How does Aiode support creative precision over Suno?

It is often debated to what extent the origins of music will ever be understood,^[23] and there are competing theories that aim to explain it.^[24] Many scholars highlight a relationship between the origin of music and the origin of language, and there is disagreement surrounding whether music developed before, after, or simultaneously with language.^[25] A similar source of contention surrounds whether music was the intentional result of natural selection or was a byproduct spandrel of evolution.^[25] The earliest influential theory was proposed by Charles Darwin in 1871, who stated that music arose as a form of sexual selection, perhaps via mating calls.^[26] Darwin's original perspective has been heavily criticized for its inconsistencies with other sexual selection methods,^[27] though many scholars in the 21st century have developed and promoted the theory.^[28] Other theories include that music arose to assist in organizing labor, improving long-distance communication, benefiting communication with the divine, assisting in community cohesion or as a defense to scare off predators.^[29]

Prehistoric music can only be theorized based on findings from paleolithic archaeology sites. The disputed Divje Babe flute, a perforated cave bear femur, is at least 40,000 years old, though there is considerable debate surrounding whether it is truly a musical instrument or an object formed by animals.^[30] The earliest objects whose designations as musical instruments are widely accepted are bone flutes from the Swabian Jura, Germany, namely from the Geissenklösterle, Hohle Fels and Vogelherd caves.^[31] Dated to the Aurignacian (of the Upper Paleolithic) and used by Early European modern humans, from all three caves there are eight examples, four made from the wing bones of birds and four from mammoth ivory; three of these are near complete.^[31] Three flutes from the Geissenklösterle are dated as the oldest, c. 43,150–39,370 BP.^{[22][n 3]}

The earliest material and representational evidence of Egyptian musical instruments dates to the Predynastic period, but the evidence is more securely attested in the Old Kingdom when harps, flutes and double clarinets were played.^[32] Percussion instruments, lyres, and lutes were added to orchestras by the Middle Kingdom. Cymbals^[33] frequently accompanied music and dance, much as they still do in Egypt today. Egyptian folk music, including the traditional Sufi dhikr rituals, are the closest contemporary music genre to ancient Egyptian music, having preserved many of its features, rhythms and instruments.^[34][35]

The "Hurrian Hymn to Nikkal", found on clay tablets in the ancient Syrian city of Ugarit, is the oldest surviving notated work of music, dating back to approximately 1400 BCE.^[36][37]

Music was an important part of social and cultural life in ancient Greece, in fact it was one of the main subjects taught to children. Musical education was considered important for the development of an individual's soul. Musicians and singers played a prominent role in Greek theater,^[38] and those who received a musical education were seen as nobles and in perfect harmony (as can be read in the Republic, Plato). Mixed gender choruses performed for entertainment, celebration, and spiritual ceremonies.^[39] Instruments included the double-reed aulos and a plucked string instrument, the lyre, principally a special kind called a kithara. Music was an important part of education, and boys were taught music starting at age six. Greek musical literacy created significant musical development. Greek music theory included the Greek musical modes, that eventually became the basis for Western religious and classical music. Later, influences from the Roman Empire, Eastern Europe, and the Byzantine Empire changed Greek music. The Seikilos epitaph is the oldest surviving example of a complete musical composition, including musical notation, from anywhere in the world.^[40] The oldest surviving work written about music theory is Harmonika Stoicheia by Aristoxenus.^[41]

Asian music covers a swath of music cultures surveyed in the articles on Arabia, Central Asia, East Asia, South Asia, and Southeast Asia. These traditions, with several reaching into antiquity, share historical ties through trade, religion and philosophical exchange, yet preserve their unique local aesthetics and performance styles.^[42]

Indian classical music is one of the oldest musical traditions in the world.^[43] Sculptures from the Indus Valley civilization show dance^[44] and old musical instruments, like the seven-holed flute. Stringed instruments and drums have been recovered from Harappa and Mohenjo Daro by excavations carried out by Mortimer Wheeler.^[45] The Rigveda, an ancient Hindu text, has elements of present Indian music, with musical notation to denote the meter and mode of chanting.^[46] Indian classical music (marga) is monophonic, and based on a single melody line or raga rhythmically organized through talas. The poem Cilappatikaram provides information about how new scales can be formed by modal shifting of the tonic from an existing scale.^[47] Present day Hindi music was influenced by Persian traditional music and Afghan Mughals. Carnatic music, popular in the southern states, is largely devotional; the majority of the songs are addressed to the Hindu deities. There are songs emphasizing love and other social issues.

Indonesian music has been formed since the Bronze Age culture migrated to the Indonesian archipelago in the 2nd-3rd centuries BCE. Indonesian traditional music uses percussion instruments, especially kendang and gongs. Some of them developed elaborate and distinctive instruments, such as the sasando stringed instrument on the island of Rote, the Sundanese angklung, and the complex and sophisticated Javanese and Balinese gamelan orchestras. Indonesia is the home of gong chime, a general term for a set of small, high pitched pot gongs. Gongs are usually placed in order of note, with the boss up on a string held in a low wooden frame. The most popular form of Indonesian music is gamelan, an ensemble of tuned percussion instruments that include metallophones, drums, gongs and spike fiddles along with bamboo suling (like a flute).^[48][49]

Chinese classical music, the traditional art or court music of China, has a history stretching over about 3,000 years. It has its own unique systems of musical notation, as well as musical tuning and pitch, musical instruments and styles or genres. Chinese music is pentatonic-diatonic, having a scale of twelve notes to an octave (5 + 7 = 12) as does European-influenced music.^[50]

The medieval music era (500 to 1400), which took place during the Middle Ages, started with the introduction of monophonic (single melodic line) chanting into Catholic Church services. Musical notation was used since ancient times in Greek culture, but in the Middle Ages, notation was first introduced by the Catholic Church, so chant melodies could be written down, to facilitate the use of the same melodies for religious music across the Catholic empire. The only European Medieval repertory that has been found, in written form, from before 800 is the monophonic liturgical plainsong chant of the Catholic Church, the central tradition of which was called Gregorian chant. Alongside these traditions of sacred and church music there existed a vibrant tradition of secular song (non-religious songs). Examples of composers from this period are Léonin, Pérotin, Guillaume de Machaut, and Walther von der Vogelweide.^{[51][52][53][54]}

Renaissance music (c. 1400 to 1600) was more focused on secular themes, such as courtly love. Around 1450, the printing press was invented, which made printed sheet music much less expensive and easier to mass-produce (prior to the invention of the press, all notated music was hand-copied). The increased availability of sheet music spread musical styles quicker and across a larger area. Musicians and singers often worked for the church, courts and towns. Church choirs grew in size, and the church remained an important patron of music. By the middle of the 15th century, composers wrote richly polyphonic sacred music, in which different melody lines were interwoven simultaneously. Prominent composers from this era include Guillaume Du Fay, Giovanni Pierluigi da Palestrina, Thomas Morley, Orlando di Lasso and Josquin des Prez. As musical activity shifted from the church to aristocratic courts, kings, queens and princes competed for the finest composers. Many leading composers came from the Netherlands, Belgium, and France; they are called the Franco-Flemish composers.^[55] They held important positions throughout Europe, especially in Italy. Other countries with vibrant musical activity included Germany, England, and Spain.

The Baroque era of music took place from 1600 to 1750, coinciding with the flourishing of the Baroque artistic style in Europe. The start of the Baroque era was marked by the penning of the first operas. Polyphonic contrapuntal music (music with separate, simultaneous melodic lines) remained important during this period. German Baroque composers wrote for small ensembles including strings, brass, and woodwinds, as well as for choirs and keyboard instruments such as pipe organ, harpsichord, and clavichord. Musical complexity increased during this time. Several major musical forms were created, some of them which persisted into later periods, seeing further development. These include the fugue, the invention, the sonata, and the concerto.^[56] The late Baroque style was polyphonically complex and richly ornamented. Important composers from the Baroque era include Johann Sebastian Bach (Cello suites), George Frideric Handel (Messiah), Georg Philipp Telemann and Antonio Vivaldi (The Four Seasons).

The music of the Classical period (1730 to 1820) aimed to imitate what were seen as the key elements of the art and philosophy of Ancient Greece and Rome: the ideals of balance, proportion and disciplined expression. (Note: the music from the Classical period should not be confused with Classical music in general, a term which refers to Western art music from the 5th century to the 2000s, which includes the Classical period as one of a number of periods). Music from the Classical period has a lighter, clearer and considerably simpler texture than the Baroque music which preceded it. The main style was homophony,^[57] where a prominent melody and a subordinate chordal accompaniment part are clearly distinct. Classical instrumental melodies tended to be almost voicelike and singable. New genres were developed, and the fortepiano, the forerunner to the modern piano, replaced the Baroque era harpsichord and pipe organ as the main keyboard instrument (though pipe organ continued to be used in sacred music, such as Masses).

