Coordinates	56°09′″N40°25′″N
name	Music
medium	Sound
culture	various
era	Paleolithic }}

Music is an art form whose medium is sound and silence. Common elements of music are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek ''μουσική'' (''mousike''; "art of the Muses").

The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within "the arts", music may be classified as a performing art, a fine art, and auditory art. There is also a strong connection between music and mathematics.

To many people in many cultures, music is an important part of their way of life. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound." Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "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."

History

Prehistoric eras

Prehistoric music can only be theorized based on findings from paleolithic archaeology sites. Flutes are often discovered, carved from bones in which lateral holes have been pierced; these are thought to have been blown at one end like the Japanese shakuhachi. The Divje Babe flute, carved from a cave bear femur, is thought to be at least 40,000 years old. Instruments such as the seven-holed flute and various types of stringed instruments have been recovered from the Indus Valley Civilization archaeological sites. India has one of the oldest musical traditions in the world—references to Indian classical music (''marga'') are found in the Vedas, ancient scriptures of the Hindu tradition. The earliest and largest collection of prehistoric musical instruments was found in China and dates back to between 7000 and 6600 BC. The Hurrian song, found on clay tablets that date back to approximately 1400 BC, is the oldest surviving notated work of music.

References in the Bible

Music and theatre scholars studying the history and anthropology of Semitic and early Judeo-Christian culture have discovered common links in theatrical and musical activity between the classical cultures of the Hebrews and those of later Greeks and Romans. The common area of performance is found in a "social phenomenon called litany," a form of prayer consisting of a series of invocations or supplications. ''The Journal of Religion and Theatre'' notes that among the earliest forms of litany, "Hebrew litany was accompanied by a rich musical tradition:"

:"While Genesis 4.21 identifies Jubal as the “father of all such as handle the harp and pipe,” the Pentateuch is nearly silent about the practice and instruction of music in the early life of Israel. Then, in I Samuel 10 and the texts that follow, a curious thing happens. “One finds in the biblical text,” writes Alfred Sendrey, “a sudden and unexplained upsurge of large choirs and orchestras, consisting of thoroughly organized and trained musical groups, which would be virtually inconceivable without lengthy, methodical preparation.” This has led some scholars to believe that the prophet Samuel was the patriarch of a school, which taught not only prophets and holy men, but also sacred-rite musicians. This public music school, perhaps the earliest in recorded history, was not restricted to a priestly class—which is how the shepherd boy David appears on the scene as a minstrel to King Saul."

Antiquity

Music was an important part of cultural and social life in Ancient Greece: mixed-gender choruses performed for entertainment, celebration, and spiritual ceremonies; musicians and singers had a prominent role in ancient Greek theater.

Western cultures

The music of Greece was a major part of ancient Greek theater. In Ancient Greece, mixed-gender choruses performed for entertainment, celebration and spiritual reasons. Instruments included the double-reed aulos and a plucked string instrument, the lyre, especially the special kind called a kithara. Music was an important part of education in ancient Greece, and boys were taught music starting at age six. Greek musical literacy created a flowering of development; Greek music theory included the Greek musical modes, eventually became the basis for Western religious music and classical music. Later, influences from the Roman Empire, Eastern Europe, and the Byzantine Empire changed Greek music.

During the Medieval music era (500–1400), the only European repertory that survives from before about 800 is the monophonic liturgical plainsong of the Roman Catholic Church, the central tradition of which was called Gregorian chant. Alongside these traditions of sacred and church music there existed a vibrant tradition of secular song. Examples of composers from this period are Léonin, Pérotin and Guillaume de Machaut. From the Renaissance music era (1400–1600), much of the surviving music of 14th century Europe is secular. By the middle of the 15th century, composers and singers used a smooth polyphony for sacred musical compositions. The introduction of commercial printing helped to disseminate musical styles more quickly and across a larger area. Prominent composers from this era are Giovanni Pierluigi da Palestrina, Thomas Morley and Orlande de Lassus.

! align=center	Ludwig van Beethoven	! align=center

The era of operas were written and when [[Counterpoint">contrapuntal music became prevalent. German Baroque composers wrote for small ensembles including strings, brass, and woodwinds, as well as choirs, pipe organ, harpsichord, and clavichord. During the Baroque period, several major music forms were defined that lasted into later periods when they were expanded and evolved further, including the fugue, the invention, the sonata, and the concerto. Composers from the Baroque era include Johann Sebastian Bach, George Frideric Handel and Georg Philipp Telemann. The music of the Classical period (1750–1800) is characterized by homophonic texture, often featuring a prominent melody with accompaniment. These new melodies tended to be almost voicelike and singable. The now popular instrumental music was dominated by further evolution of musical forms initially defined in the Baroque period: the sonata, and the concerto, with the addition of the new form, the symphony. Joseph Haydn and Wolfgang Amadeus Mozart are among the central figures of the Classical period.

