What is the history of American music?

America dominates the world in many areas, but the one area of American domination that the world accepts the most is its music. American popular music forms; Blues, Jazz, Country, Rock, R&B, RAP, and Hip-Hop, are loved, and studied world wide.

When the British Invasion of the 1960's hit America, almost to a man each group or individual stated their love of American music as their primary influence. The Beatles, Rolling Stones, Tom Jones, Dave Clark 5, and many other British groups and individual performers, all claim American music as their source of inspiration. But the music they loved had its roots in the one true cultural melting pot of America, its music.

Rock and Roll grew from the melding of Black Rhythm and Blues with Country and Western. This mixture was so volatile that several southern congressmen went on record stating that Rock and Roll was a plot to destroy American values by encouraging race micing. Originating in the Northern Urban centers in predominately black areas, Rock and Roll started out being labeled as rebellious, primative, black music. Some white artists like Buddy Holly and the Big Bopper introduced Rock and Roll to the "mainstream" youth in the early 1950's, and their influence along with others began the first true multi-racial and multi-cultural movement in America. It was legendary Elvis Presley bursting on the scene in the middle 1950's that signaled that Rock and Roll had began to become accepted as legitimate.

Rhythm and Blues (now called R and B) can trace its roots directly from Jazz, Ragtime, and the old black Gospel and Spritual standards. The narrative form and rich beat of these forms also form the basis for today's RAP and Hip-Hop. It is this music which form the basis of the rhythms of modern American Popular Music. From New Orleans Jazz, to the Motown Sound, to Urban Hip-Hop and Rap, black music forms the core of comtemporary music in America. There is hardly a Rocker anywhere who can't trace their music's roots to the sound of black America. The emphasis on rhythm and storytelling has always been part of what made this music popular. Black music in America is argueably the most original and traceable music form in America. It reflect the sum of the Black experience in a way that is truly unique and American.

Modern Country and Western music has its roots in the folk songs of the rural south and the cowboy music popularized by the singing cowboys of the 30's, 40's and 50's. It was also influenced by many songs born of the strife and conflict of the impoverished miners and farmers or the depresssion era. Moving from the rural areas and focusing on southern urban centers it found a home on the radio nationwide predominantly from Nashville on the Grand Ole Opray. Finding a broader audience in post-war years and Country Music began to move from "hillbilly music" to more sophisticated and polished form that exist today. Rock-a-Billy, Country, and Bluegrass,all came from the simple form of story telling by music.

The 1980's and 1990's saw a rebirth of the influence of the Latin rhythms in American Music. The Miami Sound and the Mexican influence swept into American Music. Cuban, Puerto Rican, and Mexican artist in all forms added their music to the mix. Rap, Country, Rock, and R and B have all been touched by the Latin beat.

The media explosion of the 1950's and 1960's was fueled by Rock and Roll on Radio, Television, and the movies. The beat of Rock and Roll became the dominant force of American music, and the lines between the forms began to blend. Music forms are no longer segregated by race today as the forms have merged across the lines of culture in America. Today the effect of this mixing of music and culture can be seen everywhere in the culture. Jose Felicano sings the Doors "Light My Fire". Whitney Houston soulfully sings a song written by Dolly Parton, Lionel Richey writes Country songs for Kenny Rogers. Ray Charles has had some of his greatest hits from Country and Western standards like "Your Cheatin' Heart". The movie "Back to the Future" has its hero, Marty McFly's a young white man who loves Rock music, have his life changed and in turn changes history by introducing Chuck Berry to the style of Music that made him (Berry) famous. Marshall Mathers, better known as Eminem, is a white Rap artist who crosses all lines. The Miami Sound Machine moves everyone to a big Salsa Party. The Sound of Motown becomes the turning point in American music history.

Today America's Music does what it always has done, bring people together. In American Music every aspect of life, etnicity, and culture is merged, mixed, and highlighted. The rich diversity of American culture and life is reflected in its lively beat filled rhythms. American music is the story of the country, a reflection of a nation alive with change, filled with curiousity,and lead by hope and excitement. As it continues to grow and change, including more and more of all that America is, American Music continues to attract and entice the whole world, because it is truly the best of all that is America.

