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Entertainment
From Wikipedia, the free encyclopedia

Entertainment is an amusement or diversion intended to hold the attention of an audience or its participants, and which in general interact with or depend upon the entertained in some way— normally by audience participation or support. This participation can be subtle, as in Theatres: Film, Opera or stageshows, or Orchestral symphony concerts wherein the applause due the performance or performing artists would be bad manners. In contrast, the sports entertainment industry feeds off audience participation— who can imagine the strange event attending a pro-wrestling bout, basketball or baseball game without cheering or booing the participants would experentially be.
The industry that provides entertainment is called the entertainment industry, and one distinction between what is meant by the term is the voluntary participation of the party being entertained, which may be passive (Opera) or active (Frantic shoot-em-up computer games) and the whole gamut of industry supported diversions in between (Baseball, Concerts, Football, Books, Television, film , striptease, and events like Karioke. Recreation, play, and having fun may in some instances be confused with entertainment, but the difference is elementary—entertainments take two or more— even if one of the participants in a programmer for the obsolescent Amiga computer system who now happens to be deceased. Without his 'performance', or the other participant in the card game, both backed by an industry, the event would and could not occur.
The term 'entertainment' has also been used in physics as a part of the concept of resonance.

A stilt-walker entertaining shoppers at a shopping centre in Swindon, EnglandContents [hide]
1 Entertainment In Physics
2 Examples of Entertainment

Entertainment In Physics
Entertainment is much like Resonance. Entertainment is a process in where the frequency of one system is combined with the frequency of another system, to generate a single wave. This can been seen in electroencephalogram (EEG) waves, where a combinations of separate frequencies put together form a single sinusoidal wave. This can be an instance of two objects with multiple frequencies, achieving the same frequency.

Examples of Entertainment
More specifically, the participatory activities listed below are a form of recreation.
Animation
Betting
Chat
Circus
Dance
Film
Drinking
Game
Humor
Magic
Mass media
movies/film/cinema
television
radio
new media
Museums
Music
Revue
Show business
Sex business
Shooting
Sports
Theatre
Fighting

For more information on Entertainment, please visit
Wikipedia.
Celebrity
From Wikipedia, the free encyclopedia

A celebrity is a person who is widely recognized (famous) in a society and commands a degree of public and media attention. The word stems from the Latin celebritas, itself from the adjective celeber meaning 'famous, celebrated'. While fame is generally considered to be the major prerequisite for celebrity status, it is not always sufficient. There has to be a level of public interest in the person which may or may not be connected to the reason they are famous. For example, a public figure such as a politician, industry leader etc. may be famous but not a celebrity unless something else triggers public and mass media interest (e.g. Virgin Director Richard Branson attempting to circumnavigate the globe in a hot air balloon). Other types of fame, particularly those connected with mass entertainment are almost guaranteed to lead to celebrity even if the person deliberately avoids media attention. Examples of these are performers such as actors and musicians and athletes.

Contents
1 Celebrity structure
2 Professions that offer celebrity
3 Celebrity families
4 Celebrity resentment
5 Literature

Celebrity structure
Each nation or cultural community (linguistic, ethnic, religious) has its own largely independent celebrity system, e.g. individuals who are extremely well known in India, might be unknown abroad, except with the Indian diaspora.
Subnational entities or regions will also have their own 'celebrity system'. This will be largest and most independent in distinct regions such as Quebec and Puerto Rico. Locally, regional newscaters, politicians or community leaders could be considered celebrities: for example, Lin Sue Cooney is a well known television reporter in Arizona, but she is not that well known in other areas. Singers, actors (especially working in their native language) and other media celebrities from say the Netherlands are much more likely to be famous in equally Dutch-speaking Flanders, and vice-versa, than anywhere else.
Thus celebrity is relative, depending on geographic scale. A celebrity will be known only by those audiences that are reached by the media in which the celebrity features. In a smaller country, linguistic or cultural community, a figure will be less likely to gain worldwide celebrity. Shakira and Paulina Rubio is an example of someone who was known largely in the Spanish-speaking world before increasing her global fame through English language-versions of her songs, or Ayumi Hamasaki, in the Japanese music industry.
Some celebrities can be considered 'global' - that is, they are known across the world. These will almost all be high-powered religious or political figures, Hollywood actors, globally successful musicians and successful sports stars.
Many people will refer to celebrities as A-List, B-List, C-List, D-List or Z-List. These indicate a placing within the hierarchy, though due to differing levels of celebrity in different regions, it is difficult to place people within one bracket. In addition to this, these 'lists' do not actually exist; they are concepts whose definition will change from person to person.

Professions that offer celebrity
Some professional activities, by the nature of being high-paid, highly exposed, and difficult to get into, automatically confer celebrity. For example, movie stars and television actors are almost invariably celebrities. High-ranking politicians, television reporters, television show hosts, supermodels, astronauts, major-league athletes and musicians are also celebrities.
Some film and theatre directors, producers, artists, authors, trial lawyers and journalists are celebrities, but the vast majority are not, or much less than their real importance in the business. Some people in these professions strive to avoid celebrity, while others seek it.
Any person who is able to get his or her own television show (or section) will usually become a celebrity: this includes chefs, gardeners, and interior decorators on shows like Trading Spaces and While You Were Out. However fame based on one program may often prove short-lived after it is discontinued.

Celebrity families
Individuals can achieve celebrity, but there are also many celebrity families, such as various royal families (often interest in these will be highest when scandal is involved, as with the House of Windsor) and artistic 'dynasties' e.g. the Barrymore, Cassidy (David and Shaun Cassidy), the Osmonds, Osbournes, Quintanilla, Redgrave, Sheen/Estevez, Stiller, Mistry, Jackson and Baldwin families, as well as the Bushes, Clintons, Luke Ellis's family and Kennedys and some sports families.

