Music is an art form whose medium is sound organized in time. Common elements of music are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike), "(art) of the Muses".
The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within "the arts", music may be classified as a performing art, a fine art, and auditory art.
To people in many cultures, music is inextricably intertwined into their way of life. Greek philosophers and ancient Indians defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound." According to musicologist Jean-Jacques Nattiez, "the border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus.... By all accounts there is no single and intercultural universal concept defining what music might be, except that it is 'sound through time'."
Art of combining sounds into a structured form, usually according to conventional patterns and for an aesthetic (artistic) purpose. Music is generally divided into different genres or styles such as classical music, jazz, pop music, country, and so on.
The Greek word mousikē covered all the arts presided over by the Muses. The various civilizations of the ancient and modern world developed their own musical systems. Eastern music recognizes smaller changes of pitch than does mainstream Western music (with the exception of much 20th-century contemporary art music) and also differs from Western music in that the absence, until recently, of written notation ruled out the composition of major developed works, though these are created through improvisation using melodic and rhythmic patterns governed by particular modes and formal devices. Such improvisations (as in the Indian raga) can last up to 70 minutes, interpreted by virtuosos.
(from French danser, perhaps from Frankish) is a sport and art form that generally refers to movement of the body, usually rhythmic and to music, used as a form of expression, social interaction or presented in a spiritual or performance setting.
Opera is an art form in which singers and musicians perform a dramatic work (called an opera) which combines a text (called a libretto) and a musical score. Opera is part of the Western classical music tradition. Opera incorporates many of the elements of spoken theatre, such as acting, scenery and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble.
Theatre (or theater, see spelling differences) is the branch of the performing arts defined by Bernard Beckerman as what "occurs when one or more persons, isolated in time and/or space, present themselves to another or others." By this broad definition, theatre has existed since the dawn of man, as a result of human tendency for storytelling. Since its inception, theatre has come to take on many forms, utilizing speech, gesture, music, dance, and spectacle, combining the other performing arts, often as well as the visual arts, into a single artistic form.
Circus arts refers to a body of performing arts featured in, derived from, or inspired by circus productions.There are two main genres of circus arts: traditional, often referred to as "Old Circus Arts" and contemporary, sometime called "new circus arts". Below is a table comparing several distinct aspects of traditional and contemporary circus arts.
Magic is a performing art that entertains an audience by creating illusions of seemingly impossible or supernatural feats, using purely natural means. These feats are called magic tricks, effects or illusions.
One who performs such illusions is called a magician. Some performers may also be referred to by names reflecting the type of magical effects they present, such as prestidigitators, conjurors, illusionists, mentalists, escape artists, and ventriloquists.
Puppetry is a form of theatre or performance which involves the manipulation of puppets. It is very ancient, and is believed to have originated 30,000 years BC. Puppetry takes many forms but they all share the process of animating inanimate performing objects. Puppetry is used in almost all human societies both as an entertainment – in performance – and ceremonially in rituals and celebrations such as carnival.Most puppetry involves storytelling. The impact of puppetry depends on the process of transformation of puppets, which has much in common with magic and with play. Thus puppetry can create complex and magical theatre with relatively small resources.
Drama is the specific mode of fiction represented in performance. The term comes from a Greek word meaning "action" (Classical Greek: δράμα, dráma), which is derived from "to do" (Classical Greek: δράω, dráō). The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception. The early modern tragedy Hamlet (1601) by Shakespeare and the classical Athenian tragedy Oedipus the King (c. 429 BCE) by Sophocles are among the supreme masterpieces of the art of drama.
Tragedy (Ancient Greek: τραγῳδία, tragōidia, "goat-song") is a form of art based on human suffering that offers its audience pleasure. While most cultures have developed forms that provoke this paradoxical response, tragedy refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity--"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it. From its obscure origins in the theatres of Athens 2500 years ago, from which there survives only a fraction of the work of Aeschylus, Sophocles and Euripides, through its singular articulations in the works of Shakespeare, Lope de Vega, Racine, or Schiller, to the more recent naturalistic tragedy of Strindberg, Beckett's modernist meditations on death, loss and suffering, or Müller's postmodernist reworkings of the tragic canon, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change. A long line of philosophers--which includes Plato, Aristotle, Saint Augustine, Voltaire, Hume, Diderot, Hegel, Schopenhauer, Kierkegaard, Nietzsche, Freud, Benjamin, Camus, and Deleuze--have analysed, speculated upon and criticised the tragic form. In the wake of Aristotle's Poetics (335 BCE), tragedy has been used to make genre distinctions, whether at the scale of poetry in general, where the tragic divides against epic and lyric, or at the scale of the drama, where tragedy is opposed to comedy. In the modern era, tragedy has also been defined against drama, melodrama, the tragicomic and epic theatre.