Pakistani Music history

The music of Pakistan is probably one of the most diverse selection of music in the whole world within one country; being at the crossroads of Central Asia, Iran, the Middle East and India. Pakistan has developed a multitude of different types of music and sounds. Major influences of Pakistani music are Arabic, English, Indian, Persian and Portuguese. Pakistani genres like sufi rock and bhangra have become popular throughout the United Kingdom, the United States, Canada and around the world. With the multiple influences, Pakistani music has emerged as a "fusion" of many other types of sounds together to form a distinctly Pakistani sound. Pakistani musicians now sell records not only in Pakistan but in many countries around the world. Although there are plenty of genres of Pakistani music, it can be divided under two main headings. Traditional and East meets West.

Classical music

Over time there has been a decrease in popularity of classical music is due to increased globilization; the young generation in Pakistan are more influenced by the western generes such as pop, rock and hip hop, which are currently flourishing in Pakistan. However, it can be said that if Pakistani music were to be represented by a pyramid, classical music would be the base holding it up. Almost all musicians young or old are taught under classical music first, before they can go ahead and move into other types of music.
Musical instruments which are used in classical music are:
Sitar
Tabla
Harmonium
Sarangi
Santoor

Qawwali music

Nusrat Fateh Ali Khan and his Qawwali group wearing Sherwani and Karakuli hat performing on PTVOne of the most dynamic and popular types of Pakistani music is qawwali, which has been internationally popularized by stars like the Sabri Brothers, Aziz Mian and Nusrat Fateh Ali Khan. Qawwali, is a form of Sufi music and exists in multiple forms. It is widespread throughout Pakistan and Northern India.Qawwali refers to both the performance and the genre of music. Qawwals typically consist of a lead vocalist, two back-up vocalists and any number of percussionists. Qawwalis are traditionally led by a sheikh and are meant to help the audience realize the mystical ideals of Sufism and Islam. Amir Khusrau is said to have invented qawwali in the 13th century; the legendary poet and composer is also said to have invented the tabla and sitar. The idea of music (sama) inspiring an understanding and love for the divine and communication with spiritual guides is known from at least the 9th century. Orthodox Muslims sometimes criticize qawwali for its erotic imagery and sometimes frank sensuality.
Folk music
Main article: Pakistani folk music
Folk music has been influential on classical music, which is viewed as a higher art form. In Pakistan, each province has its own variation of popular folk music. The arrival of western sounds, also weakened folk music's popularity as it did classical music. Well known Pakistani folk artists include:
Reshma
Atta Ullah Khan Essa Khailvi
Shaukat Ali
Pathane Khan
Alam Lohar
Musarrat Nazir
Pakistani pop singers such as Abrar ul Haq, Rahim Shah and Jawad Ahmed have been known to mix their performances with traditional folk music. The most popular artist to be known for mixing his music with folk and classicial types was Nusrat Fateh Ali Khan, a world-renowned Pakistani qawwali and folk artist.

Punjabi
Music from the Punjab province includes many different varieties. The traditional music utilizes instruments like the dhol, flute, dholak, and tumbi. The most commonly recognized form of Punjabi music, bhangra, is based on drum rhythms of the dhol. Its modern popularity has led to the use of new instruments and electronic sound sampling. Bhangra is a Punjabi folk dance that has become popular all over Pakistan. Bhangra and Panjabi folk songs have been an integral part of the fertile provinces cultural history and many themes are related to harvest and cultivation. Others still draw on the poetic history of the province which transcend ethnic and religious boundaries.


Sindhi
Music from Sindh province is sung in Sindhi, and is generally performed in either the "Baits" or "Waee" styles. The Baits style is vocal music in Sanhoon (low voice) or Graham (high voice). Waee instrumental music is performed in a variety of ways using a string instrument. Waee, also known as Kafi, is found in the surrounding areas of Balochistan, Punjab, and Rajasthan. Common instruments used in Sindhi regional music include the Yaktaro, Narr, and Naghara.