Celebrity resentment
Because celebrities have fame comparable to that of royalty or gods in the past, some people exhibit curiosity about their private affairs as well as resent celebrities for their accolades. There is often a love/hate relationship that the general public has with celebrities. Many express that celebrities don't work as hard as non-celebrities and that celebrities don't deserve to be catered to as they are. Due to the high visibility of celebrities' personal lives, their failures are often made public. Therefore, "celebrities" are usually viewed as exhibiting worse personal behavior and having worse moral values than most people.
Whether this is true or not is questionable, because the exact meaning of the word "celebrity" is difficult to define, not all celebrities exhibit bad behaviour, and, sometimes, the acts that a celebrity does reflect social trends that non-celebrities might also do. A case in point may be the behavior of non-celebrities on Reality television. There seems to a be high increase of celebrity obsession with the vast expansion of celebrity tabloid magazines. Sometimes the public tries to be like celebrities even if people know they will never be exactly quite like them. This is done through by buying celebrity items, like published books, clothing lines, perfume, household items, and watching their tv shows and movies. Celebrities in the 21st century know that they must expand and become brands if they want to stay in the public eye.
Some have argued that the notion of celebrity is self-reinforcing and ultimately vacuous: some celebrities are not famous for their accomplishments, but merely famous for their fame and presumed fortune. For example, Paris Hilton would not be a public figure without her wealth, but her family's prominence has created and reinforces her fame. Hilton is in some senses a special case; she is famous at least in part for being an example of the perceived negative or shallow aspects of celebrity life, and some believe she is going out of her way to fill that role and gather further attention. But in many ways, figures like Hilton and other 21st century celebrities are just occupying celebrity niches previously occupied by stars of earlier generations.

Literature
High Visibility, by Irving J. Rein, Philip Kotler, and Martin Stoller, studies the phenomenon of celebrity. To them, celebrity requires not only fame, but fame with an evident monetary value.

For more information on Celebrity, please visit
Wikipedia.
Film
From Wikipedia, the free encyclopedia

"Film" refers to the celluloid media on which movies are printed. This type of film here is 8 mm.Film is a term that encompasses motion pictures as individual projects, as well as — in metonymy — the field in general. The origin of the name comes from the fact that photographic film (also called filmstock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist — motion pictures (or just pictures or "picture"), the silver screen, photoplays, the cinema, picture shows, flicks — and commonly movies.
Films are produced by recording actual people and objects with cameras, or by creating them using animation techniques and/or special effects. They comprise a series of individual frames, but when these images are shown rapidly in succession, the illusion of motion is given to the viewer. Flickering between frames is not seen due to an effect known as persistence of vision — whereby the eye retains a visual image for a fraction of a second after the source has been removed. Also of relevance is what causes the perception of motion; a psychological effect identified as beta movement.
Film is considered by many to be an important art form; films entertain, educate, enlighten and inspire audiences. The visual elements of cinema need no translation, giving the motion picture a universal power of communication. Any film can become a worldwide attraction, especially with the addition of dubbing or subtitles that translate the dialogue. Films are also artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them.

Contents
1 History of film
2 Film theory
3 Film criticism
4 The motion picture industry
5 Stages of filmmaking
6 Film crew
7 Independent filmmaking
8 Animation
9 Film venues
10 Development of film technology
11 Endurance of films

History of film
Main article: History of film
Mechanisms for producing artificially created, two-dimensional images in motion were demonstrated as early as the 1860s, with devices such as the zoetrope and the praxinoscope. These machines were outgrowths of simple optical devices (such as magic lanterns), and would display sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence of vision. Naturally, the images needed to be carefully designed to achieve the desired effect — and the underlying principle became the basis for the development of film animation.
With the development of celluloid film for still photography, it became possible to directly capture objects in motion in real time. Early versions of the technology sometimes required the viewer to look into a special device to see the pictures. By the 1880s, the development of the motion picture camera allowed the individual component images to be captured and stored on a single reel, and led quickly to the development of a motion picture projector to shine light through the processed and printed film and magnify these "moving picture shows" onto a screen for an entire audience. These reels, so exhibited, came to be known as "motion pictures". Early motion pictures were static shots that showed an event or action with no editing or other cinematic techniques.
A shot from Georges Méliès' Le Voyage dans la Lune (A Trip to the Moon) (1902), an early narrative film.Motion pictures were purely visual art up to the late 1920s, but these innovative silent films had gained a hold on the public imagination. Around the turn of the 20th Century, films began developing a narrative structure. Films began stringing scenes together to tell narratives. The scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as camera movement were realized as effective ways to portray a story on film. Rather than leave the audience in silence, theater owners would hire a pianist or organist or a full orchestra to play music fitting the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music for this purposes, with complete film scores being composed for major productions.
The rise of European cinema was interrupted by the breakout of World War I while the film industry in United States flourished with the rise of Hollywood. However in the 1920s, European filmmakers such as Sergei Eisenstein and F. W. Murnau continued to advance the medium. In the 1920s, new technology allowed filmmakers to attach to each film a soundtrack of speech, music and sound effects synchronized with the action on the screen. These sound films were initially distinguished by calling them "talking pictures", or talkies.

The next major step in the development of cinema was the introduction of color. While the addition of sound quickly eclipsed silent film and theater musicians, color was adopted more gradually. The public was relatively indifferent to color photography as opposed to black-and-white. But as color processes improved and became as affordable as black-and-white film, more and more movies were filmed in color after the end of World War II, as the industry in America came to view color an essential to attracting audiences in its competition with television, which remained a black-and-white medium until the mid-1960s. By the end of the 1960s, color had become the norm for film makers.

