932:
930:
927:
925:
922:
920:
917:
915:
912:
910:
907:
905:
902:
900:
897:
895:
892:
890:
887:
885:
882:
880:
877:
875:
872:
871:
869:
867:
863:
857:
854:
850:
847:
846:
845:
842:
840:
837:
835:
832:
830:
827:
825:
822:
821:
819:
817:
813:
809:
802:
797:
795:
790:
788:
783:
782:
779:
771:
764:
758:
754:
750:
746:
742:
741:
735:
730:
726:
725:
721:
707:
703:
697:
694:
682:
678:
671:
668:
665:
664:Schoenberg.at
660:
657:
651:
646:
645:0-87923-501-2
642:
638:
634:
633:
628:
626:
624:
619:
613:
611:
607:
603:
599:
593:
591:
585:
583:
579:
576:According to
571:
569:
567:
566:Susan McClary
562:
560:
556:
552:
548:
544:
540:
539:neurosciences
531:
526:
524:
521:
517:
516:Baroque music
513:
509:
505:
504:Johannes Wolf
497:
493:
489:
485:
481:
474:
472:
470:
466:
462:
458:
454:
450:
442:
437:
435:
433:
429:
424:
420:
418:
414:
409:
405:
402:
398:
396:
392:
388:
383:
379:
377:
373:
368:
364:
363:Archival work
360:
356:
354:
350:
347:
343:
340:
336:
332:
327:
323:
319:
315:
310:
305:
303:
302:Grade 9 level
299:
295:
291:
287:
283:
279:
271:
269:
267:
263:
259:
258:musical works
255:
251:
250:peer-reviewed
247:
243:
239:
235:
231:
227:
223:
219:
215:
210:
208:
204:
200:
197:
193:
192:notated music
189:
185:
181:
177:
173:
169:
165:
161:
160:Music history
154:
150:
145:
135:
132:
124:
113:
110:
106:
103:
99:
96:
92:
89:
85:
82: –
81:
77:
76:Find sources:
70:
66:
60:
59:
54:This article
52:
48:
43:
42:
37:
33:
19:
2825:
2811:
2797:
2586:Vatican City
2536:Turkmenistan
2436:South Africa
2406:Sierra Leone
2386:Saudi Arabia
1761:Burkina Faso
1421:Record label
1307:Music school
1296:
1162:Concert band
1072:Angular harp
999:Circus music
884:Arabic music
738:
709:. Retrieved
705:
696:
685:. Retrieved
683:(in Italian)
680:
670:
659:
636:
622:
617:
614:
601:
597:
594:
589:
586:
581:
575:
563:
559:music theory
535:
501:
491:
468:
464:
456:
452:
449:G.B. Martini
446:
422:
421:
407:
406:
400:
399:
381:
380:
362:
361:
357:
349:Don Giovanni
348:
342:instrumental
314:late Baroque
306:
304:and higher.
275:
246:music theory
224:(especially
211:
163:
159:
158:
149:Tang dynasty
127:
118:
108:
101:
94:
87:
75:
63:Please help
58:verification
55:
2690:Terminology
2670:Instruments
2476:Switzerland
2446:South Sudan
2441:South Korea
2366:Saint Lucia
2321:Philippines
2266:North Korea
2246:New Zealand
2241:Netherlands
2046:Ivory Coast
1886:El Salvador
1631:Afghanistan
1598:Micronesian
1399:Compilation
1312:Composition
1202:Composition
1167:Disc jockey
1140:Backup band
1067:Arched Harp
824:Prehistoric
734:"Biography"
543:information
443:Before 1898
391:Baroque era
339:Renaissance
331:World War I
326:Middle Ages
290:high school
262:biographies
242:iconography
218:paleography
207:art history
2859:Musicology
2848:Categories
2576:Uzbekistan
2496:Tajikistan
2401:Seychelles
2381:San Marino
2216:Mozambique
2206:Montenegro
2176:Mauritania
2141:Madagascar
2136:Luxembourg
2091:Kyrgyzstan
2066:Kazakhstan
1871:East Timor
1821:Costa Rica
1786:Cape Verde
1696:Bangladesh
1681:Azerbaijan
1603:Polynesian
1593:Melanesian
1375:Production
1354:Organology
1319:Musicology
1049:Soul music
1004:Folk music
989:Vernacular
743:. Oxford:
711:2023-04-24
687:2022-07-23
652:References
555:aesthetics
510:and early
428:Kofi Agawu
216:studies),
214:manuscript
168:musicology
121:March 2021
91:newspapers
2711:Album era
2591:Venezuela
2456:Sri Lanka
2411:Singapore
2296:Palestine
2251:Nicaragua
2181:Mauritius
2131:Lithuania
2016:Indonesia
1971:Guatemala
1671:Australia
1661:Argentina
1581:Caribbean
1535:Southeast
1260:and study
1258:Education
1248:Technique
1124:Ensembles
1034:Pop music
866:Art music
844:Religious
772:required)
706:imslp.org
598:listening
582:different
527:Critiques
475:1800–1950
318:classical
282:art music
254:textbooks
222:philology
203:art music
147:A famous
2832:Category
2645:Timeline
2616:Zimbabwe
2506:Thailand
2501:Tanzania
2466:Suriname
2421:Slovenia
2416:Slovakia
2331:Portugal
2311:Paraguay
2286:Pakistan
2201:Mongolia
2156:Maldives
2151:Malaysia
2076:Kiribati
1996:Honduras
1911:Ethiopia
1906:Eswatini
1861:Dominica
1856:Djibouti
1811:Colombia
1776:Cameroon
1771:Cambodia
1756:Bulgaria
1741:Botswana
1701:Barbados
1588:Oceanian
1542:European
1498:Southern
1431:Sampling
1223:Notation
1157:Big band
1119:Musician
849:Biblical
731:(2001).