Siraiki
Siraiki is spoken by 13.9 million people in southern Punjab and northern Sindh. It has its own culture and life style and most speakers of [Siraiki] love to listen to the Music in their native Language as would the speakers of any other language. Atta Ullah Essa Khelvi is one of the most famous name in promoting [Siraiki] Songs and Music. Essa Khelvi belongs to Essa Khail, a part of district [Mianwail] and originated his music from the city of Mianwali. Recent media developments have now brought more talent into the field of entertainment specially the channel The KOOK TV broadcasted locally has been a major contributor of Siraiki language into National Media. The seraiki language is often considered the sweetest of all Pakistani languages.


Farsi/Persian
Farsi is spoken mainly in the North West of Pakistan but there are also considerable Farsi speaking inhabitants in Pakistan's major urban centres of Karachi, Lahore and Islamabad. During and after the Soviet occupation of Afghanistan and subsequent arrival of millions of Afghan refugees to Pakistan, much of the Afghan (Dari/Persian) music industry was kept alive by performances and recordings made in Pakistan. After more than 20 years, Persian folk music has made considerable and often subtle contributions the overall Pakistani music industry. Persian and Afghan singers regularly perform throughout Pakistan particularly at weddings and other formal functions.


Shinha
The predominant language found in Pakistan's Northern Areas has an extensive oral history which dates back several thousand years. With the increase in tourism to Pakistan's Northern Areas and increased domestic as well as international awareness of the local folk music, the Shinha folk traditions have managed to stay alive and vibrant.


Khowar
A dardic language with considerable persian influence is found in Pakistan's Chitral region in the North West of the country. Khowar folk music had considerable patronage particularly during the rule of the Mehtars in the last century. Folk music in this region has remained relatively pure and unscathed by modern influences due to the relative isolation of this district. The arrival of many refugees from the adjacent Nuristan province of Afghanistan and the subsequent increase in commercial activity in Chitrali bazaars allowed this local form of music to flourish in the past few decades.


Filmi music
Pakistan's film industry known as "Lollywood" is based in Lahore. One of the most famous singers of the Pakistan film industry is Madame Noor Jehan (Malika-e-Tarranum). Noor Jehan had a brief and successful acting career before devoting herself completely to music. She sang extensively for Pakistani films and also sang Ghazals, folk songs and patriotic songs (milli naghmay) for Pakistan television.

Pop music
Vital Signs made a significant contribution to Pakistani Pop worldwide
Hadiqa is an popular singer in South AsiaArtists such as Nazia Hasan, Zoheb Hasan, Muhammad Ali Shehki, Alamgir and the Benjamin Sisters were pioneers of Pakistani pop music in the 1980’s, but the real breakthrough for the music industry came with the hit song 'Dil Dil Pakistan' by Vital Signs (band) which gave birth to the current music scene in Pakistan. Dil Dil Pakistan was voted the 3rd most popular song in the world by a BBC poll. Some very popular Pakistani music acts include:
Vital Signs
Zeeshan
Abrar-ul-Haq
Adnan Sami Khan
Ali Zafar
Annie
Atif Aslam
Ali Haider
Faakhir Mehmood
Jal
Junaid Jamshed
Junoon
Hadiqa Kiyani
Sajjad Ali
Strings
Rock music
Main articles: Pakistani black metal, Pakistani_rock, and Sufi rock
Rock music in Pakistan has become very popular not only in Pakistan but across South Asia. All these groups have millions of fans across the world including in other parts of South Asia. A landmark event occurred in 2003 when the Pakistani group Strings's song, Najane Kyun became a featured single on the Urdu Soundtrack for Spider-Man 2. Rock music has developed so much in Pakistan, that it already has two sub-genere's. The Pakistani band Junoon popularised a genre of music called Sufi rock (influenced from legend Nusrat Fateh Ali Khan) that blended traditional Pakistani folk and Sufi music with western rock. Pakistani black metal has just recently begun, with many underground bands in cities such as Karachi, Lahore, Islamabad and even Peshawar. Popular Pakistani Rock Bands are:
Aaroh
Call
EP
Fuzon
Junoon
Karavan
Mauj
Mekaal Hasan Band
Mizraab
Noori
Jal

