homophony: a clear melody supported by chordal accompaniment. Most Western popular music songs from the 19th century onward are written in this texture.

In relation to the UK curriculum, in 2013 the term: "appropriate musical notations" was added to their list of elements and the title of the list was changed from the "elements of music" to the "inter-related dimensions of music". The inter-related dimensions of music are listed as: pitch, duration, dynamics, tempo, timbre, texture, structure, and appropriate musical notations. [56]

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Department of Music students study at the heart of the campus in our Jessop Building, Soundhouse and performance facilities. We timetable teaching across the whole of our campus. Facilities Epperson, Gordon (16 June 2022). "Music | Art Form, Styles, Rhythm, & History". Encyclopædia Britannica. Chicago: Encyclopædia Britannica, Inc.

Webster, N. (Ed.) (1947) Webster's New Twentieth Century Dictionary. Clevelend Ohio: The World Publishing Company. National curriculum in England: music programmes of study". GOV.UK. 26 March 2021. Archived from the original on 26 January 2016 . Retrieved 24 August 2023.

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Wallin, Nils; Merker, Björn; Brown, Steven, eds. (2000). The Origins of Music. Cambridge: MIT Press. ISBN 978-0-262-73143-0.

Aristoxenus, Henry Stewart Macran (1902). Harmonika Stoicheia (The Harmonics of Aristoxenus). Georg Olms Verlag. ISBN 978-3-487-40510-0. OCLC 123175755. Archived from the original on 2 January 2020 . Retrieved 7 April 2016. Mthembu-Salter, Gregory and Peter Dalton. "Lovers and Poets -- Babylon Sounds". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 457–462. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0 Clementi, M.: "Introduction to the art of playing on the piano forte", Da Capo Press (1974). Cohen, Dalia and Dubnov, Shlomo (1996). "Gestalt phenomena in musical texture", Springer doi: 10.1007/BFb0034128 The Baroque era in music, between the early music of the Medieval and Renaissance periods and the development of fully fledged and formalised orchestral classical music in the second half of the eighteenth century, was characterised by more elaborate musical ornamentation, changes in musical notation, new instrumental playing techniques and the rise of new genres such as opera. Although the term Baroque is conventionally used for European music from about 1600, its full effects were not felt in Britain until after 1660, delayed by native trends and developments in music, religious and cultural differences from many European countries and the disruption to court music caused by the Wars of the Three Kingdoms and Interregnum. [14] Under the restored Stuart monarchy the court became once again a centre of musical patronage, but royal interest in music tended to be less significant as the seventeenth century progressed, to be revived again under the House of Hanover. [15] Sir Edward Elgar

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Many ethnographic studies demonstrate that music is a participatory, community-based activity. [92] [93] Music is experienced by individuals in a range of social settings ranging from being alone to attending a large concert, forming a music community, which cannot be understood as a function of individual will or accident; it includes both commercial and non-commercial participants with a shared set of common values. Musical performances take different forms in different cultures and socioeconomic milieus. In 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 include Western art music such as Baroque, Classical, Romantic, and modern-era symphonies, concertos, and solo works, and are typically heard in formal concerts in concert halls and churches, with the audience sitting quietly in seats.

B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), ISBN 0-19-515878-4. What is the definition of music? (What are the necessary and sufficient conditions for classifying something as music?) This section needs additional citations for verification. Please help improve this article by adding citations to reliable sourcesin this section. Unsourced material may be challenged and removed.Small, Christopher (1977). Music, Society, Education. John Calder Publishers, London. ISBN 0-7145-3614-8 The modern English word ' music' came into use in the 1630s. [8] It is derived from a long line of successive precursors: the Old English ' musike' of the mid-13th century; the Old French musique of the 12th century; and the Latin mūsica. [9] [10] [n 1] The Latin word itself derives from the Ancient Greek mousiké ( technē)— μουσική ( τέχνη)—literally meaning "(art) of the Muses". [9] [n 2] The Muses were nine deities in Ancient Greek mythology who presided over the arts and sciences. [13] [14] They were included in tales by the earliest Western authors, Homer and Hesiod, [15] and eventually came to be associated with music specifically. [14] Over time, Polyhymnia would reside over music more prominently than the other muses. [11] The Latin word musica was also the originator for both the Spanish música and French musique via spelling and linguistic adjustment, though other European terms were probably loanwords, including the Italian musica, German Musik, Dutch muziek, Norwegian musikk, Polish muzyka and Russian muzïka. [14] Indian music, for example, is one of the oldest and longest living types of music, and is still widely heard and performed in South Asia, as well as internationally (especially since the 1960s). Indian music has mainly three forms of classical music, Hindustani, Carnatic, and Dhrupad styles. It has also a large repertoire of styles, which involve only percussion music such as the talavadya performances famous in South India.