The 1950s, 1960s and 1970s saw changes in the production and style of film. New Hollywood, French New Wave and the rise of film school educated, independent filmmakers were all part of the changes the medium experienced in the latter half of the 20th Century. Digital technology has been the driving force in change throughout the 1990s and into the 21st Century.

[edit]
Film theory
Main article: Film theory
Film theory seeks to develop concise, systematic concepts that apply to the study of film/cinema as art. Classical film theory provides a structural framework to address classical issues of techniques, narrativity, diegesis, cinematic codes, "the image", genre, subjectivity, and authorship. More recent analysis has given rise to psychoanalytical film theory, structuralist film theory, feminist film theory and others.

[edit]
Film criticism
Main article: Film criticism
Film criticism is the analysis and evaluation of films. In general this can be divided into academic criticism by film scholars and journalistic film criticism that appears regularly in newspapers and other media.

Film critics working for newspapers, magazines, and broadcast media mainly review new releases. Normally they only see any given film once and have only a day or two to formulate opinions. Despite this, critics have an important impact of films, especially those of certain genres. Mass marketed action, horror, and comedy films tend not to be greatly affected by a critic's overall judgment of a film. The plot summary and description of a film that makes up the majority of any film review can still have an important impact on whether people decide to see a film. For prestige films such as most dramas, the influence of reviews is extremely important. Poor reviews will often doom a film to obscurity and financial loss.

The impact of reviewer on a film's box office performance is a matter of debate. Some claim that movie marketing is now so intense and well financed that reviewers cannot make an impact against it. However, the cataclysmic failure of some heavily-promoted movies that were harshly reviewed, as well as the unexpected success of critically praised independent movies indicates that extreme critical reactions can have considerable influence. Others note that positive film reviews have been shown to spark interest in little-known films. Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the film. However, this usually backfires as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result.

It is argued that journalist film critics should only be known as film reviewers, and true film critics are those who take a more academic approach to films. This work is more often known as film theory or film studies. These film critics try to come to understand why film works, how it works, and what effects it has on people. Rather than write for newspaper or appear on television their articles are published in scholarly journals, or sometimes in up-market magazines. They also tend to be affiliated with colleges or universities.

[edit]
The motion picture industry
Main article: Film industry
The making and showing of motion pictures became a source of profit almost as soon the process was invented. Upon seeing how successful their new invention, and its product, was in their native France, the Lumières quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses. In each country, they would normally add new, local scenes to their catalogue and, quickly enough, found local entrepreneurs in the various countries of Europe to buy their equipment and photograph, export, import and screen additional product commercially. The Oberammergau Passion Play of 1898 was the first commercial motion picture ever produced. Other pictures soon followed, and motion pictures became a separate industry that overshadowed the vaudeville world. Dedicated theaters and companies formed specifically to produce and distribute films, while motion picture actors became major celebrities and commanded huge fees for their performances. Already by 1917, Charlie Chaplin had a contract that called for an annual salary of one million dollars.

In the United States today, much of the film industry is centered around Hollywood. Other regional centers exist in many parts of the world, and the Indian film industry (primarily centered around "Bollywood") annually produces the largest number of films in the world. Whether the ten thousand-plus features a year produced by the Valley porn industry should qualify for this title is the source of some debate. Though the expense involved in making movies has led cinema production to concentrate under the auspices of movie studios, recent advances in affordable film making equipment have allowed independent film productions to flourish.

Profit is a key force in the industry, due to the costly nature of filmmaking; yet many filmmakers strive to create works of lasting social significance. The Academy Awards (also known as The Oscars) are the most prominent film awards in the United States, providing recognition each year to films, ostensibly based on their artistic merits. Also, film quickly came to be used in education, in lieu of or in addition to lectures and texts.

[edit]
Stages of filmmaking
Main article: Filmmaking
The nature of the film determines the size and type of crew required during filmmaking. Many Hollywood adventure films need computer generated imagery (CGI), created by dozens of 3D modellers, animators, rotoscopers and compositors. However, a low-budget, independent film may be made with a skeleton crew, often paid very little. Filmmaking takes place all over the world using different technologies, styles of acting and genre, and is produced in a variety of economic contexts that range from state-sponsored documentary in China to profit-oriented movie making within the American studio system.
A typical Hollywood-style filmmaking Production cycle comprises five main stages:
Development
Preproduction
Production
Post-production
Distribution
This production cycle typically takes three years. The first year is taken up with development. The second year comprises preproduction and production. The third year, post-production and distribution.

Film crew
Main article: Film crew
A film crew is a group of people hired by a film company for the purpose of producing a film or motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the film.

Independent filmmaking
Main article: Independent film
Independent filmmaking takes place outside of the Hollywood, or other major studio systems. An independent film (or indie film) is a film initially produced without financing or distribution from a major movie studio. Creative, business, and technological reasons have all contributed to the growth of the indie film scene in the late 20th and early 21st century.
Creatively, it was becoming increasingly difficult to get studio backing for experimental films. Experimental elements in theme and style are inhibitors for the big studios.
On the business side, the costs of big-budget studio films also leads to conservative choices in cast and crew. The problem is exacerbated by the trend towards co-financing (over two-thirds of the films put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987). An unproven director is almost never given the opportunity to get his or her big break with the studios unless he or she has significant industry experience in film or television. They also rarely produce films with unknown actors, particularly in lead roles.
Until the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film. The cost of 35 mm film is outpacing inflation: in 2002 alone, film negative costs were up 23%, according to Variety. Film requires expensive lighting and post-production facilities.
But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-resolution digital video in the early 1990s, have lowered the technology barrier to movie production significantly. Both production and post-production costs have been significantly lowered; today, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVDs, IEEE 1394 connections and non-linear editing system pro-level software like Adobe Premiere Pro and Final Cut Pro, and consumer level software such as Final Cut Express and iMovie make movie-making relatively inexpensive.
Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a movie, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution.