Indian Classical Music

Indian classical music is based on the ragas ("colors"), which are scales and melodies that provide the foundation for a performance. Unlike western classical music, that is deterministic, Indian classical music allows for a much greater degree of "personalization" of the performance, almost to the level of jazz-like improvisation. Thus, each performance of a raga is different. The goal of the raga is to create a trancey state, to broadcast a mood of ecstasy. The main difference with western classical music is that the Indian ragas are not "composed" by a composer, but were created via a lengthy evolutionary process over the centuries. Thus they do not represent mind of the composer but a universal idea of the world. They transmit not personal but impersonal emotion. Another difference is that Indian music is monodic, not polyphonic. Hindustani (North Indian) ragas are assigned to specific times of the day (or night) and to specific seasons. Many ragas share the same scale, and many ragas share the same melodic theme. There are thousands of ragas, but six are considered fundamental: Bhairav, Malkauns, Hindol, Dipak, Megh and Shree. A raga is not necessarily instrumental, and, if vocal, it is not necessarily accompanied. But when it is accompanied by percussion (such as tablas), the rhythm is often rather intricate because it si constructed from a combination of fundamental rhythmic patterns (or talas).

The Soul of Indian Music (1963), Ustad Ali Akbar Khan (1964), The Master Musicians of India (1964), Classical Music of India (1964), The Soul of Indian Music (1965), Sarod (1965), Two Ragas for Sarod (1967), etc. In 1967, Khan founded the Ali Akbar College of Music in the San Francisco Bay Area, to provide education in the classical music of North India. Among his later performances, there are still impressive ones such as Raga Basant Mukhari, off Artistic Sound of Sarod (1985). He remained faithful to his roots longer than other Indian performers, eventually experimenting with synthesizers on Journey (1991) and with instruments of the western symphonic orchestra on Garden of Dreams (1994), basically a raga symphony for a chamber orchestra.

In the 1970s Debashish Bhattacharya reinvented the Hawaian slide guitar as a raga instrument by addings resonating strings and droning strings and developing the lightning-speed three-finger picking technique displayed on recordings such as Raga Ahir Bhairav (1993).

Important Ideas about Music

The study of music is part of biology.

Music exists because people create it, perform it and listen to it. People are living organisms, and biology is the study of living organisms.

Any theory of music that claims to be complete must be able to pass the Luxury Yacht Test.

If you succeeded in developing a complete theory of music, you would be able to use that theory to compose strong original music, which you could then sell, and use the proceeds to purchase a luxury yacht. Be suspicious of anyone claiming to completely understand what music is who does not own a luxury yacht. (And no, I do not own a luxury yacht. It follows that the theory revealed in my book is not complete. I claim only that it is plausible and that it explains more about music than anyone else's theories.)

The human brain is an information processing system.

An information processing system has four basic components: input, output, calculation and storage. Applying this framework to the analysis of music, music appears to represent the input. What kind of information is the output, and what does it mean? How is it calculated?

Music is a super-stimulus for the perception of musicality in speech.

Musicality is a perceived attribute of speech, which tells the listener important information about the speaker and the speech. Music is a super-stimulus for this perceived musicality, i.e. music is "speech" that has been contrived to have an unnaturally high level of musicality.

Each aspect of music is a super-stimulus for a corresponding aspect of the perception of musicality of speech.

By investigating each aspect of music, we can make an intelligent guess as to the nature of the cortical map for which the musical aspect is a super-stimulus, and then we can determine what the response of that same cortical map would be to speech, and finally we can determine what role the cortical map plays in the perception of ordinary speech.

"Normal" stimuli for specific aspects of speech perception may lack properties of corresponding musical super-stimuli.

Musical harmony consists of simultaneous pitch values, yet perception of simultaneous pitch values from multiple melodies has no relevance to speech perception (i.e. we almost always only listen to one person speaking at a time). The normal function of the cortical map that responds to consonant relationships between different notes occurring at the same time within harmonies and chords must be the perception of consonant relationships between pitch values occurring at different times within the same speech melody.