Importance was given to instrumental music. It was dominated by further development of musical forms initially defined in the Baroque period: the sonata, the concerto, and the symphony. Other main kinds were the trio, string quartet, serenade and divertimento. The sonata was the most important and developed form. Although Baroque composers also wrote sonatas, the Classical style of sonata is completely distinct. All of the main instrumental forms of the Classical era, from string quartets to symphonies and concertos, were based on the structure of the sonata. The instruments used chamber music and orchestra became more standardized. In place of the basso continuo group of the Baroque era, which consisted of harpsichord, organ or lute along with a number of bass instruments selected at the discretion of the group leader (e.g., viol, cello, theorbo, serpent), Classical chamber groups used specified, standardized instruments (e.g., a string quartet would be performed by two violins, a viola and a cello). The practice of improvised chord-playing by the continuo keyboardist or lute player, a hallmark of Baroque music, underwent a gradual decline between 1750 and 1800.^[58]

One of the most important changes made in the Classical period was the development of public concerts. The aristocracy still played a significant role in the sponsorship of concerts and compositions, but it was now possible for composers to survive without being permanent employees of queens or princes. The increasing popularity of classical music led to a growth in the number and types of orchestras. The expansion of orchestral concerts necessitated the building of large public performance spaces. Symphonic music including symphonies, musical accompaniment to ballet and mixed vocal/instrumental genres, such as opera and oratorio, became more popular.^[59][60][61]

The best known composers of Classicism are Carl Philipp Emanuel Bach, Christoph Willibald Gluck, Johann Christian Bach, Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven and Franz Schubert. Beethoven and Schubert are also considered to be composers in the later part of the Classical era, as it began to move towards Romanticism.

Romantic music (c. 1820 to 1900) from the 19th century had many elements in common with the Romantic styles in literature and painting of the era. Romanticism was an artistic, literary, and intellectual movement was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature. Romantic music expanded beyond the rigid styles and forms of the Classical era into more passionate, dramatic expressive pieces and songs. Romantic composers such as Wagner and Brahms attempted to increase emotional expression and power in their music to describe deeper truths or human feelings. With symphonic tone poems, composers tried to tell stories and evoke images or landscapes using instrumental music. Some composers promoted nationalistic pride with patriotic orchestral music inspired by folk music. The emotional and expressive qualities of music came to take precedence over tradition.^[62]

Romantic composers grew in idiosyncrasy, and went further in the syncretism of exploring different art-forms in a musical context, (such as literature), history (historical figures and legends), or nature itself. Romantic love or longing was a prevalent theme in many works composed during this period. In some cases, the formal structures from the classical period continued to be used (e.g., the sonata form used in string quartets and symphonies), but these forms were expanded and altered. In many cases, new approaches were explored for existing genres, forms, and functions. Also, new forms were created that were deemed better suited to the new subject matter. Composers continued to develop opera and ballet music, exploring new styles and themes.^[38]

In the years after 1800, the music developed by Ludwig van Beethoven and Franz Schubert introduced a more dramatic, expressive style. In Beethoven's case, short motifs, developed organically, came to replace melody as the most significant compositional unit (an example is the distinctive four note figure used in his Fifth Symphony). Later Romantic composers such as Pyotr Ilyich Tchaikovsky, Antonín DvoÃ…â„¢ák, and Gustav Mahler used more unusual chords and more dissonance to create dramatic tension. They generated complex and often much longer musical works. During the late Romantic period, composers explored dramatic chromatic alterations of tonality, such as extended chords and altered chords, which created new sound "colors." The late 19th century saw a dramatic expansion in the size of the orchestra, and the Industrial Revolution helped to create better instruments, creating a more powerful sound. Public concerts became an important part of well-to-do urban society. It also saw a new diversity in theatre music, including operetta, and musical comedy and other forms of musical theatre.^[38]

In the 19th century, a key way new compositions became known to the public was by the sales of sheet music, which middle class amateur music lovers would perform at home, on their piano or other common instruments, such as the violin. With 20th-century music, the invention of new electric technologies such as radio broadcasting and mass market availability of gramophone records meant sound recordings heard by listeners (on the radio or record player) became the main way to learn about new songs and pieces.^[63] There was a vast increase in music listening as the radio gained popularity and phonographs were used to replay and distribute music; anyone with a radio or record player could hear operas, symphonies and big bands in their own living room. During the 19th century, the focus on sheet music had restricted access to new music to middle and upper-class people who could read music and who owned pianos and other instruments. Radios and record players allowed lower-income people, who could not afford an opera or symphony concert ticket, to hear this music. As well, people could hear music from different parts of the country, or even different parts of the world, even if they could not afford to travel to these locations. This helped to spread musical styles.^[64]

The focus of art music in the 20th century was characterized by exploration of new rhythms, styles, and sounds. The horrors of World War I influenced many of the arts, including music, and composers began exploring darker, harsher sounds. Traditional music styles such as jazz and folk music were used by composers as a source of ideas for classical music. Igor Stravinsky, Arnold Schoenberg, and John Cage were influential composers in 20th-century art music. The invention of sound recording and the ability to edit music gave rise to new subgenres of classical music, including the acousmatic^[65] and musique concrète schools of electronic composition. Sound recording was a major influence on the development of popular music genres, because it enabled recordings of songs and bands to be widely distributed. The introduction of the multitrack recording system had a major influence on rock music, because it could do more than record a band's performance. Using a multitrack system, a band and their music producer could overdub many layers of instrument tracks and vocals, creating new sounds that would not be possible in a live performance.^[66][67]

Jazz evolved and became an important genre of music over the course of the 20th century, and during the second half, rock music did the same. Jazz is an American musical artform that originated in the late 19th and early 20th centuries in African American communities in the Southern United States from a confluence of African and European music traditions. The style's West African pedigree is evident in its use of blue notes, improvisation, polyrhythms, syncopation, and the swung note.^[68]

Rock music is a genre of popular music that developed in the 1950s from rock and roll, rockabilly, blues, and country music.^[69] The sound of rock often revolves around the electric or acoustic guitar, and it uses a strong back beat laid down by a rhythm section. Along with the guitar or keyboards, saxophone and blues-style harmonica are used as soloing instruments. In its "purest form", it "has three chords, a strong, insistent back beat, and a catchy melody."^[70] The traditional rhythm section for popular music is rhythm guitar, electric bass guitar, drums. Some bands have keyboard instruments such as organ, piano, or, since the 1970s, analog synthesizers. In the 1980s, pop musicians began using digital synthesizers, such as the DX-7 synthesizer, electronic drum machines such as the TR-808 and synth bass devices (such as the TB-303) or synth bass keyboards. In the 1990s, an increasingly large range of computerized hardware musical devices and instruments and software (e.g. digital audio workstations) were used. In the 2020s, soft synths and computer music apps make it possible for bedroom producers to create and record types of music, such as electronic dance music, in their home, adding sampled and digital instruments and editing the recording digitally. In the 1990s, bands in genres such as nu metal began including DJs in their bands. DJs create music by manipulating recorded music, using a DJ mixer.^[71][72]

"Composition" is the act or practice of creating a song, an instrumental music piece, a work with both singing and instruments, or another type of music. In many cultures, including Western classical music, the act of composing also includes the creation of music notation, such as a sheet music "score", which is then performed by the composer or by other singers or musicians. In popular music and traditional music, the act of composing, which is typically called songwriting, may involve the creation of a basic outline of the song, called the lead sheet, which sets out the melody, lyrics and chord progression. In classical music, the composer typically orchestrates his or her own compositions, but in musical theatre and in pop music, songwriters may hire an arranger to do the orchestration. In some cases, a songwriter may not use notation at all, and instead, compose the song in her mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music.^[73][74]

Even when music is notated relatively precisely, as in classical music, there are many decisions that a performer has to make, because notation does not specify all of the elements of music precisely. The process of deciding how to perform music that has been previously composed and notated is termed "interpretation". Different performers' interpretations of the same work of music can vary widely, in terms of the tempos that are chosen and the playing or singing style or phrasing of the melodies. Composers and songwriters who present their own music are interpreting their songs, just as much as those who perform the music of others. The standard body of choices and techniques present at a given time and a given place is referred to as performance practice, whereas interpretation is generally used to mean the individual choices of a performer.^[75]

Although a musical composition often uses musical notation and has a single author, this is not always the case. A work of music can have multiple composers, which often occurs in popular music when a band collaborates to write a song, or in musical theatre, when one person writes the melodies, a second person writes the lyrics, and a third person orchestrates the songs. In some styles of music, such as the blues, a composer/songwriter may create, perform and record new songs or pieces without ever writing them down in music notation. A piece of music can also be composed with words, images, or computer programs that explain or notate how the singer or musician should create musical sounds. Examples range from avant-garde music that uses graphic notation, to text compositions such as Aus den sieben Tagen, to computer programs that select sounds for musical pieces. Music that makes heavy use of randomness and chance is called aleatoric music,^[76] and is associated with contemporary composers active in the 20th century, such as John Cage, Morton Feldman, and Witold Lutosławski. A commonly known example of chance-based music is the sound of wind chimes jingling in a breeze.