Animation
Main article: Animation
Animation is the technique in which each frame of a film is produced individually, whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly making small changes to a model unit (see claymation and stop motion), and then photographing the result with a special animation camera. When the frames are strung together and the resulting film is viewed at a speed of 16 or more frames per second, there is an illusion of continuous movement (due to the persistence of vision). Generating such a film is very labour intensive and tedious, though the development of computer animation has greatly sped up the process.
Graphics file formats like GIF, MNG, SVG and Flash allow animation to be viewed on a computer or over the Internet.
Because animation is very time-consuming and often very expensive to produce, the majority of animation for TV and movies comes from professional animation studios. However, the field of independent animation has existed at least since the 1950s, with animation being produced by independent studios (and sometimes by a single person). Several independent animation producers have gone on to enter the professional animation industry.
Limited animation is a way of increasing production and decreasing costs of animation by using "short cuts" in the animation process. This method was pioneered by UPA and popularized (some say exploited) by Hanna-Barbera, and adapted by other studios as cartoons moved from movie theaters to television.

Film venues
When it is initially produced, a film is normally shown to audiences in a movie theater or cinema. The first theater designed exclusively for cinema opened in Pittsburgh, Pennsylvania in 1905. Thousands of such theaters were built or converted from existing facilities within a few years. In the United States, these theaters came to be known as nickelodeons, because admission typically cost a nickel (five cents).
Typically, one film is the featured presentation (or feature film). There were "double features"; typically, a high quality "A picture" rented by an independent theater for a lump sum, and a "B picture" of lower quality rented for a percentage of the gross receipts. Today, the bulk of the material shown before the feature film (those in theaters) consists of previews for upcoming movies and paid advertisements (also known as trailers or "The Twenty").
Originally, all films were made to be shown in movie theaters. The development of television has allowed films to be broadcast to larger audiences, usually after the film is no longer being shown in theaters. Recording technology has also enabled consumers to rent or buy copies of films on video tape or DVD (and the older formats of laserdisc, VCD and SelectaVision — see also videodisc), and Internet downloads may be available and have started to become revenue sources for the film companies. Some films are now made specifically for these other venues, being released as made-for-TV movies or direct-to-video movies. These are often considered to be of inferior quality compared to theatrical releases. And indeed, some films that are rejected by their own studios upon completion are dumped into these markets.
The movie theater pays an average of about 55% of its ticket sales to the movie studio, as film rental fees. The actual percentage starts with a number higher than that, and decreases as the duration of a film's showing continues, as an incentive to theaters to keep movies in the theater longer. However, today's barrage of highly marketed movies ensures that most movies are shown in first-run theaters for less than 8 weeks. There are a few movies every year that defy this rule, often limited-release movies that start in only a few theaters and actually grow their theater count through good word-of-mouth and reviews. According to a 2000 study by ABN AMRO, about 26% of Hollywood movie studios' worldwide income came from box office ticket sales; 46% came from VHS and DVD sales to consumers; and 28% came from television (broadcast, cable, and pay-per-view).
Development of film technology
Film stock consists of a transparent celluloid, polyester, or acetate base coated with an emulsion containing light-sensitive chemicals. Cellulose nitrate was the first type of film base used to record motion pictures, but due to its flammability was eventually replaced by safer materials. Stock widths and the film format for images on the reel have had a rich history, though most large commercial films are still shot on (and distributed to theaters) as 35 mm prints.
Originally moving picture film was shot and projected at various speeds using hand-cranked cameras and projectors; though 16 frames per second is generally cited as a standard silent speed, research indicates most films were shot between 16-23 fps and projected from 18 fps on up (often reels included instructions on how fast each scene should be shown) [1]. When sound film was introduced in the late 1920s, a constant speed was required for the sound head. 24 frames per second was chosen because it was the slowest (and thus cheapest) speed which allowed for sufficient sound quality. Improvements since the late 19th century include the mechanization of cameras — allowing them to record at a consistent speed, quiet camera design — allowing sound recorded on-set to be usable without requiring large "blimps" to encase the camera, the invention of more sophisticated filmstocks and lenses, allowing directors to film in increasingly dim conditions, and the development of synchronized sound, allowing sound to be recorded at exactly the same speed as its corresponding action. The soundtrack can be recorded separately from shooting the film, but for live-action pictures many parts of the soundtrack are usually recorded simultaneously.
As a medium, film is not limited to motion pictures, since the technology developed as the basis for photography. It can be used to present a progressive sequence of still images in the form of a slideshow. Film has also been incorporated into multimedia presentations, and often has importance as primary historical documentation. However, historic films have problems in terms of preservation and storage, and the motion picture industry is exploring many alternatives. Most movies on cellulose nitrate base have been copied onto modern safety films. Some studios save color films through the use of separation masters — three B&W negatives each exposed through red, green, or blue filters (essentially a reverse of the Technicolor process). Digital methods have also been used to restore films, although their continued obsolescence cycle makes them (as of 2006) a poor choice for long-term preservation. Film preservation of decaying film stock is a matter of concern to both film historians and archivists, and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase revenue). Preservation is generally a higher-concern for nitrate and single-strip color films, due to their high decay rates; black and white films on safety bases and color films preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage.
Some films in recent decades have been recorded using analog video technology similar to that used in television production. Modern digital video cameras and digital projectors are gaining ground as well. These approaches are extremely beneficial to moviemakers, especially because footage can be evaluated and edited without waiting for the film stock to be processed. Yet the migration is gradual, and as of 2005 most major motion pictures are still recorded on film.