In 1800, the Romantic era (1800–1890s) in music developed, with Ludwig van Beethoven and Franz Schubert as transitional composers who introduced a more dramatic, expressive style. During this era, existing genres, forms, and functions of music were developed, and the emotional and expressive qualities of music came to take precedence over technique and tradition. In Beethoven's case, motifs (developed organically) came to replace melody as the most significant compositional unit. The late 19th century saw a dramatic expansion in the size of the orchestra, and in the role of concerts as part of urban society. Later Romantic composers such as Pyotr Ilyich Tchaikovsky and Gustav Mahler created complex and often much longer musical works. They used more complex chords and used more dissonance to create dramatic tension.

Asian cultures

Indian classical music is one of the oldest musical traditions in the world. The Indus Valley civilization has sculptures that show dance and old musical instruments, like the seven holed flute. Various types of stringed instruments and drums have been recovered from Harrappa and Mohenjo Daro by excavations carried out by Sir Mortimer Wheeler. The Rigveda has elements of present Indian music, with a musical notation to denote the metre and the mode of chanting. Indian classical music (marga) is monophonic, and based on a single melody line or raga rhythmically organized through talas. Hindustani music was influenced by the Persian performance practices of the Afghan Mughals. Carnatic music popular in the southern states, is largely devotional; the majority of the songs are addressed to the Hindu deities. There are a lot of songs emphasising love and other social issues.

Asian music covers the music cultures of Arabia, Central Asia, East Asia, South Asia, and Southeast Asia. Chinese classical music, the traditional art or court music of China, has a history stretching over around three thousand years. It has its own unique systems of musical notation, as well as musical tuning and pitch, musical instruments and styles or musical genres. Chinese music is pentatonic-diatonic, having a scale of twelve notes to an octave (5 + 7 = 12) as does European-influenced music. Persian music is the music of Persia and Persian language countries: ''musiqi'', the science and art of music, and ''muzik'', the sound and performance of music (Sakata 1983). See also: Music of Iran, Music of Afghanistan, Music of Tajikistan, Music of Uzbekistan.

20th and 21st century music

With 20th century music, there was a vast increase in music listening as the radio gained popularity and phonographs were used to replay and distribute music. The focus of art music was characterized by exploration of new rhythms, styles, and sounds. Igor Stravinsky, Arnold Schoenberg, and John Cage were all influential composers in 20th century art music. The invention of sound recording and the ability to edit music gave rise to new sub-genre of classical music, including the acousmatic and Musique concrète schools of electronic composition.

Jazz evolved and became an important genre of music over the course of the 20th century, and during the second half of that century, rock music did the same. Jazz is an American musical artform that originated in the beginning of the 20th century in African American communities in the Southern United States from a confluence of African and European music traditions. The style's West African pedigree is evident in its use of blue notes, improvisation, polyrhythms, syncopation, and the swung note. From its early development until the present, jazz has also incorporated music from 19th and 20th century American popular music. Jazz has, from its early 20th century inception, spawned a variety of subgenres, ranging from New Orleans Dixieland (1910s) to 1970s and 1980s-era jazz-rock fusion.

Rock music is a genre of popular music that developed in the 1960s from 1950s rock and roll, rockabilly, blues, and country music. The sound of rock often revolves around the electric guitar or acoustic guitar, and it uses a strong back beat laid down by a rhythm section of electric bass guitar, drums, and keyboard instruments such as organ, piano, or, since the 1970s, analog synthesizers and digital ones and computers since the 1990s. Along with the guitar or keyboards, saxophone and blues-style harmonica are used as soloing instruments. In its "purest form," it "has three chords, a strong, insistent back beat, and a catchy melody." In the late 1960s and early 1970s, it branched out into different subgenres, ranging from blues rock and jazz-rock fusion to heavy metal and punk rock, as well as the more classical influenced genre of progressive rock and several types of experimental rock genres.

Performance

Performance is the physical expression of music. Often, a musical work is performed once its structure and instrumentation are satisfactory to its creators; however, as it gets performed, it can evolve and change. A performance can either be rehearsed or improvised. Improvisation is a musical idea created without premeditation, while rehearsal is vigorous repetition of an idea until it has achieved cohesion. Musicians will sometimes add improvisation to a well-rehearsed idea to create a unique performance.