The study of composition has traditionally been dominated by examination of methods and practice of Western classical music, but the definition of composition is broad enough to include the creation of popular music and traditional music songs and instrumental pieces as well as spontaneously improvised works like those of free jazz performers and African percussionists such as Ewe drummers.

Performance is the physical expression of music, which occurs when a song is sung or piano piece, guitar melody, symphony, drum beat or other musical part is played. In classical music, a work is written in music notation by a composer and then performed once the composer is satisfied with its structure and instrumentation. However, as it gets performed, the interpretation of a song or piece can evolve and change. In classical music, instrumental performers, singers or conductors may gradually make changes to the phrasing or tempo of a piece. In popular and traditional music, the performers have more freedom to make changes to the form of a song or piece. As such, in popular and traditional music styles, even when a band plays a cover song, they can make changes such as adding a guitar solo or inserting an introduction.^[77]

A performance can either be planned out and rehearsed (practiced)—which is the norm in classical music, jazz big bands, and many popular music styles–or improvised over a chord progression (a sequence of chords), which is the norm in small jazz and blues groups. Rehearsals of orchestras, concert bands and choirs are led by a conductor. Rock, blues and jazz bands are usually led by the bandleader. A rehearsal is a structured repetition of a song or piece by the performers until it can be sung or played correctly and, if it is a song or piece for more than one musician, until the parts are together from a rhythmic and tuning perspective.

Many cultures have strong traditions of solo performance (in which one singer or instrumentalist performs), such as in Indian classical music, and in the Western art-music tradition. Other cultures, such as in Bali, include strong traditions of group performance. All cultures include a mixture of both, and performance may range from improvised solo playing to highly planned and organized performances such as the modern classical concert, religious processions, classical music festivals or music competitions. Chamber music, which is music for a small ensemble with only one or a few of each type of instrument, is often seen as more intimate than large symphonic works.^[78]

Musical improvisation is the creation of spontaneous music, often within (or based on) a pre-existing harmonic framework, chord progression, or riffs. Improvisers use the notes of the chord, various scales that are associated with each chord, and chromatic ornaments and passing tones which may be neither chord tones nor from the typical scales associated with a chord. Musical improvisation can be done with or without preparation. Improvisation is a major part of some types of music, such as blues, jazz, and jazz fusion, in which instrumental performers improvise solos, melody lines, and accompaniment parts.^[79]

In the Western art music tradition, improvisation was an important skill during the Baroque era and during the Classical era. In the Baroque era, performers improvised ornaments, and basso continuo keyboard players improvised chord voicings based on figured bass notation. As well, the top soloists were expected to be able to improvise pieces such as preludes. In the Classical era, solo performers and singers improvised virtuoso cadenzas during concerts.

However, in the 20th and early 21st century, as "common practice" Western art music performance became institutionalized in symphony orchestras, opera houses, and ballets, improvisation has played a smaller role, as more and more music was notated in scores and parts for musicians to play. At the same time, some 20th and 21st century art music composers have increasingly included improvisation in their creative work. In Indian classical music, improvisation is a core component and an essential criterion of performances.

Music is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace. When music was only available through sheet music scores, such as during the Classical and Romantic eras, music lovers would buy the sheet music of their favourite pieces and songs so that they could perform them at home on the piano. With the advent of the phonograph, records of popular songs, rather than sheet music became the dominant way that music lovers would enjoy their favourite songs. With the advent of home tape recorders in the 1980s and digital music in the 1990s, music lovers could make tapes or playlists of favourite songs and take them with them on a portable cassette player or MP3 player. Some music lovers create mix tapes of favourite songs, which serve as a "self-portrait, a gesture of friendship, prescription for an ideal party... [and] an environment consisting solely of what is most ardently loved".^[80]

Amateur musicians can compose or perform music for their own pleasure and derive income elsewhere. Professional musicians are employed by institutions and organisations, including armed forces (in marching bands, concert bands and popular music groups), religious institutions, symphony orchestras, broadcasting or film production companies, and music schools. Professional musicians sometimes work as freelancers or session musicians, seeking contracts and engagements in a variety of settings. There are often many links between amateur and professional musicians. Beginning amateur musicians take lessons with professional musicians. In community settings, advanced amateur musicians perform with professional musicians in a variety of ensembles such as community concert bands and community orchestras.

A distinction is often made between music performed for a live audience and music that is performed in a studio so that it can be recorded and distributed through the music retail system or the broadcasting system. However, there are also many cases where a live performance in front of an audience is also recorded and distributed. Live concert recordings are popular in both classical music and in popular music forms such as rock, where illegally taped live concerts are prized by music lovers. In the jam band scene, live, improvised jam sessions are preferred to studio recordings.^[81]

Music notation typically means the written expression of music notes and rhythms on paper using symbols. When music is written down, the pitches and rhythm of the music, such as the notes of a melody, are notated. Music notation often provides instructions on how to perform the music. For example, the sheet music for a song may state the song is a "slow blues" or a "fast swing", which indicates the tempo and the genre. To read notation, a person must have an understanding of music theory, harmony and the performance practice associated with a particular song or piece's genre.

Written notation varies with the style and period of music. Nowadays, notated music is produced as sheet music or, for individuals with computer scorewriter programs, as an image on a computer screen. In ancient times, music notation was put onto stone or clay tablets.^[37] To perform music from notation, a singer or instrumentalist requires an understanding of the rhythmic and pitch elements embodied in the symbols and the performance practice that is associated with a piece of music or genre. In genres requiring musical improvisation, the performer often plays from music where only the chord changes and form of the song are written, requiring the performer to have a great understanding of the music's structure, harmony and the styles of a particular genre e.g., jazz or country music.

In Western art music, the most common types of written notation are scores, which include all the music parts of an ensemble piece, and parts, which are the music notation for the individual performers or singers. In popular music, jazz, and blues, the standard musical notation is the lead sheet, which notates the melody, chords, lyrics (if it is a vocal piece), and structure of the music. Fake books are also used in jazz; they may consist of lead sheets or simply chord charts, which permit rhythm section members to improvise an accompaniment part to jazz songs. Scores and parts are also used in popular music and jazz, particularly in large ensembles such as jazz "big bands." In popular music, guitarists and electric bass players often read music notated in tablature (often abbreviated as "tab"), which indicates the location of the notes to be played on the instrument using a diagram of the guitar or bass fingerboard. Tablature was used in the Baroque era to notate music for the lute, a stringed, fretted instrument.^[82]

Many types of music, such as traditional blues and folk music were not written down in sheet music; instead, they were originally preserved in the memory of performers, and the songs were handed down orally, from one musician or singer to another, or aurally, in which a performer learns a song "by ear". When the composer of a song or piece is no longer known, this music is often classified as "traditional" or as a "folk song". Different musical traditions have different attitudes towards how and where to make changes to the original source material, from quite strict, to those that demand improvisation or modification to the music. A culture's history and stories may also be passed on by ear through song.^[83]

Music has many different fundamentals or elements. Depending on the definition of "element" being used, these can include pitch, beat or pulse, tempo, rhythm, melody, harmony, texture, style, allocation of voices, timbre or color, dynamics, expression, articulation, form, and structure. The elements of music feature prominently in the music curriculums of Australia, the UK, and the US. All three curriculums identify pitch, dynamics, timbre, and texture as elements, but the other identified elements of music are far from universally agreed upon. Below is a list of the three official versions of the "elements of music":

• Australia: pitch, timbre, texture, dynamics and expression, rhythm, form and structure.^[84]
• UK: pitch, timbre, texture, dynamics, duration, tempo, structure.^[85]
• USA: pitch, timbre, texture, dynamics, rhythm, form, harmony, style/articulation.^[86]

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.^[87]

The phrase "the elements of music" is used in a number of different contexts. The two most common contexts can be differentiated by describing them as the "rudimentary elements of music" and the "perceptual elements of music".^{[n 4]}

Pitch is an aspect of a sound that we can hear, reflecting whether one musical sound, note, or tone is "higher" or "lower" than another musical sound, note, or tone. We can talk about the highness or lowness of pitch in the more general sense, such as the way a listener hears a piercingly high piccolo note or whistling tone as higher in pitch than a deep thump of a bass drum. We also talk about pitch in the precise sense associated with musical melodies, basslines and chords. Precise pitch can only be determined in sounds that have a frequency that is clear and stable enough to distinguish from noise. For example, it is much easier for listeners to discern the pitch of a single note played on a piano than to try to discern the pitch of a crash cymbal that is struck.^[92]