Endurance of films
Films have been around for more than a century, however this is not long when one considers it in relation to other arts like painting and sculpture. Many believe that film will be a long enduring art form because motion pictures appeal to diverse human emotions.
Apart from societal norms and cultural changes, there are still close resemblances between theatrical plays throughout the ages and films of today. Romantic motion pictures about a girl loving a guy but not being able to be together for some reason, movies about a hero who fights against all odds a more powerful fiendish enemy, comedies about everyday life, etc. all involve plots with common threads that existed in books, plays and other venues.
The reason motion pictures endure is because people still want escapism, adventure, inspiration, humor and to be moved emotionally. Civilization develops and changes, at least in surface features, and so calls for a constant renewal of artistic means to channel these desires. Films provide them in an accessible and powerful way.

For more information on Movies, please visit
Wikipedia.
Paparazzi
From Wikipedia, the free encyclopedia

Paparazzi is a plural term (paparazzo is the singular form) for photographers who take candid photographs of celebrities, usually by relentlessly shadowing them in their public and private activities. The term paparazzi is often used in a derogatory manner. Originally, it referred to Italian celebrity photographers who learned that a picture of a movie star throwing a punch was more valuable than pictures of stars smiling (celebrity tantrums are a common entertainment story in the mass media). It is this antagonistic interaction that is the hallmark of a true paparazzo; however, the term is often used more broadly to describe all photographers who take pictures of people of note.
Use of the term derives from "Paparazzo", the name of a freelance news photographer character in the Federico Fellini-directed film La Dolce Vita. In the film, Paparazzo discovers he can earn sixty times his usual fee for photographs where he has incited confrontation with celebrities.
Paparazzo is a real Italian surname[1] while the plural, "paparazzi", was formed following one of the word-formation rules in the Italian language (the -o in singular nouns becomes -i in the plural.)
In Hong Kong, paparazzi are sometimes called "puppy teams", either because they "dog" (closely follow) their subjects, or by analogy with the behavior of puppies around people.
Technological developments in cameras (such as higher quality telephoto lenses and higher speed films) enable paparazzi to "shoot" (English slang for capturing a photograph) their prey from afar and remain unknown to their subjects. Miniaturization allows tiny palm-sized cameras that can engage in effectively secret photography. Furthermore, digital cameras and transmission methods allow for rapid distribution of the pictures.
Due to the reputation of paparazzi as an annoyance, some states and countries (particularly within Europe) restrict their activities by passing laws and curfews, and by staging events in which paparazzi are specifically allowed to take photographs.
The presence of paparazzi is not always seen as annoying; the arranger of an event may, in order to make the guests feel important, hire a number of actors who pretend they are paparazzi (so-called "faux-paparazzi"). This was, for instance, seen at extravaganza events during the dot-com boom.

Contents
1 Paparazzi in the news
2 External link
3 References
3.1 Footnotes

Paparazzi in the news
The Oriental Daily News of Hong Kong was found guilty of "scandalizing the court", an extremely rare criminal charge that the newspaper's conduct would undermine confidence in the administration of justice [1]. The charge was brought after the newspaper had published abusive articles challenging the judiciary's integrity and accusing it of bias in a lawsuit the paper had instigated over a photo of a pregnant Faye Wong. The paper had also arranged for a "puppy team" to track a judge for 72 hours, to provide the judge with first-hand experience with what paparazzi do.
Some observers blamed paparazzi for the deaths of Diana, Princess of Wales, and Dodi Al-Fayed, who were killed in 1997 in a high-speed automobile accident in Paris, France, while being pursued by paparazzi. Although several paparazzi were briefly taken into custody, no one was ever convicted, and the official French investigation of the crash concluded that they had not caused the accident.
Paparazzi argue that they are not in the business of taking intrusive photographs for their own perverse pleasure; instead, they sell their work to dozens of magazines and newspapers that publish such photos for their readers and subscribers. It is this public thirst that drives editors to pay up to $50,000 (or more) for a single "scoop" photograph.
Many paparazzi feel that they are helping celebrities and public figures in general by increasing their publicity. Also, this is a lucrative business for both sides; not only can photographers earn large sums of money for a high-demand picture, but celebrities may also make money because the media attention often bolsters—or creates—fan support.
According to an article in Time Magazine, Mel Bouzad, one of the top paparazzi in Los Angeles, is a twenty-six year old man who makes it his business to know where celebrities will be at any given time. Bouzad's job is to take marketable pictures of celebrities. The article continues to say that Bouzad (like many other photographers) moved to Los Angeles with only his camera and a change of clothes, only to become a very successful businessman, running his own company named MB Pictures. Bouzad told Time how much money is involved in the business by claiming to have made $150,000.00 for a picture of Ben Affleck and Jennifer Lopez in Georgia after their breakup. He also claims, "if I get [a picture of] Britney and her baby, I'll be able to buy a house in those hills," referring to the luxurious homes in the hills above Sunset Boulevard. Also according to Time, Peter Howe, the author of Paparazzi, says, "celebrities need a higher level of exposure than the rest of us ... so it is a two-way street. The celebrities manipulate the paparazzi, too."
A new term for amateur photographers at major events was coined in February 2006 by Orange (UK).[2] Wrote MediaGuardian, "fans armed with mobile phones were given their very own press pen outside the Odeon Leicester Square. And the name for this new breed of amateur snappers? Why, the waparazzi, of course."[3] (WAP is an abbreviation of Wireless Application Protocol).

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Music
From Wikipedia, the free encyclopedia

Music is a form of expression in the medium of time using the structures of tones and silence. It creates complex forms in time through construction of patterns and combinations of natural stimuli like sound. As a human activity, music may be used for artistic or aesthetic, entertainment, or ceremonial purposes. The definition of what constitutes music varies according to culture and social context.