618:practice
378:Center.
372:archival
346:Mozart's
335:Medieval
272:Pedagogy
2741:Warfare
2640:Outline
2596:Vietnam
2581:Vanuatu
2571:Uruguay
2551:Ukraine
2526:Tunisia
2431:Somalia
2391:Senegal
2346:Romania
2261:Nigeria
2226:Namibia
2221:Myanmar
2211:Morocco
2191:Moldova
2116:Liberia
2111:Lesotho
2106:Lebanon
2051:Jamaica
2031:Ireland
2006:Iceland
2001:Hungary
1966:Grenada
1951:Germany
1946:Georgia
1926:Finland
1901:Estonia
1896:Eritrea
1876:Ecuador
1851:Denmark
1826:Croatia
1816:Comoros
1766:Burundi
1731:Bolivia
1711:Belgium
1706:Belarus
1691:Bahrain
1686:Bahamas
1676:Austria
1666:Armenia
1646:Andorra
1641:Algeria
1636:Albania
1515:Central
1483:Central
1478:African
1238:Singing
856:Secular
839:Martial
829:Ancient
496:Allegro
438:History
397:music.
395:Klezmer
367:Vatican
294:college
196:Western
105:scholar
2650:Albums
2611:Zambia
2546:Uganda
2541:Tuvalu
2531:Turkey
2491:Taiwan
2471:Sweden
2396:Serbia
2356:Rwanda
2351:Russia
2326:Poland
2301:Panama
2276:Norway
2196:Monaco
2186:Mexico
2146:Malawi
2101:Latvia
2086:Kuwait
2081:Kosovo
2061:Jordan
2036:Israel
1986:Guyana
1976:Guinea
1961:Greece
1941:Gambia
1931:France
1836:Cyprus
1781:Canada
1751:Brunei
1746:Brazil
1726:Bhutan
1716:Belize
1651:Angola
1622:
1552:Nordic
1547:Balkan
1382:Single
1287:Method
1233:Lyrics
1197:Theory
759:
643:
623:cannot
240:, and
199:elites
107:
100:
93:
86:
78:
2685:Songs
2635:Index
2628:Lists
2606:Yemen
2516:Tonga
2481:Syria
2461:Sudan
2451:Spain
2376:Samoa
2336:Qatar
2291:Palau
2256:Niger
2236:Nepal
2231:Nauru
2166:Malta
2121:Libya
2071:Kenya
2056:Japan
2041:Italy
2011:India
1991:Haiti
1956:Ghana
1936:Gabon
1881:Egypt
1806:China
1801:Chile
1721:Benin
1530:South
1510:Asian
1493:North
1456:Remix
1451:Cover
1409:Remix
1218:Genre
1087:Nafir
1009:Blues
991:music
834:Dance
808:Music
629:Notes
610:Latin
417:LGBTQ
351:, or
266:words
153:guqin
112:JSTOR
98:books
2778:Folk
2511:Togo
2316:Peru
2281:Oman
2161:Mali
2096:Laos
2026:Iraq
2021:Iran
1921:Fiji
1831:Cuba
1796:Chad
1520:East
1503:West
1488:East
1404:Live
1243:Song
1213:Form
1029:Jazz
757:ISBN
641:ISBN
606:funk
553:and
545:and
430:and
337:and
333:," "
322:WWII
176:rock
84:news
1282:PhD
749:doi
608:or
602:all
592:."
355:."
316:or
286:pop
236:),
194:of
182:or
67:by
2850::
755:.
747:.
737:.
704:.
679:.
590:is
549:,
541:,
284:,
260:,
220:,
800:e
793:t
786:v
765:.
751::
714:.
690:.
494:(
455:(
134:)
128:(
123:)
119:(
109:·
102:·
95:·
88:·
61:.
38:.
20:)
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