The comic drama, whose Western origins are found everywhere Northrop Frye described the comic genre as a drama that pits two societies against each other in an amusing agon or conflict. He depicted these two opposing sides as a "Society of Youth" and a "Society of the Old" (The Anatomy of Criticism, 1957), but this dichotomy is seldom described as an entirely satisfactory explanation.
A later view characterizes the essential agon of comedy as a struggle between a powerless youth and the societal conventions that pose obstacles to his hopes; in this sense, the youth is understood to be constrained by his lack of social authority, and is left with little choice but to take recourse to ruses which engender very dramatic irony which provokes laughter (Marteinson, 2006).
Much comedy contains variations on the elements of surprise, incongruity, conflict, repetitiveness,and there are also adult comedy, and the effect of opposite expectations, but there are many recognized genres of comedy. Satire and political satire use ironic comedy to portray persons or social institutions as ridiculous or corrupt, thus alienating their audience from the object of humor.
Parody borrows the form of some popular genre, artwork, or text but uses certain ironic changes to critique that form from within (though not necessarily in a condemning way). Screwball comedy derives its humor largely from bizarre, surprising (and improbable) situations or characters. Black comedy is defined by dark humor that makes light of so called dark or evil elements in human nature. Similarly scatological humor, sexual humor, and race humor create comedy by violating social conventions or taboos in comedic ways.
A comedy of manners typically takes as its subject a particular part of society (usually upper class society) and uses humor to parody or satirize the behavior and mannerisms of its members. Romantic comedy is a popular genre that depicts burgeoning romance in humorous terms, and focuses on the foibles of those who are falling in love.
Tragicomedy is fictional work that blends aspects of the genres of tragedy and comedy. In English literature, from Shakespeare's time to the nineteenth century, tragicomedy referred to a serious play with a happy ending or a serious play with an unhappy ending, which however may be filled with jokes throughout.
As a literary genre of high culture, romance or chivalric romance refers to a style of heroic prose and verse narrative that was particularly current in aristocratic literature of Medieval and Early Modern Europe, that narrated fantastic stories about the marvelous adventures of a chivalrous, heroic knight, often of super-human ability, who goes on a quest. Popular literature also drew on themes of romance, but with ironic, satiric or burlesque intent. Romances often reworked legends and fairy tales and traditional tales about Charlemagne and Roland or King Arthur. A related tradition existed in Northern Europe, and comes down to us in the form of epics, such as Beowulf, which were deeply imbued with dreamlike and magical elements foreign to the classical epics.
Originally, romance literature was written in Old French, Anglo-Norman and Occitan, later, in English and German. During the early 13th century romances were increasingly written as prose. In later romances, particularly those of French origin, there is a marked tendency to emphasize themes of courtly love, such as faithfulness in adversity. From ca. 1800 the connotations of "romance" moved from the magical and fantastic to somewhat eerie "Gothic" adventure narratives.
Satire is often strictly defined as a literary genre or form; although, in practice, it is also found in the graphic and performing arts. In satire, human or individual vices, follies, abuses, or shortcomings are held up to censure by means of ridicule, derision, burlesque, irony, or other methods, ideally with the intent to bring about improvement. Although satire is usually meant to be funny, the purpose of satire is not primarily humour in itself so much as an attack on something of which the author strongly disapproves, using the weapon of wit.
A very common, almost defining feature of satire is its strong vein of irony or sarcasm, but parody, burlesque, exaggeration, juxtaposition, comparison, analogy, and double entendre are all frequently used in satirical speech and writing. The essential point, however, is that "in satire, irony is militant". This "militant irony" (or sarcasm) often professes to approve (or at least accept as natural) the very things the satirist actually wishes to attack.
An epic (from Greek: έπος or επικό "word, story, poem"is a lengthy narrative poem, ordinarily concerning a serious subject containing details of heroic deeds and events significant to a culture or nation. Oral poetry may qualify as an epic, and Albert Lord and Milman Parry have argued that classical epics were fundamentally an oral poetic form. Nonetheless, epics have been written down at least since Homer, and the works of Vyasa, Virgil, Dante Alighieri and John Milton would be unlikely to have survived without being written down. The first epics are known as primary, or original, epics. Epics that attempt to imitate these like Virgil's The Aeneid and John Milton's Paradise Lost are known as literary, or secondary, epics. One such epic is the Anglo-Saxon story Beowulf. Another type of epic poetry is epyllion (plural: epyllia) which is a brief narrative poem with a romantic or mythological theme. The term, which means 'little epic', came in use in the Nineteenth century. It refers primarily to the type of erotic and mythological long elegy of which Ovid remains the master; to a lesser degree, the term includes some poems of the English Renaissance, particularly those influenced by Ovid. One suggested example of classical epyllion may be seen in the story of Nisus and Euryalus in Book IX of The Aeneid.
yric poetry refers to a usually short poem that expresses personal feelings. It may or may not be set to music.Aristotle, in Poetics, contrasted lyric poetry with drama and epic poetry. An example would be a poem that expresses feelings and may be a song that could be performed to an audience.