Allegory of Music, by Filippino Lippi
Allegory of Music, by Lorenzo Lippi Music Portal
Contents

1 Definition of music
2 Aspects of music
3 Common terms
4 Production
4.1 Performance
4.2 Solo and ensemble
4.3 Oral tradition and notation
4.4 Improvisation, interpretation, composition
4.5 Compositions
5 Reception and audition
6 Media
7 Education
7.1 Music as Part of General Education
7.2 Study
8 History
9 Notes
10 Sources

Definition of music
Main article: Definition of music
The definition of music as sound with particular characteristics is taken as a given by psychoacoustics, and is a common one in musicology and performance. There are observable patterns to what is broadly labeled music, and while there are understandable cultural variations, the properties of music are the properties of sound as perceived and processed by humans.
Greek philosophers and medieval theorists defined music as tones ordered horizontally (as melodies) and vertically (as harmonies). Music theory, within this realm, is studied with the presupposition that music is orderly and often pleasant to hear. However, in the 20th century, composers challenged the notion that music had to be pleasant by creating music that explored harsher, darker timbres.
20th century composer John Cage disagreed with the notion that music was pleasant melodies. Instead, he argued that any sounds we can hear can be music, saying, for example, "There is no noise, only sound,"[1]. According to musicologist Jean-Jacques Nattiez (1990 p.47-8,55): "The border between music and noise is always culturally defined--which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus.... By all accounts there is no single and intercultural universal concept defining what music might be."
The composer Anton Webern expressed in his legendary statement With me, things never turn out as I wish, but only as is ordained for me-as I must stating the underlying generative process of music. The German philosopher Johann Wolfgang Von Goethe stated the nature of patterns and forms as the basis of music by stating that "architecture is frozen music". By this he meant that any natural stimuli that has underlying structural-patterns is musical in form.

Other definitions of music list the aspects or elements that make up music. Molino (1975: 43) argues that, in addition to a lack of consensus, "any element belonging to the total musical fact can be isolated, or taken as a strategic variable of musical production." Nattiez gives as examples Mauricio Kagel's Con Voce [with voice], where a masked trio silently mimes playing instruments. In this example, sound, a common element, is excluded, while physical gesture, a less common element in definitions of music, is given primacy.

Aspects of music
Main article: Aspects of music
The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration. 1 These aspects combine to create secondary aspects including structure, texture and style. Other commonly included aspects include the spatial location or the movement in space of sounds, gesture, and dance.
Silence has long been considered an aspect of music, ranging from the dramatic pauses in Romantic-era symphonies to the avant-garde use of silence as an artistic statement in 20th century works such as John Cage's 4'33."John Cage considers duration the primary aspect of music because it is the only aspect common to both "sound" and "silence."
As mentioned above, not only do the aspects included as music vary, their importance varies. For instance, melody and harmony are often considered to be given more importance in classical music at the expense of rhythm and timbre. It is often debated whether there are aspects of music that are universal. The debate often hinges on definitions, for instance the fairly common assertion that "tonality" is a universal of all music may necessarily require an expansive definition of tonality.
A pulse is sometimes taken as a universal, yet there exist solo vocal and instrumental genres with free, improvisational rhythms with no regular pulse;2 one example is the alap section of a Hindustani music performance. According to Dane Harwood, "We must ask whether a cross-cultural musical universal is to be found in the music itself (either its structure or function) or the way in which music is made. By 'music-making,' I intend not only actual performance but also how music is heard, understood, even learned." 3

Common terms
Main article: Musical terminology
See also: List of musical topics
Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music.

Production
Main article: Music industry
Music is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace. Amateur musicians compose and perform music for their own pleasure, and they do not attempt to derive their income from music. Professional musicians are employed by a range of institutions and organizations, including armed forces, churches and synagogues, symphony orchestras, broadcasting or film production companies, and music schools. As well, professional musicians work as freelancers, seeking contracts and engagements in a variety of settings.
Although amateur musicians differ from professional musicians in that amateur musicians have a non-musical source of income, 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 and orchestras. In some rare cases, amateur musicians attain a professional level of competence, and they are able to perform in professional performance settings.
A distinction is often made between music performed for the benefit of a live audience and music that is performed for the purpose of being 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 recorded and distributed (or broadcast).

Performance
Main article: Performance
Chinese Naxi musiciansSomeone who performs, composes, or conducts music is a musician. Musicians perform music for a variety of reasons. Some artists express their feelings in music. Performing music is an enjoyable activity for amateur and professional musicians, and it is often done for the benefit of an audience, who is deriving some aesthetic, social, religious, or ceremonial value from the performance. Part of the motivation for professional performers is that they derive their income from making music. As well, music is performed in the context of practicing, as a way of developing musical skills.

Solo and ensemble
Many cultures include strong traditions of solo or soloistic performance, 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 for one's enjoyment to highly planned and organized performance rituals such as the modern classical concert or religious processions.
Chamber music, which is music for a small ensemble, is often seen as more intimate than symphonic works. A performer is called a musician or singer, and they may be part of a musical ensemble such as a rock band or symphony orchestra.