Normal speech melody is not constructed from musical notes selected from a musical scale. The normal function of the cortical map that responds to discontinuous musical melodies constructed from musical scales must be the perception of continuous speech melody.

The rhythm of speech is not as regular and structured as the rhythms of music. The normal function of the cortical maps that respond to the regular rhythms of music must be the perception of irregular speech rhythm.

Dance is an aspect of music.

In other words, dance is not just something which accompanies music, dance actually is music. Music is a super-stimulus for aspects of speech perception, but speech perception is not just the perception of sounds: it also includes perception of the speaker's movements such as facial expressions, body language and hand gestures. Dance can be identified as the super-stimulus for this component of speech perception.

There are at least five and possibly six symmetries of music.

These are:

• Pitch translation invariance
• Time translation invariance
• Time scaling invariance
• Amplitude scaling invariance
• Octave translation invariance
• Pitch reflection invariance

Each of these symmetries represents an invariance of some aspect of the perceived quality of music under the corresponding set of transformations.

For each symmetry we can ask "Why?" and "How?".

The first four symmetries are functional symmetries in that they satisfy a requirement for invariance of perception, i.e. for each symmetry in this group our perception of speech should be invariant under the set of transformations that define the symmetry. For example, perception of speech melody is invariant under pitch translation so that people with different frequency ranges can speak the same speech melodies, and have those melodies perceived as being the same. The last two are implementation symmetries which play an internal role in the perception of music. (For example see the next item on octave translation invariance.)

In some cases the "how" part of the question has an answer less trivial than one might assume at first. It turns out that we can identify components of speech perception from hypotheses about the existence cortical maps that respond to aspects of music, and these components reflect the need to achieve perception of speech melody invariant under pitch translation and time scaling.

Octave translation invariance is an implementation symmetry which facilitates the efficient subtraction of pitch values.

Octave translation invariance is the result of splitting the representation of pitch into a precise value modulo octaves and an imprecise absolute value. This split enables the more efficient representation and processing of pitch values, particularly when one pitch value must be "subtracted" from another to calculate interval size.

Our perception of relative pitch must be calibrated somehow.

This explains the importance of consonant intervals in music perception. Consonant intervals correspond to the intervals between the harmonic components of voiced sounds in human speech, and they provide a natural standard for calibrating the comparison of pitch intervals between different pairs of pitch values. Our accurate ability to calculate and compare pitch intervals enables the pitch translation invariant perception of speech melody.

Musicality corresponds to the occurrence of constant activity patterns in cortical maps.

The regularities of time, pitch and repetition in music cause the cortical maps responding to music to become divided up into active and inactive zones, where the division remains constant for all or part of a tune.

Constant activity patterns in the speaker's brain are echoed by similar constant activity patterns in the listener's brain.

Occurrence of constant activity patterns in the speaker's brain represents information about the internal mental state of the speaker. One consequence of the perception by the listener of constant activity patterns in the speaker's brain is a reinforcement of the listener's emotional reaction to what the speaker is saying. This accounts for the emotional effect of music.

What is Music?:

The main idea of the theory is that music is a super-stimulus for the perception of musicality, where "musicality" is actually a perceived property of speech. "Musicality" refers to the property of music that determines how "good" it is, how strong an emotional effect it has, and how much we enjoy listening to it.

The theory implies that ordinary speech also has this property, in a manner which may vary as a person speaks. The musicality of speech is much more subtle than that of music, but it provides important information which the listener's brain processes (without conscious awareness of the processing), in order to derive some information about the internal mental state of the speaker. This information is applied to modulate the listener's emotional response to speech, and this accounts for the emotional effect of music.

What distinguishes the super-stimulus theory from all other serious attempts to explain music scientifically is that it starts from a simple assumption that music perception must be an information processing function, and this assumption results in quite specific explanations of how major aspects of music such as scales, regular beat and harmony are processed in the brain.

It is the first theory to explain the perception of musical scales without a priori assuming the existence of musical scales. (The theory has to do this, because it is a theory of music perception as an aspect of speech perception, and musical scales do not occur in normal speech.)