A melody, also called a "tune", is a series of pitches (notes) sounding in succession (one after the other), often in a rising and falling pattern. The notes of a melody are typically created using pitch systems such as scales or modes. Melodies also often contain notes from the chords used in the song. The melodies in simple folk songs and traditional songs may use only the notes of a single scale, the scale associated with the tonic note or key of a given song. For example, a folk song in the key of C (also referred to as C major) may have a melody that uses only the notes of the C major scale (the individual notes C, D, E, F, G, A, B, and C; these are the "white notes" on a piano keyboard. On the other hand, Bebop-era jazz from the 1940s and contemporary music from the 20th and 21st centuries may use melodies with many chromatic notes (i.e., notes in addition to the notes of the major scale; on a piano, a chromatic scale would include all the notes on the keyboard, including the "white notes" and "black notes" and unusual scales, such as the whole tone scale (a whole tone scale in the key of C would contain the notes C, D, E, F♯, G♯ and A♯). A low musical line played by bass instruments, such as double bass, electric bass, or tuba, is called a bassline.^[93]

Harmony refers to the "vertical" sounds of pitches in music, which means pitches that are played or sung together at the same time creates a chord. Usually, this means the notes are played at the same time, although harmony may also be implied by a melody that outlines a harmonic structure (i.e., by using melody notes that are played one after the other, outlining the notes of a chord). In music written using the system of major-minor tonality ("keys"), which includes most classical music written from 1600 to 1900 and most Western pop, rock, and traditional music, the key of a piece determines the "home note" or tonic to which the piece generally resolves, and the character (e.g. major or minor) of the scale in use. Simple classical pieces and many pop and traditional music songs are written so that all the music is in a single key. More complex Classical, pop, and traditional music songs and pieces may have two keys (and in some cases three or more keys). Classical music from the Romantic era (written from about 1820–1900) often contains multiple keys,^[94] as does jazz, especially Bebop jazz from the 1940s, in which the key or "home note" of a song may change every four bars or even every two bars.^[95]

Rhythm is the arrangement of sounds and silences in time. Meter animates time in regular pulse groupings, called measures or bars, which in Western classical, popular, and traditional music often group notes in sets of two (e.g., 2/4 time), three (e.g., 3/4 time, also known as Waltz time, or 3/8 time), or four (e.g., 4/4 time). Meters are made easier to hear because songs and pieces often (but not always) place an emphasis on the first beat of each grouping. Notable exceptions exist, such as the backbeat used in much Western pop and rock, in which a song that uses a measure that consists of four beats (called 4/4 time or common time) will have accents on beats two and four, which are typically performed by the drummer on the snare drum, a loud and distinctive-sounding percussion instrument. In pop and rock, the rhythm parts of a song are played by the rhythm section, which includes chord-playing instruments (e.g., electric guitar, acoustic guitar, piano, or other keyboard instruments), a bass instrument (typically electric bass or for some styles such as jazz and bluegrass, double bass) and a drum kit player.^[96]

Musical texture is the overall sound of a piece of music or song. The texture of a piece or song is determined by how the melodic, rhythmic, and harmonic materials are combined in a composition, thus determining the overall nature of the sound in a piece. Texture is often described in regard to the density, or thickness, and range, or width, between lowest and highest pitches, in relative terms as well as more specifically distinguished according to the number of voices, or parts, and the relationship between these voices (see common types below). For example, a thick texture contains many 'layers' of instruments. One layer can be a string section or another brass. The thickness is affected by the amount and the richness of the instruments.^[97] Texture is commonly described according to the number of and relationship between parts or lines of music:

• monophony: a single melody (or "tune") with neither instrumental accompaniment nor a harmony part. A mother singing a lullaby to her baby would be an example.
• heterophony: two or more instruments or singers playing/singing the same melody, but with each performer slightly varying the rhythm or speed of the melody or adding different ornaments to the melody. Two bluegrass fiddlers playing the same traditional fiddle tune together will typically each vary the melody by some degree and each add different ornaments.
• polyphony: multiple independent melody lines that interweave together, which are sung or played at the same time. Choral music written in the Renaissance music era was typically written in this style. A round, which is a song such as "Row, Row, Row Your Boat", which different groups of singers all start to sing at a different time, is an example of polyphony.
• homophony: a clear melody supported by chordal accompaniment. Most Western popular music songs from the 19th century onward are written in this texture.

Music that contains a large number of independent parts (e.g., a double concerto accompanied by 100 orchestral instruments with many interweaving melodic lines) is generally said to have a "thicker" or "denser" texture than a work with few parts (e.g., a solo flute melody accompanied by a single cello).

Timbre, sometimes called "color" or "tone color" is the quality or sound of a voice or instrument.^[98] Timbre is what makes a particular musical sound different from another, even when they have the same pitch and loudness. For example, a 440 Hz A note sounds different when it is played on oboe, piano, violin, or electric guitar. Even if different players of the same instrument play the same note, their notes might sound different due to differences in instrumental technique (e.g., different embouchures), different types of accessories (e.g., mouthpieces for brass players, reeds for oboe and bassoon players) or strings made out of different materials for string players (e.g., gut strings versus steel strings). Even two instrumentalists playing the same note on the same instrument (one after the other) may sound different due to different ways of playing the instrument (e.g., two string players might hold the bow differently).

The physical characteristics of sound that determine the perception of timbre include the spectrum, envelope, and overtones of a note or musical sound. For electric instruments developed in the 20th century, such as electric guitar, electric bass and electric piano, the performer can also change the tone by adjusting equalizer controls, tone controls on the instrument, and by using electronic effects units such as distortion pedals. The tone of the electric Hammond organ is controlled by adjusting drawbars.

Expressive qualities are those elements in music that create change in music without changing the main pitches or substantially changing the rhythms of the melody and its accompaniment. Performers, including singers and instrumentalists, can add musical expression to a song or piece by adding phrasing, by adding effects such as vibrato (with voice and some instruments, such as guitar, violin, brass instruments, and woodwinds), dynamics (the loudness or softness of piece or a section of it), tempo fluctuations (e.g., ritardando or accelerando, which are, respectively slowing down and speeding up the tempo), by adding pauses or fermatas on a cadence, and by changing the articulation of the notes (e.g., making notes more pronounced or accented, by making notes more legato, which means smoothly connected, or by making notes shorter).

Expression is achieved through the manipulation of pitch (such as inflection, vibrato, slides etc.), volume (dynamics, accent, tremolo etc.), duration (tempo fluctuations, rhythmic changes, changing note duration such as with legato and staccato, etc.), timbre (e.g. changing vocal timbre from a light to a resonant voice) and sometimes even texture (e.g. doubling the bass note for a richer effect in a piano piece). Expression therefore can be seen as a manipulation of all elements to convey "an indication of mood, spirit, character etc."^[99] and as such cannot be included as a unique perceptual element of music,^[100] although it can be considered an important rudimentary element of music.

In music, form describes the overall structure or plan of a song or piece of music,^[101] and it describes the layout of a composition as divided into sections.^[102] In the early 20th century, Tin Pan Alley songs and Broadway musical songs were often in AABA thirty-two-bar form, in which the A sections repeated the same eight bar melody (with variation) and the B section provided a contrasting melody or harmony for eight bars. From the 1960s onward, Western pop and rock songs are often in verse-chorus form, which comprises a sequence of verse and chorus ("refrain") sections, with new lyrics for most verses and repeating lyrics for the choruses. Popular music often makes use of strophic form, sometimes in conjunction with the twelve bar blues.^[103]

In the tenth edition of The Oxford Companion to Music, Percy Scholes defines musical form as "a series of strategies designed to find a successful mean between the opposite extremes of unrelieved repetition and unrelieved alteration."^[104] Examples of common forms of Western music include the fugue, the invention, sonata-allegro, canon, strophic, theme and variations, and rondo.

Scholes states that European classical music had only six stand-alone forms: simple binary, simple ternary, compound binary, rondo, air with variations, and fugue (although musicologist Alfred Mann emphasized that the fugue is primarily a method of composition that has sometimes taken on certain structural conventions.^[105])

Where a piece cannot readily be broken into sectional units (though it might borrow some form from a poem, story or programme), it is said to be through-composed. Such is often the case with a fantasia, prelude, rhapsody, etude (or study), symphonic poem, Bagatelle, impromptu or similar composition.^[106] Professor Charles Keil classified forms and formal detail as "sectional, developmental, or variational."^[107]

The philosophy of music is the study of fundamental questions regarding music and has connections with questions in metaphysics and aesthetics. Questions include:

• What is the definition of music? (What are the necessary and sufficient conditions for classifying something as music?)
• What is the relationship between music and mind?
• What does music history reveal to us about the world?
• What is the connection between music and emotions?
• What is meaning in relation to music?