Oral tradition and notation
Main article: Musical notation
Musical notationMusic is often preserved in memory and performance only, handed down orally, or aurally ("by ear"). When the composer of music is no longer known, this music is often classified as "traditional". Different musical traditions have different attitudes towards how and where to make changes to the original source material, from quite strict, to those which demand improvisation or modification to the music. In the Gambia, West Africa, the history of the country is passed orally through song.
When music is written down, it is generally notated so that there are instructions regarding what should be heard by listeners, and what the musician should do to perform the music. This is referred to as musical notation, and the study of how to read notation involves music theory, harmony, the study of performance practice, and in some cases an understanding of historical performance methods.
Written notation varies with style and period of 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. Nonetheless, 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, which indicates the location of the notes to be played on the instrument using a diagram of the guitar or bass fingerboard. Generally music which is to be performed is produced as sheet music. Tabulature was also used in the Baroque era to notate music for the lute, a stringed, fretted instrument.
To perform music from notation requires an understanding of both the musical style and the performance practice that is associated with a piece of music or genre. The detail included explicitly in the music notation varies between genres and historical periods. In general, art music notation from the 17th through to the 19th century required performers to have a great deal of contextual knowledge about performing styles. For example, in the 17th and 18th century, music notated for solo performers typically indicated a simple, unornamented melody. However, it was expected that performers would know how to add stylistically appropriate ornaments such as trills and turns.
In the 19th century, art music for solo performers may give a general instruction such as to perform the music expressively, without describing in detail how the performer should do this. It was expected that the performer would know how to use tempo changes, accentuation, and pauses (among other devices) to obtain this "expressive" performance style.
In the 20th century, art music notation often became more explicit, and used a range of markings and annotations to indicate to performers how they should play or sing the piece. In popular music and jazz, music notation almost always indicates only the basic framework of the melody, harmony, or performance approach; musicians and singers are expected to know the performance conventions and styles associated with specific genres and pieces. For example, the "lead sheet" for a jazz song may only indicate the basic outlines of the melody and the chord changes. The performers in the jazz ensemble are expected to know how to "flesh out" this basic structure.

Improvisation, interpretation, composition
Main articles: Musical composition, Improvisation#Musical improvisation, and Free improvisation
Most cultures use at least part of the concept of preconceiving musical material, or composition, as held in western classical music. Even when music is notated precisely, there are still many decisions that a performer has to make. The process of a performer deciding how to perform music that has been previously composed and notated is termed interpretation.
In some musical genres, such as jazz and blues, even more freedom is given to the performer to engage in improvisation on a basic melodic, harmonic, or rhythmic framework. The greatest latitude is given to the performer in a style of performing called free improvisation, which is material that is spontaneously "thought of" (imagined) while being performed, not preconceived. Improvised music usually follows stylistic or genre conventions and even "fully composed" includes some freely chosen material (see precompositional). Composition does not always mean the use of notation, or the known sole authorship of one individual.
Music can also be determined by describing a "process" which may create musical sounds, examples of this range from wind chimes, through computer programs which select sounds. Music which contains elements selected by chance is called Aleatoric music, and is often associated with John Cage and Witold Lutoslawski.

Compositions
Musical composition is a term that describes the makeup of a piece of music. Methods of composition vary widely, however in analyzing music all forms -- spontaneous, trained, or untrained -- are built from elements comprising a musical piece. Music can be composed for repeated performance or it can be improvised; composed on the spot. The music can be performed entirely from memory, from a written system of musical notation, or some combination of both. 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 spontaneously improvised works like those of free jazz performers and African drummers.
What is important in understanding the composition of a piece is singling out its elements. An understanding of music's formal elements can be helpful in deciphering exactly how a piece is constructed. A universal element of music is how sounds occur in time, which is referred to as the rhythm of a piece of music.
When a piece appears to have a changing time-feel, it is considered to be in rubato time, an Italian expression that indicates that the tempo of the piece changes to suit the expressive intent of the performer. Even random placement of random sounds, which occurs in musical montage, occurs within some kind of time, and thus employs time as a musical element.

Reception and audition
Main article: Hearing (sense)
Concert in the Mozarteum, SalzburgThe field of music cognition involves the study of many aspects of music including how it is processed by listeners.
Music is experienced by individuals in a range of social settings ranging from being alone to attending a large concert. Musical performances take different forms in different cultures and socioeconomic milieus. In Europe and North America, there is often a divide between what types of music are viewed as "high culture" and "low culture." "High culture" types of music typically include Western art music such as Baroque, Classical, Romantic, and modern-era symphonies, concertos, and solo works, and are typically heard in formal concerts in concert halls and churches, with the audience sitting quietly in seats.
On the other hand, other types of music such as jazz, blues, soul, and country are often performed in bars, nightclubs, and theatres, where the audience may be able to drink, dance, and express themselves by cheering. Until the later 20th century, the division between "high" and "low" musical forms was widely accepted as a valid distinction that separated out better quality, more advanced "art music" from the popular styles of music heard in bars and dance halls.
However, in the 1980s and 1990s, musicologists studying this perceived divide between "high" and "low" musical genres argued that this this distinction is not based on the musical value or quality of the different types of music. Rather, they argued that this distinction was based largely on the socioeconomic standing or social class of the performers or audience of the different types of music.
For example, whereas the audience for Classical symphony concerts typically have above-average incomes, the audience for a hip-hop concert in an inner-city area may have below-average incomes. Even though the performers, audience, or venue where non-"art" music is performed may have a lower socioeconomic status, the music that is performed, such as blues, hip-hop, punk, or funk may be very complex and sophisticated.
Deaf people can experience music by feeling the vibrations in their body, a process which can be enhanced if the individual holds a resonant, hollow object. A well-known deaf musician is the composer Ludwig van Beethoven, who composed many famous works even after he had completely lost his hearing. Recent examples of deaf musicians include Evelyn Glennie, a highly acclaimed percussionist who has been deaf since the age of twelve, and Chris Buck, a virtuoso violinist who has lost his hearing.

Further information: psychoacoustics

Media
The music that composers make can be heard through several media; the most traditional way is to hear it live, in the presence, or as one of, the musicians. Live music can also be broadcast over the radio, television or the internet. Some musical styles focus on producing a sound for a performance, while others focus on producing a recording which mixes together sounds which were never played "live". Recording, even of styles which are essentially live, often uses the ability to edit and splice to produce recordings which are considered "better" than the actual performance.
In many cultures, there is less distinction between performing and listening to music, as virtually everyone is involved in some sort of musical activity, often communal. In industrialized countries, listening to music through a recorded form, such as sound recording or watching a music video, became more common than experiencing live performance, roughly in the middle of the 20th century.