Many cultures include strong traditions of solo and 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 organised performance rituals such as the modern classical concert, religious processions, music festivals or music competitions. Chamber music, which is music for a small ensemble with only a few of each type of instrument, is often seen as more intimate than symphonic works.

Aural tradition

Many types of music, such as traditional blues and folk music were originally preserved in the memory of performers, and the songs were 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 that demand improvisation or modification to the music. A culture's history may also be passed by ear through song.

Ornamentation

The detail included explicitly in the music notation varies between genres and historical periods. In general, art music notation from the 17th through 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, unadorned melody. However, performers were expected to 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. The performer was expected to 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 tune may only indicate the melody and the chord changes. The performers in the jazz ensemble are expected to know how to "flesh out" this basic structure by adding ornaments, improvised music, and chordal accompaniment.

Production

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 derive their income from music. Professional musicians are employed by a range of institutions and organisations, including armed forces, churches and synagogues, symphony orchestras, broadcasting or film production companies, and music schools. Professional musicians sometimes work as freelancers, seeking contracts and engagements in a variety of settings.

There are often many links between amateur and professional musicians. Beginning amateur musicians take lessons with professional musicians. In community settings, advanced amateur musicians perform with professional musicians in a variety of ensembles and orchestras. In some 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).

Composition

"Composition" is often classed as the creation and recording of music via a medium by which others can interpret it (i.e., paper or sound). Many 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. Different performers' interpretations of the same music can vary widely. Composers and song writers who present their own music are interpreting, just as much as those who perform the music of others or folk music. The standard body of choices and techniques present at a given time and a given place is referred to as performance practice, whereas interpretation is generally used to mean either individual choices of a performer, or an aspect of music that is not clear, and therefore has a "standard" 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. 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" that creates musical sounds. Examples of this range from wind chimes, through computer programs that select sounds. Music from random elements is called Aleatoric music, and is associated with such composers as John Cage, Morton Feldman, and Witold Lutosławski.

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 such as the Ewe drummers.

Notation

Notation is the written expression of music notes and rhythms on paper using symbols. When music is written down, the pitches and rhythm of the music is notated, along with instructions on how to perform the music. 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. Scores and parts are also used in popular music and jazz, particularly in large ensembles such as jazz "big bands."

In popular music, guitarists and electric bass players often read music notated in tablature (often abbreviated as "tab"), which indicates the location of the notes to be played on the instrument using a diagram of the guitar or bass fingerboard. Tabulature was also used in the Baroque era to notate music for the lute, a stringed, fretted instrument. Notated music is produced as sheet music. To perform music from notation requires an understanding of both the rhythmic and pitch elements embodied in the symbols and the performance practice that is associated with a piece of music or a genre.

Improvisation

Musical improvisation is the creation of spontaneous music. Improvisation is often considered an act of instantaneous composition by performers, where compositional techniques are employed with or without preparation. Improvisation is a major part of some types of music, such as blues, jazz, and jazz fusion, in which instrumental performers improvise solos and melody lines. In the Western art music tradition, improvisation was an important skill during the Baroque era and during the Classical era; solo performers and singers improvised virtuoso cadenzas during concerts. However, in the 20th and 21st century, improvisation played a smaller role in Western Art music.

Theory

Music theory encompasses the nature and mechanics of music. It often involves identifying patterns that govern composers' techniques and examining the language and notation of music. In a grand sense, music theory distills and analyzes the parameters or elements of music – rhythm, harmony (harmonic function), melody, structure, form, and texture. Broadly, music theory may include any statement, belief, or conception of or about music. People who study these properties are known as music theorists. Some have applied acoustics, human physiology, and psychology to the explanation of how and why music is perceived. Music has many different fundamentals or elements. These are, but are not limited to: pitch, beat or pulse, rhythm, melody, harmony, texture, allocation of voices, timbre or color, expressive qualities (dynamics and articulation), and form or structure.