In ancient times, such as with the Ancient Greeks, the aesthetics of music explored the mathematical and cosmological dimensions of rhythmic and harmonic organization. In the 18th century, focus shifted to the experience of hearing music, and thus to questions about its beauty and human enjoyment (plaisir and jouissance) of music. The origin of this philosophic shift is sometimes attributed to Alexander Gottlieb Baumgarten in the 18th century, followed by Immanuel Kant. Through their writing, the ancient term 'aesthetics', meaning sensory perception, received its present-day connotation. In the 2000s, philosophers have tended to emphasize issues besides beauty and enjoyment. For example, music's capacity to express emotion has been foregrounded.^[108]

In the 20th century, important contributions were made by Peter Kivy, Jerrold Levinson, Roger Scruton, and Stephen Davies. However, many musicians, music critics, and other non-philosophers have contributed to the aesthetics of music. In the 19th century, a significant debate arose between Eduard Hanslick, a music critic and musicologist, and composer Richard Wagner regarding whether music can express meaning. Harry Partch and some other musicologists, such as Kyle Gann, have studied and tried to popularize microtonal music and the usage of alternate musical scales. Modern composers like La Monte Young, Rhys Chatham and Glenn Branca paid much attention to a scale called just intonation.^{[109][110][111]}

It is often thought that music has the ability to affect our emotions, intellect, and psychology; it can assuage our loneliness or incite our passions. Plato suggests in The Republic that music has a direct effect on the soul. Therefore, he proposes that in the ideal regime music would be closely regulated by the state (Book VII).^[112] In Ancient China, Confucius believed that music and rituals or rites are interconnected and harmonious with nature; he stated that music was the harmonization of heaven and earth, while the order was brought by the rites order, making them extremely crucial functions in society.^[113]

Modern music psychology aims to explain and understand musical behavior and experience.^[114] Research in this field and its subfields are primarily empirical; their knowledge tends to advance on the basis of interpretations of data collected by systematic observation of and interaction with human participants. In addition to its focus on fundamental perceptions and cognitive processes, music psychology is a field of research with practical relevance for many areas, including music performance, composition, education, criticism, and therapy, as well as investigations of human aptitude, skill, intelligence, creativity, and social behavior.

Cognitive neuroscience of music is the scientific study of brain-based mechanisms involved in the cognitive processes underlying music. These behaviours include music listening, performing, composing, reading, writing, and ancillary activities. It also is increasingly concerned with the brain basis for musical aesthetics and musical emotion. The field is distinguished by its reliance on direct observations of the brain, using such techniques as functional magnetic resonance imaging (fMRI), transcranial magnetic stimulation (TMS), magnetoencephalography (MEG), electroencephalography (EEG), and positron emission tomography (PET).

Cognitive musicology is a branch of cognitive science concerned with computationally modeling musical knowledge with the goal of understanding both music and cognition.^[115] The use of computer models provides an exacting, interactive medium in which to formulate and test theories and has roots in artificial intelligence and cognitive science.^[116]

Cognitive musicology investigates topics such as the parallels between language and music in the brain. Research often includes biologically inspired models of computation, such as neural networks and evolutionary programs.^[117] This field seeks to model how musical knowledge is represented, stored, perceived, performed, and generated. By using a well-structured computer environment, the systematic structures of these cognitive phenomena can be investigated.^[118]

Psychoacoustics is the scientific study of sound perception. More specifically, it is the branch of science studying the psychological and physiological responses associated with sound (including speech and music). It can be further categorized as a branch of psychophysics.

Evolutionary musicology concerns the "origins of music, the question of animal song, selection pressures underlying music evolution", and "music evolution and human evolution".^[119] It seeks to understand music perception and activity in the context of evolutionary theory. Charles Darwin speculated that music may have held an adaptive advantage and functioned as a protolanguage,^[120] a view which has spawned several competing theories of music evolution.^{[121][122][page needed][123]} An alternate view sees music as a by-product of linguistic evolution; a type of "auditory cheesecake" that pleases the senses without providing any adaptive function.^[124] This view has been directly countered by numerous music researchers.^{[125][126][127]}

An individual's culture or ethnicity plays a role in their music cognition, including their preferences, emotional reaction, and musical memory. Musical preferences are biased toward culturally familiar musical traditions beginning in infancy, and adults' classification of the emotion of a musical piece depends on both culturally specific and universal structural features.^[128][129] Additionally, individuals' musical memory abilities are greater for culturally familiar music than for culturally unfamiliar music.^[130][131]

Since the emergence of the study of psychoacoustics in the 1930s, most lists of elements of music have related more to how we hear music than how we learn to play it or study it. C.E. Seashore, in his book Psychology of Music,^[132] identified four "psychological attributes of sound". These were: "pitch, loudness, time, and timbre" (p. 3). He did not call them the "elements of music" but referred to them as "elemental components" (p. 2). Nonetheless, these elemental components link precisely with four of the most common musical elements: "Pitch" and "timbre" match exactly, "loudness" links with dynamics, and "time" links with the time-based elements of rhythm, duration, and tempo. This usage of the phrase "the elements of music" links more closely with Webster's New 20th Century Dictionary definition of an element as: "a substance which cannot be divided into a simpler form by known methods"^[133] and educational institutions' lists of elements generally align with this definition as well.

Although writers of lists of "rudimentary elements of music" can vary their lists depending on their personal (or institutional) priorities, the perceptual elements of music should consist of an established (or proven) list of discrete elements which can be independently manipulated to achieve an intended musical effect. It seems at this stage that there is still research to be done in this area.

A slightly different way of approaching the identification of the elements of music, is to identify the "elements of sound" as: pitch, duration, loudness, timbre, sonic texture and spatial location,^[134] and then to define the "elements of music" as: sound, structure, and artistic intent.^[134]

Ethnographic studies demonstrate that music is a participatory, community-based activity.^[135][136] Music is experienced by individuals in a range of social settings 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 was a divide between what types of music were viewed as "high culture" and "low culture." "High culture" included 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. Other types of music—including jazz, blues, soul, and country—are often performed in bars, nightclubs, and theatres, where the audience may drink, dance and cheer. Until the 20th century, the division between "high" and "low" musical forms was accepted as a valid distinction that separated out "art music", from popular music heard in bars and dance halls. Musicologists, such as David Brackett, note a "redrawing of high-low cultural-aesthetic boundaries" in the 20th century.^[137] And, "when industry and public discourses link categories of music with categories of people, they tend to conflate stereotypes with actual listening communities."^[137] Stereotypes can be based on socioeconomic standing, or social class, of the performers or audience of the different types of music.

When composers introduce styles of music that break with convention, there can be strong resistance from academics and others. Late-period Beethoven string quartets, Stravinsky ballet scores, serialism, bebop, hip hop, punk rock, and electronica were controversial and criticised, when they were first introduced. Such themes are examined in the sociology of music, sometimes called sociomusicology, which is pursued in departments of sociology, media studies, or music, and is closely related to ethnomusicology.

Women have played a major role in music throughout history, as composers, songwriters, instrumental performers, singers, conductors, music scholars, music educators, music critics/music journalists and other musical professions. In the 2010s, while women comprise a significant proportion of popular music and classical music singers, and a significant proportion of songwriters (many of them being singer-songwriters), there are few women record producers, rock critics and rock instrumentalists. Although there have been a huge number of women composers in classical music, from the medieval period to the present day, women composers are significantly underrepresented in the commonly performed classical music repertoire, music history textbooks and music encyclopedias; for example, in the Concise Oxford History of Music, Clara Schumann is one of the few female composers who is mentioned.

Women comprise a significant proportion of instrumental soloists in classical music and the percentage of women in orchestras is increasing. A 2015 article on concerto soloists in major Canadian orchestras, however, indicated that 84% of the soloists with the Montreal Symphony Orchestra were men. In 2012, women still made up just 6% of the top-ranked Vienna Philharmonic orchestra. Women are less common as instrumental players in popular music genres such as rock and heavy metal, although there have been a number of notable female instrumentalists and all-female bands. Women are particularly underrepresented in extreme metal genres.^[138] In the 1960s pop-music scene, "[l]ike most aspects of the...music business, [in the 1960s,] songwriting was a male-dominated field. Though there were plenty of female singers on the radio, women ...were primarily seen as consumers:... Singing was sometimes an acceptable pastime for a girl, but playing an instrument, writing songs, or producing records simply wasn't done."^[139] Young women "...were not socialized to see themselves as people who create [music]."^[139]

Women are also underrepresented in orchestral conducting, music criticism/music journalism, music producing, and sound engineering. While women were discouraged from composing in the 19th century, and there are few women musicologists, women became involved in music education "...to such a degree that women dominated [this field] during the later half of the 19th century and well into the 20th century."^[140]

According to Jessica Duchen, a music writer for London's The Independent, women musicians in classical music are "...too often judged for their appearances, rather than their talent" and they face pressure "...to look sexy onstage and in photos."^[141] Duchen states that while "[t]here are women musicians who refuse to play on their looks,...the ones who do tend to be more materially successful."^[141] According to the UK's Radio 3 editor, Edwina Wolstencroft, the music industry has long been open to having women in performance or entertainment roles, but women are much less likely to have positions of authority, such as being the conductor of an orchestra.^[142] In popular music, while there are many women singers recording songs, there are very few women behind the audio console acting as music producers, the individuals who direct and manage the recording process.^[143] One of the most recorded artists is Asha Bhosle, an Indian singer best known as a playback singer in Hindi cinema.^[144]

Since the 20th century, live music can be broadcast over the radio, television or the Internet, or recorded and listened to on a CD player or MP3 player.