Sometimes, live performances incorporate prerecorded sounds. For example, a DJ 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. Computers and many keyboards can be programmed to produce and play MIDI music. Audiences can also become the performers by using Karaoke, invented by the Japanese, which uses music video and tracks without voice, so the performer can add their voice to the piece.

Education
Professional musicians in some cultures and musical genres compose, perform, and improvise music with no formal training. Musical genres where professional musicians are typically self-taught or where they learn through informal mentoring and creative exchanges include blues, punk, and popular music genres such as rock, pop and hip-hop.
Undergraduate university degrees in music, including the Bachelor of Music, the Bachelor of Music Education, and the Bachelor of Arts with a major in music typically take three or four years to complete. These degrees provide students with a grounding in music theory and music history, and many students also study an instrument or learn singing technique as part of their program.
Graduates of undergraduate music programs can go on to further study in music graduate programs. Graduate degrees include the Master of Music, the Master of Arts, the PhD, and more recently, the Doctor of Musical Arts, or DMA. The Master of Music degree, which takes one to two years to complete, is typically awarded to students studying the performance of an instrument or voice or composition. The Master of Arts degree, which takes one to two years to complete and often requires a thesis, is typically awarded to students studying musicology, music history, or music theory.
The PhD, which is required for students who want to work as university professors in musicology, music history, or music theory, takes three to five years of study after the Master's degree, during which time the student will complete advanced courses and undertake research for a dissertation. The Doctor of Musical Arts, or DMA is a relatively new degree that was created to provide a credential for professional performers or composers that want to work as university professors in musical performance or composition. The DMA takes three to five years after a Master's degree, and includes advanced courses, projects, and performances.

Music as Part of General Education
The incorporation of music training from preschool to postsecondary education is common in North America and Europe, because involvement in 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.4 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. In secondary schools students may have the opportunity to perform some type of musical ensembles, such as choirs, marching bands, jazz bands, or orchestras, and in some school systems, music classes may be available.
At the university level, students in most arts and humanities programs can receive credit for taking 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 type of musical ensembles that non-music students are able to participate in, such as choirs, marching bands, or orchestras.
In North America and Europe, traditional academic studies of music are often criticized as being ethnocentric. For instance, traditional music education usually does not teach about quarter-tones (a device of the Arab tone system), and very few children are introduced to the Blues in traditional studies (while many are introduced to Classical music). The lack of education about the Blues is especially a concern, because the overwhelming majority of America's commercially viable music is largely derived from the Blues, yet educators may exclude the Blues from studies to avoid crediting African Americans with such an innovation.
The study of Western art music is increasingly common outside of North America and Europe, such as STSI in Bali, 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).
Both amateur and professional musicians typically take music lessons, short private sessions with an individual teacher. Amateur musicians typically take lessons to learn musical rudiments and beginner- to intermediate-level musical techniques.

Study
Main articles: musicology and music theory
Many people also study about music in the field of musicology. The earliest definitions of musicology defined three sub-disciplines: systematic musicology, historical musicology, and comparative musicology. In contemporary scholarship, one is more likely to encounter a division of the discipline 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 the cultural study of music, is called ethnomusicology.
In Medieval times, the study of music was one of the Quadrivium of the seven Liberal Arts and considered vital to higher learning. Within the quantitative Quadrivium, music, or more accurately harmonics, was the study of rational proportions.
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 Ruwet's Language, musique, poésie (1972) paradigmatic segmentation analysis, shows that birdsongs are organized according to a repetition-transformation principle. In the opinion of Jean-Jacques Nattiez (1990), "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 organized and conceptualized (that is, made to form music) merely by its producer, but by the mind that perceives it, then music is uniquely human."
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 that which studies music of the common practice period, may take many other forms. 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.

See also: Musical analysis.

History
Main article: History of music
See also: Music and politics
The history of music in relation to human beings predates the written word and is tied to the development and unique expression of various human cultures. Music has influenced man, and vice versa, since the dawn of civilization. Popular styles of music varied widely from culture to culture, and from period to period. Different cultures emphasized different instruments, or techniques. Music history itself is the (distinct) subfield of musicology and history, which studies the chronological development of music, primarily in the Western world.
As there are many definitions for music there are many divisions and groupings of music, many of which are caught up in the argument over the definition of music. Among the larger genres are classical music, popular music or commercial music (including rock and roll), country music and folk music.
There is often disagreement over what constitutes "real" music: late-period Beethoven string quartets, Stravinsky ballet scores, serialism, bebop-era Jazz, rap, punk rock, and electronica have all been considered non-music by some critics when they were first introduced.
The term world music has been applied to a wide range of music made outside of Europe and European influence, although its initial application, in the context of the World Music Program at Wesleyan University, was as a term including all possible music genres, including European traditions. (In academic circles, the original term for the study of world music, "comparative musicology", was replaced in the middle of the twentieth century by "ethnomusicology", which is still an unsatisfactory coinage.)
Genres of music are as often determined by tradition and presentation as by the actual music. While most classical music is acoustic and meant to be performed by individuals or groups, many works described as "classical" include samples or tape, or are mechanical. Some works, like Gershwin's Rhapsody in Blue, are claimed by both jazz and classical music.
As world cultures have been in greater contact, their indigenous musical styles have often merged into new styles. For example, the US-American bluegrass style contains elements from Anglo-Irish, Scottish, Irish, German and some African-American instrumental and vocal traditions, which were able to fuse in the US' multi-ethnic "melting pot" society.
Many current music festivals celebrate a particular musical genre.

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