Pitch is a subjective sensation, reflecting generally the lowness or highness of a sound. Rhythm is the arrangement of sounds and silences in time. Meter animates time in regular pulse groupings, called measures or bars. A melody is a series of notes sounding in succession. The notes of a melody are typically created with respect to pitch systems such as scales or modes. Harmony is the study of vertical sonorities in music. Vertical sonority refers to considering the relationships between pitches that occur together; usually this means at the same time, although harmony can also be implied by a melody that outlines a harmonic structure. Notes can be arranged into different scales and modes. Western music theory generally divides the octave into a series of 12 notes that might be included in a piece of music. In music written using the system of major-minor tonality, the key of a piece determines the scale used. Musical texture is the overall sound of a piece of music commonly described according to the number of and relationship between parts or lines of music: monophony, heterophony, polyphony, homophony, or monody.

Timbre, sometimes called "Color" or "Tone Color" is the quality or sound of a voice or instrument. Expressive Qualities are those elements in music that create change in music that are not related to pitch, rhythm or timbre. They include Dynamics and Articulation. Form is a facet of music theory that explores the concept of musical syntax, on a local and global level. Examples of common forms of Western music include the fugue, the invention, sonata-allegro, canon, strophic, theme and variations, and rondo. Popular Music often makes use of strophic form often in conjunction with Twelve bar blues. Analysis is the effort to describe and explain music.

Cognition

The field of music cognition involves the study of many aspects of music including how it is processed by listeners. Rather than accepting the standard practices of analyzing, composing, and performing music as a given, much research in music cognition seeks instead to uncover the mental processes that underlie these practices. Also, research in the field seeks to uncover commonalities between the musical traditions of disparate cultures and possible cognitive "constraints" that limit these musical systems. Questions regarding musical innateness, and emotional responses to music are also major areas of research in the field.

Deaf people can experience music by feeling the vibrations in their body, a process that 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 age twelve, and Chris Buck, a virtuoso violinist who has lost his hearing. This is relevant because it indicates that music is a deeper cognitive process than unexamined phrases such as, "pleasing to the ear" suggests. Much research in music cognition seeks to uncover these complex mental processes involved in listening to music, which may seem intuitively simple, yet are vastly intricate and complex.

University of Montreal researcher Valorie Salimpoor and her colleagues have now shown that the pleasurable feelings associated with emotional music are the result of dopamine release in the striatum--the same anatomical areas that underpin the anticipatory and rewarding aspects of drug addiction.

Sociology

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 a "high culture" and "low culture." "High culture" types of music typically include Western art music such as Baroque, Classical, Romantic, and modern-era symphonies, concertos, and solo works, and are typically heard in formal concerts in concert halls and churches, with the audience sitting quietly in seats.

Other types of music—including, but not limited to, 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 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 socioeconomics 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 rap 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, rap, punk, funk, or ska may be very complex and sophisticated.

When composers introduce styles of music that break with convention, there can be a strong resistance from academic music experts and popular culture. Late-period Beethoven string quartets, Stravinsky ballet scores, serialism, bebop-era jazz, hip hop, punk rock, and electronica have all been considered non-music by some critics when they were first introduced. Such themes are examined in the sociology of music. The sociological study of music, sometimes called sociomusicology, is often pursued in departments of sociology, media studies, or music, and is closely related to the field of ethnomusicology.

Media and technology

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 that mixes together sounds that were never played "live." Recording, even of essentially live styles, often uses the ability to edit and splice to produce recordings considered better than the actual performance.

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

Since legislation introduced to help protect performers, composers, publishers and producers, including the Audio Home Recording Act of 1992 in the United States, and the 1979 revised Berne Convention for the Protection of Literary and Artistic Works in the United Kingdom, recordings and live performances have also become more accessible through computers, devices and Internet in a form that is commonly known as Music-On-Demand.

In many cultures, there is less distinction between performing and listening to music, since 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 disc jockey uses disc records for scratching, and some 20th century works have a solo for an instrument or voice that is performed along with music that is prerecorded onto a tape. Computers and many keyboards can be programmed to produce and play Musical Instrument Digital Interface (MIDI) music. Audiences can also ''become'' performers by participating in karaoke, an activity of Japanese origin centered on a device that plays voice-eliminated versions of well-known songs. Most karaoke machines also have video screens that show lyrics to songs being performed; performers can follow the lyrics as they sing over the instrumental tracks.

Internet

The advent of the Internet has transformed the experience of music, partly through the increased ease of access to music and the increased choice. Chris Anderson, in his book ''The Long Tail: Why the Future of Business is Selling Less of More'', suggests that while the economic model of supply and demand describes scarcity, the Internet retail model is based on abundance. Digital storage costs are low, so a company can afford to make its whole inventory available online, giving customers as much choice as possible. It has thus become economically viable to offer products that very few people are interested in. Consumers' growing awareness of their increased choice results in a closer association between listening tastes and social identity, and the creation of thousands of niche markets.