In the early 20th century (in the late 1920s), as talking pictures emerged in the early 20th century, with their prerecorded musical tracks, an increasing number of moviehouse orchestra musicians found themselves out of work.^[146] During the 1920s, live musical performances by orchestras, pianists, and theater organists were common at first-run theaters.^[147] With the coming of the talking motion pictures, those featured performances were largely eliminated. The American Federation of Musicians (AFM) took out newspaper advertisements protesting the replacement of live musicians with mechanical playing devices. One 1929 ad that appeared in the Pittsburgh Press features an image of a can labeled "Canned Music / Big Noise Brand / Guaranteed to Produce No Intellectual or Emotional Reaction Whatever"^[148]

Sometimes, live performances incorporate prerecorded sounds. For example, a disc jockey uses disc records for scratching, and some 20th-century works have a solo for an instrument or voice that is performed along with music that is prerecorded onto a tape. Some pop bands use recorded backing tracks. Computers and many keyboards can be programmed to produce and play Musical Instrument Digital Interface (MIDI) music. Audiences can also become performers by participating in karaoke, an activity of Japanese origin centered on a device that plays voice-eliminated versions of well-known songs. Most karaoke machines also have video screens that show lyrics to songs being performed; performers can follow the lyrics as they sing over the instrumental tracks.

The advent of the Internet and widespread high-speed broadband access has transformed the experience of music, partly through the increased ease of access to recordings of music via streaming video and vastly increased choice of music for consumers. Another effect of the Internet arose with online communities and social media websites like YouTube and Facebook, a social networking service. These sites make it easier for aspiring singers and amateur bands to distribute videos of their songs, connect with other musicians, and gain audience interest. Professional musicians also use YouTube as a free publisher of promotional material. YouTube users, for example, no longer only download and listen to MP3s, but also actively create their own. According to Don Tapscott and Anthony D. Williams, in their book Wikinomics, there has been a shift from a traditional consumer role to what they call a "prosumer" role, a consumer who both creates content and consumes. Manifestations of this in music include the production of mashes, remixes, and music videos by fans.^[149]

Music streaming services have further transformed music production. Streaming platforms, such as Spotify and Apple Music, mediate how music is consumed and distributed. This raises questions about how artists market their releases (i.e. as 'limited edition'), algorithmic suggestions, and affordable access to recorded music.^[150]

Generative AI systems, more commonly known as Music Metacreation in music generation, are increasingly being used to create music.^{[citation needed]} A more neutral term is 'Music Generation Systems' (MGSs).^[151]

The incorporation of music into general education from preschool to post secondary education is common in North America and Europe. Involvement in playing and singing music is thought to teach basic skills such as concentration, counting, listening, and cooperation while also promoting understanding of language, improving the ability to recall information, and creating an environment more conducive to learning in other areas.^[152] In elementary schools, children often learn to play instruments such as the recorder, sing in small choirs, and learn about the history of Western art music and traditional music. Some elementary school children also learn about popular music styles. In religious schools, children sing hymns and other religious music. In secondary schools (but rarely in primary schools), students may have the opportunity to perform in some types of musical ensembles, such as choirs (a group of singers), marching bands, concert bands, jazz bands, or orchestras. In some school systems, music lessons on how to play instruments may be provided. Some students also take private music lessons after school with a singing teacher or instrument teacher. Amateur musicians typically learn basic musical rudiments (e.g., learning about musical notation for musical scales and rhythms) and beginner- to intermediate-level singing or instrument-playing techniques.

At the university level, students in most arts and humanities programs can receive credit for taking a few music courses, which typically take the form of an overview course on the history of music, or a music appreciation course that focuses on listening to music and learning about different musical styles. In addition, most North American and European universities have some types of musical ensembles that students in arts and humanities are able to participate in, such as choirs, marching bands, concert bands, or orchestras. The study of Western art music is increasingly common outside of North America and Europe, such as the Indonesian Institute of the Arts in Yogyakarta, Indonesia, or the classical music programs that are available in Asian countries such as South Korea, Japan, and China. At the same time, Western universities and colleges are widening their curriculum to include music of non-Western cultures, such as the music of Africa or Bali (e.g. Gamelan music).

People aiming to become professional musicians, singers, composers, songwriters, music teachers and practitioners of other music-related professions such as music history professors, sound engineers, and so on study in specialized post-secondary programs offered by colleges, universities and music conservatories. Some institutions that train individuals for careers in music offer training in a wide range of professions, as is the case with many of the top U.S. universities, which offer degrees in music performance (including singing and playing instruments), music history, music theory, music composition, music education (for individuals aiming to become elementary or high school music teachers) and, in some cases, conducting. On the other hand, some small colleges may only offer training in a single profession (e.g., sound recording).

While most university and conservatory music programs focus on training students in classical music, there are universities and colleges that train musicians for careers as jazz or popular music musicians and composers, with notable U.S. examples including the Manhattan School of Music and the Berklee College of Music. Two schools in Canada which offer professional jazz training are McGill University and Humber College. Individuals aiming at careers in some types of music, such as heavy metal music, country music or blues are unlikely to become professionals by completing degrees or diplomas. Instead, they typically learn about their style of music by singing or playing in bands (often beginning in amateur bands, cover bands and tribute bands), studying recordings on DVD and the Internet, and working with already-established professionals in their style of music, either through informal mentoring or regular music lessons. Since the 2000s, the increasing popularity and availability of Internet forums and YouTube "how-to" videos have enabled singers and musicians from metal, blues and similar genres to improve their skills. Many pop, rock and country singers train informally with vocal coaches and voice teachers.^[153][154]

Musicology, the academic study of music, is studied in universities and music conservatories. The earliest definitions from the 19th century defined three sub-disciplines of musicology: systematic musicology, historical musicology, and comparative musicology or ethnomusicology. In 2010-era scholarship, one is more likely to encounter a division into music theory, music history, and ethnomusicology. Research in musicology has often been enriched by cross-disciplinary work, for example in the field of psychoacoustics. The study of music of non-Western cultures, and cultural study of music, is called ethnomusicology. Students can pursue study of musicology, ethnomusicology, music history, and music theory through different types of degrees, including bachelor's, master's and PhD.^{[155][156][157]}

Music theory is the study of music, generally in a highly technical manner outside of other disciplines. More broadly it refers to any study of music, usually related in some form with compositional concerns, and may include mathematics, physics, and anthropology. What is most commonly taught in beginning music theory classes are guidelines to write in the style of the common practice period, or tonal music. Theory, even of music of the common practice period, may take other forms.^[158] Musical set theory is the application of mathematical set theory to music, first applied to atonal music. Speculative music theory, contrasted with analytic music theory, is devoted to the analysis and synthesis of music materials, for example tuning systems, generally as preparation for composition.^[159]

Zoomusicology is the study of the music of non-human animals, or the musical aspects of sounds produced by non-human animals. As George Herzog (1941) asked, "do animals have music?" François-Bernard Mâche's Musique, mythe, nature, ou les Dauphins d'Arion (1983), a study of "ornitho-musicology" using a technique of Nicolas Ruwet's Language, musique, poésie (1972) paradigmatic segmentation analysis, shows that bird songs are organised according to a repetition-transformation principle. Jean-Jacques Nattiez (1990), argues that "in the last analysis, it is a human being who decides what is and is not musical, even when the sound is not of human origin. If we acknowledge that sound is not organised and conceptualised (that is, made to form music) merely by its producer, but by the mind that perceives it, then music is uniquely human."^[160]

In the West, much of the history of music that is taught deals with the Western civilization's art music, known as classical music. The history of music in non-Western cultures ("world music" or the field of "ethnomusicology") is also taught in Western universities. This includes the documented classical traditions of Asian countries outside the influence of Western Europe, as well as the folk or indigenous music of various other cultures. Popular or folk styles of music in non-Western countries varied from culture to culture, and period to period. Different cultures emphasised different instruments, techniques, singing styles and uses for music. Music has been used for entertainment, ceremonies, rituals, religious purposes and for practical and artistic communication. Non-Western music has also been used for propaganda purposes, as was the case with Chinese opera during the Cultural Revolution.

There is a host of music classifications for non-Western music, many of which are caught up in the argument over the definition of music. Among the largest of these is the division between classical music (or "art" music), and popular music (or commercial music – including non-Western styles of rock, country, and pop music-related styles). Some genres do not fit neatly into one of these "big two" classifications, (such as folk music, world music, or jazz-related music).

As world cultures have come into greater global contact, their indigenous musical styles have often merged with other styles, which produces new styles. For example, the United States bluegrass style contains elements from Anglo-Irish, Scottish, Irish, German and African instrumental and vocal traditions, which were able to fuse in the United States' multi-ethnic "melting pot" society. Some types of world music contain a mixture of non-Western indigenous styles with Western pop music elements. Genres of music are determined as much by tradition and presentation as by the actual music. Some works, like George Gershwin's Rhapsody in Blue, are claimed by both jazz and classical music, while Gershwin's Porgy and Bess and Leonard Bernstein's West Side Story are claimed by both opera and the Broadway musical tradition. Many music festivals for non-Western music, include bands and singers from a particular musical genre, such as world music.^[161][162]

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.

Music therapy is an interpersonal process in which a trained therapist uses music and all of its facets—physical, emotional, mental, social, aesthetic, and spiritual—to help clients to improve or maintain their health. In some instances, the client's needs are addressed directly through music; in others they are addressed through the relationships that develop between the client and therapist. Music therapy is used with individuals of all ages and with a variety of conditions, including: psychiatric disorders, medical problems, physical disabilities, sensory impairments, developmental disabilities, substance abuse issues, communication disorders, interpersonal problems, and aging. It is also used to improve learning, build self-esteem, reduce stress, support physical exercise, and facilitate a host of other health-related activities. Music therapists may encourage clients to sing, play instruments, create songs, or do other musical activities.

In the 10th century, the philosopher Al-Farabi described how vocal music can stimulate the feelings and souls of listeners.^[163] Music has long been used to help people deal with their emotions. In the 17th century, the scholar Robert Burton's The Anatomy of Melancholy argued that music and dance were critical in treating mental illness, especially melancholia.^[164] He noted that music has an "excellent power ...to expel many other diseases" and he called it "a sovereign remedy against despair and melancholy." He pointed out that in Antiquity, Canus, a Rhodian fiddler, used music to "make a melancholy man merry, ...a lover more enamoured, a religious man more devout."^{[165][166][167]} In the Ottoman Empire, mental illnesses were treated with music.^[168] In November 2006, Michael J. Crawford and his colleagues also found that music therapy helped schizophrenic patients.^[169][170]

• Glossary of music terminology
• List of musicology topics
• Lists of musicians
• Music and emotion
• Music archaeology – Interdisciplinary study field
• Music history – Academic field
• Music-specific disorders – Disorders relating to the perception of music

• Grove Music Online — online version of The New Grove Dictionary of Music and Musicians.
• All ten volumes of the Garland Encyclopedia of World Music (subscription required)
• Dolmetsch free online music dictionary, complete, with references to a list of specialised music dictionaries (by continent, by instrument, by genre, etc.)
• Some books on music by Carl Van Vechten (1880–1964)

 

A composer is a musician who creates musical compositions. The title is principally used for those who write classical music or film music. Those who write the music for popular songs may be called songwriters. Those who mainly write the words for songs may be referred to as lyricists.

A conductor directs a musical performance; conducting has been defined as "the art of directing the simultaneous performance of several players or singers by the use of gesture".^[4] The conductor stands on a raised podium and communicates with the musicians through hand gestures or eye contact.

Examples of performers include, but are not limited to, instrumentalists and singers who perform for an audience. A musician can perform as a solo artist or as a part of an ensemble (e.g. an orchestra, a choir or a pop group).

A music producer plays a crucial role in shaping the sound of an album or song, overseeing the recording process, and guiding the overall creative direction. They often collaborate closely with artists, musicians, sound engineers, and other industry professionals.

• Health problems of musicians
• Lists of musicians
• List of online music databases
• Record producer
• Songwriter
• Singing
• Record sales

 

Developed at Princeton University by Ge Wang and Perry Cook, ChucK is a text-based, cross-platform language.^[21] By extracting and classifying the theoretical techniques it finds in musical pieces, the software is able to synthesize entirely new pieces from the techniques it has learned.^[22] The technology is used by SLOrk (Stanford Laptop Orchestra)^[23] and PLOrk (Princeton Laptop Orchestra).

Jukedeck was a website that let people use artificial intelligence to generate original, royalty-free music for use in videos.^[24][25] The team started building the music generation technology in 2010,^[26] formed a company around it in 2012,^[27] and launched the website publicly in 2015.^[25] The technology used was originally a rule-based algorithmic composition system,^[28] which was later replaced with artificial neural networks.^[24] The website was used to create over 1 million pieces of music, and brands that used it included Coca-Cola, Google, UKTV, and the Natural History Museum, London.^[29] In 2019, the company was acquired by ByteDance.^[30][31][32]

MorpheuS^[33] is a research project by Dorien Herremans and Elaine Chew at Queen Mary University of London, funded by a Marie SkÅ‚odowská-Curie EU project. The system uses an optimization approach based on a variable neighborhood search algorithm to morph existing template pieces into novel pieces with a set level of tonal tension that changes dynamically throughout the piece. This optimization approach allows for the integration of a pattern detection technique in order to enforce long term structure and recurring themes in the generated music. Pieces composed by MorpheuS have been performed at concerts in both Stanford and London.

Created in February 2016, in Luxembourg, AIVA is a program that produces soundtracks for any type of media. The algorithms behind AIVA are based on deep learning architectures^[34] AIVA has also been used to compose a Rock track called On the Edge,^[35] as well as a pop tune Love Sick^[36] in collaboration with singer Taryn Southern,^[37] for the creation of her 2018 album "I am AI".

Google's Magenta team has published several AI music applications and technical papers since their launch in 2016.^[38] In 2017 they released the NSynth algorithm and dataset,^[39] and an open source hardware musical instrument, designed to facilitate musicians in using the algorithm.^[40] The instrument was used by notable artists such as Grimes and YACHT in their albums.^[41][42] In 2018, they released a piano improvisation app called Piano Genie. This was later followed by Magenta Studio, a suite of 5 MIDI plugins that allow music producers to elaborate on existing music in their DAW.^[43] In 2023, their machine learning team published a technical paper on GitHub that described MusicLM, a private text-to-music generator which they'd developed.^[44][45]

Spike AI is an AI-based audio plug-in, developed by Spike Stent in collaboration with his son Joshua Stent and friend Henry Ramsey, that analyzes tracks and provides suggestions to increase clarity and other aspects during mixing. Communication is done by using a chatbot trained on Spike Stent's personal data. The plug-in integrates into digital audio workstation.^[56][57]

Artificial intelligence can potentially impact how producers create music by giving reiterations of a track that follow a prompt given by the creator. These prompts allow the AI to follow a certain style that the artist is trying to go for.^[6] AI has also been seen in musical analysis where it has been used for feature extraction, pattern recognition, and musical recommendations.^[58] New tools that are powered by artificial intelligence have been made to help aid in generating original music compositions, like AIVA (Artificial Intelligence Virtual Artist) and Udio. This is done by giving an AI model data of already-existing music and having it analyze the data using deep learning techniques to generate music in many different genres, such as classical music or electronic music.^[59] Musical and choral classrooms are already implementing AI driven programs to aid in musical learning, and development of creative skills in students where AI has shown to provide a statistically significant increase.^[60][61]

Several musicians such as Dua Lipa, Elton John, Nick Cave, Paul McCartney and Sting have criticized the use of AI in music and are encouraging the UK government to act on this matter.^{[62][63][64][65][66]} Another example of this protest is the silent 2025 album Is This What We Want?.

Some artists have encouraged the use of AI in music such as Grimes.^[67]

While helpful in generating new music, many issues have come up since artificial intelligence has begun making music. Some major concerns include how the economy will be impacted with AI taking over music production, who truly owns music generated by AI, and a lower demand for human-made musical compositions. Some critics argue that AI diminishes the value of human creativity, while proponents see it as an augmentative tool that expands artistic possibilities rather than replacing human musicians.^[68][69]

Additionally, concerns have been raised about AI's potential to homogenize music. AI-driven models often generate compositions based on existing trends, which some fear could limit musical diversity. Addressing this concern, researchers are working on AI systems that incorporate more nuanced creative elements, allowing for greater stylistic variation.^[59]

Another major concern about artificial intelligence in music is copyright laws. In the United States, the current legal framework tends to apply traditional copyright laws to AI, despite its differences with the human creative process.^[70] However, music outputs solely generated by AI are not granted copyright protection. In the compendium of the U.S. Copyright Office Practices, the Copyright Office has stated that it would not grant copyrights to "works that lack human authorship" and "the Office will not register works produced by a machine or mere mechanical process that operates randomly or automatically without any creative input or intervention from a human author."^[71] In February 2022, the Copyright Review Board rejected an application to copyright AI-generated artwork on the basis that it "lacked the required human authorship necessary to sustain a claim in copyright."^[72] The usage of copyrighted music in training AI has also been a topic of contention. One instance of this was seen when SACEM, a professional organization of songwriters, composers, and music publishers demanded that PozaLabs, an AI music generation startup refrain from utilizing any music affiliated with them for training models.^[73]

The situation in the European Union (EU) is similar to the US, because its legal framework also emphasizes the role of human involvement in a copyright-protected work.^[74] According to the European Union Intellectual Property Office and the recent jurisprudence of the Court of Justice of the European Union, the originality criterion requires the work to be the author's own intellectual creation, reflecting the personality of the author evidenced by the creative choices made during its production, requires distinct level of human involvement.^[74] The reCreating Europe project, funded by the European Union's Horizon 2020 research and innovation program, delves into the challenges posed by AI-generated contents including music, suggesting legal certainty and balanced protection that encourages innovation while respecting copyright norms.^[74] The recognition of AIVA marks a significant departure from traditional views on authorship and copyrights in the realm of music composition, allowing AI artists capable of releasing music and earning royalties. This acceptance marks AIVA as a pioneering instance where an AI has been formally acknowledged within the music production.^[75]

The recent advancements in artificial intelligence made by groups such as Stability AI, OpenAI, and Google has incurred an enormous sum of copyright claims leveled against generative technology, including AI music. Should these lawsuits succeed, the machine learning models behind these technologies would have their datasets restricted to the public domain.^[76] Strides towards addressing ethical issues have been made as well, such as the collaboration between Sound Ethics(a company promoting ethical AI usage in the music industry) and UC Irvine, focusing on ethical frameworks and the responsible usage of AI.^[77]

A more nascent development of AI in music is the application of audio deepfakes to cast the lyrics or musical style of a pre-existing song to the voice or style of another artist. This has raised many concerns regarding the legality of technology, as well as the ethics of employing it, particularly in the context of artistic identity.^[78] Furthermore, it has also raised the question of to whom the authorship of these works is attributed. As AI cannot hold authorship of its own, current speculation suggests that there will be no clear answer until further rulings are made regarding machine learning technologies as a whole.^[79] Most recently, preventative measures have started to be developed by Google and Universal Music group who have taken in royalties and credited attribution in order to allow producers to replicate the voices and styles of artists.^[80]

In 2023, an artist known as ghostwriter977 created a musical deepfake called "Heart on My Sleeve" that cloned the voices of Drake and The Weeknd by inputting an assortment of vocal-only tracks from the respective artists into a deep-learning algorithm, creating an artificial model of the voices of each artist, to which this model could be mapped onto original reference vocals with original lyrics.^[81] The track was submitted for Grammy consideration for the best rap song and song of the year.^[82] It went viral and gained traction on TikTok and received a positive response from the audience, leading to its official release on Apple Music, Spotify, and YouTube in April 2023.^[83] Many believed the track was fully composed by an AI software, but the producer claimed the songwriting, production, and original vocals (pre-conversion) were still done by him.^[81] It would later be rescinded from any Grammy considerations due to it not following the guidelines necessary to be considered for a Grammy award.^[83] The track would end up being removed from all music platforms by Universal Music Group.^[83] The song was a watershed moment for AI voice cloning, and models have since been created for hundreds, if not thousands, of popular singers and rappers.

In 2013, country music singer Randy Travis suffered a stroke which left him unable to sing. In the meantime, vocalist James Dupré toured on his behalf, singing his songs for him. Travis and longtime producer Kyle Lehning released a new song in May 2024 titled "Where That Came From", Travis's first new song since his stroke. The recording uses AI technology to re-create Travis's singing voice, having been composited from over 40 existing vocal recordings alongside those of Dupré.^[84][85]

Since 2024, rapper Kanye West has been using artificial intelligence deepfakes of his own voice. His usage of deepfakes started during the production of his album Vultures 2, where the songs "Field Trip" and "Sky City" drew suspicion of artificial intelligence usage;^[86] further updates to the songs "Forever"^[86] and "530"^[87] would also be accused of using AI. Artist Ty Dolla Sign, who released Vultures 2 with West, would confirm the allegations in 2025 during an interview.^[88] West would subsequently confirm that his subsequent solo album, Bully, also used artificial intelligence,^[89] and his later album In a Perfect World and the 2025 updated version of Donda 2 would also draw accusations of AI usage.^{[citation needed]}

Playboi Carti has also been accused of using artificial intelligence deepfakes. The allegations followed the release of the song "Timeless", a collaboration with The Weeknd, where his verse was accused of using artificial intelligence.^[90] The allegations would further intensify after the release of his album Music, where "Rather Lie" and "Fine Shit" were also accused of using artificial intelligence. Playboi Carti would deny the accusations.^[91]

Artificial intelligence music encompasses a number of technical approaches used for music composition, analysis, classification, and suggestion. Techniques used are drawn from deep learning, machine learning, natural language processing, and signal processing. Current systems are able to compose entire musical compositions, parse affective content, accompany human players in real-time, and acquire patterns of user and context-dependent preferences.^{[92][93][94][95]}

Symbolic music generation is the generation of music in discrete symbolic forms such as MIDI, where note and timing are precisely defined. Early systems employed rule-based systems and Markov models, but modern systems employ deep learning to a large extent. Recurrent Neural Networks (RNNs), and more precisely Long Short-Term Memory (LSTM) networks, have been employed in modeling temporal dependencies of musical sequences. They may be used to generate melodies, harmonies, and counterpoints in various musical genres.^[96]

Transformer models such as Music Transformer and MuseNet became more popular for symbolic generation due to their ability to model long-range dependencies and scalability. These models were employed to generate multi-instrument polyphonic music and stylistic imitations.^[97]

This method generates music as raw audio waveforms instead of symbolic notation. DeepMind's WaveNet is an early example that uses autoregressive sampling to generate high-fidelity audio. Generative Adversarial Networks (GANs) and Variational Autoencoders (VAEs) are being used more and more in new audio texture synthesis and timbre combination of different instruments.^[93]

NSynth (Neural Synthesizer), a Google Magenta project, uses a WaveNet-like autoencoder to learn latent audio representations and thereby generate completely novel instrumental sounds.^[98]

Music Information Retrieval (MIR) is the extraction of musically relevant information from audio recordings to be utilized in applications such as genre classification, instrument recognition, mood recognition, beat detection, and similarity estimation. CNNs on spectrogram features have been very accurate on these tasks.^[95] SVMs and k-Nearest Neighbors (k-NN) are also used for classification on features such as Mel-frequency cepstral coefficients (MFCCs).

Hybrid systems combine symbolic and sound-based methods to draw on their respective strengths. They can compose high-level symbolic compositions and synthesize them as natural sound. Interactive systems in real-time allow for AI to instantaneously respond to human input to support live performance. Reinforcement learning and rule-based agents tend to be utilized to allow for human–AI co-creation in improvisation contexts.^[94]

Affective computing techniques enable AI systems to classify or create music based on some affective content. The models use musical features such as tempo, mode, and timbre to classify or influence listener emotions. Deep learning models have been trained for classifying music based on affective content and even creating music intended to have affective impacts.^[99]

Music recommenders employ AI to suggest tracks to users based on what they have heard, their tastes, and information available in context. Collaborative filtering, content-based filtering, and hybrid filtering are most widely applied, deep learning being utilized for fine-tuning. Graph-based and matrix factorization methods are used within commercial systems like Spotify and YouTube Music to represent complex user-item relationships.^[100]

AI is also used in audio engineering automation such as mixing and mastering. Such systems level, equalize, pan, and compress to give well-balanced sound outputs. Software such as LANDR and iZotope Ozone utilize machine learning in emulating professional audio engineers' decisions.^[101]

Natural language generation also applies to songwriting assistance and lyrics generation. Transformer language models like GPT-3 have also been proven to be able to generate stylistic and coherent lyrics from input prompts, themes, or feeling. There even exist AI programs that assist with rhyme scheme, syllable count, and poem form.^[102]

Recent developments include multimodal AI systems that integrate music with other media, e.g., dance, video, and text. These can generate background scores in synchronization with video sequences or generate dance choreography from audio input. Cross-modal retrieval systems allow one to search for music using images, text, or gestures.^[103]

• Algorithmic composition
• Automatic content recognition
• Computational models of musical creativity
• Generative artificial intelligence
• Generative music
• List of music software
• Music information retrieval
• OpenAI § Music generation
• Xania Monet

• Understanding Music with AI: Perspectives on Music Cognition Archived 2021-01-10 at the Wayback Machine. Edited by Mira Balaban, Kemal Ebcioglu, and Otto Laske. AAAI Press.
• Proceedings of a Workshop held as part of AI-ED 93, World Conference on Artificial Intelligence in Education on Music Education: An Artificial Intelligence Approach
• Tanguiane (Tangian), Andranick (1993). Artificial Perception and Music Recognition. Lecture Notes in Artificial Intelligence. Vol. 746. Berlin-Heidelberg: Springer. ISBN 978-3-540-57394-4.
• Artificial Intelligence - Intelligent Art? Human-Machine Interaction and Creative Practice. (Digital Society - Digitale Gesellschaft). Edited by Voigts, Eckart, Robin Auer, Dietmar Elflein, Sebastian Kunas, Jan Röhnert, Christoph Seelinger Bielefeld: transcript,2024.

• The Music Informatics Research Group
• Institut de Recherche et Coordination Acoustique/ Musique
• Interdisciplinary Centre for Research in Music
• Mixdevil - Is AI Good Gor Music Producers
• OpenDream
• AI full track generation