Another effect of the Internet arises with online communities like YouTube and MySpace. MySpace has made social networking with other musicians easier, and greatly facilitates the distribution of one's music. YouTube also has a large community of both amateur and professional musicians who post videos and comments. Professional musicians also use YouTube as a free publisher of promotional material. YouTube users, for example, no longer only download and listen to MP3s, but also actively create their own. According to Don Tapscott and Anthony D. Williams, in their book ''Wikinomics'', there has been a shift from a traditional consumer role to what they call a "prosumer" role, a consumer who both creates and consumes. Manifestations of this in music include the production of mashes, remixes, and music videos by fans.

Business

The music industry refers to the business industry connected with the creation and sale of music. It consists of record companies, labels and publishers that distribute recorded music products internationally and that often control the rights to those products. Some music labels are "independent," while others are subsidiaries of larger corporate entities or international media groups. In the 2000s, the increasing popularity of listening to music as digital music files on MP3 players, iPods, or computers, and of trading music on file sharing sites or buying it online in the form of digital files had a major impact on the traditional music business. Many smaller independent CD stores went out of business as music buyers decreased their purchases of CDs, and many labels had lower CD sales. Some companies did well with the change to a digital format, though, such as Apple's iTunes, an online store that sells digital files of songs over the Internet.

Education

Non-professional

The incorporation of music training from preschool to post secondary education is common in North America and Europe. 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. 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, concert bands, jazz bands, or orchestras, and in some school systems, music classes may be available. Some students also take private music lessons with a teacher. Amateur musicians typically take lessons to learn musical rudiments and beginner- to intermediate-level musical techniques.

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. The study of Western art music is increasingly common outside of North America and Europe, such as the Indonesian Institute of the Arts in Yogyakarta, Indonesia, or the classical music programs that are available in Asian countries such as South Korea, Japan, and China. At the same time, Western universities and colleges are widening their curriculum to include music of non-Western cultures, such as the music of Africa or Bali (e.g. Gamelan music).

Academia

Musicology is the study of the subject of music. The earliest definitions defined three sub-disciplines: systematic musicology, historical musicology, and comparative musicology or ethnomusicology. 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. Students can pursue the undergraduate study of musicology, ethnomusicology, music history, and music theory through several different types of degrees, including a B.Mus, a B.A. with concentration in music, a B.A. with Honors in Music, or a B.A. in Music History and Literature. 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 Doctor of Philosophy (PhD) (e.g., in musicology or music theory), 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, education, 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. 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 to five 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.

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 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. 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 Nicolas Ruwet's ''Langage, musique, poésie'' (1972) paradigmatic segmentation analysis, shows that bird songs are organised according to a repetition-transformation principle. Jean-Jacques Nattiez (1990), argues that "in the last analysis, it is a human being who decides what is and is not musical, even when the sound is not of human origin. If we acknowledge that sound is not organised and conceptualised (that is, made to form music) merely by its producer, but by the mind that perceives it, then music is uniquely human."

Music theory is the study of music, generally in a highly technical manner outside of other disciplines. More broadly it refers to any study of music, usually related in some form with compositional concerns, and may include mathematics, physics, and anthropology. What is most commonly taught in beginning music theory classes are guidelines to write in the style of the common practice period, or tonal music. Theory, even of music of the common practice period, may take 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.

Ethnomusicology

thumb|right|200px|Ethnomusicologist Frances Densmore recording Blackfoot chief Mountain Chief for the Bureau of American Ethnology (1916)Ethnomusicology In the West, much of the history of music that is taught deals with the Western civilization's art music. The history of music in other cultures ("world music" or the field of "ethnomusicology") is also taught in Western universities. This includes the documented classical traditions of Asian countries outside the influence of Western Europe, as well as the folk or indigenous music of various other cultures. Popular styles of music varied widely from culture to culture, and from period to period. Different cultures emphasised different instruments, or techniques, or uses for music. Music has been used not only for entertainment, for ceremonies, and for practical and artistic communication, but also for propaganda.

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

As world cultures have come into greater contact, their indigenous musical styles have often merged into new styles. For example, the United States bluegrass style contains elements from Anglo-Irish, Scottish, Irish, German and African instrumental and vocal traditions, which were able to fuse in the United States' multi-ethnic society. Genres of music are determined as much by tradition and presentation as by the actual music. Some works, like George Gershwin's ''Rhapsody in Blue'', are claimed by both jazz and classical music, while Gershwin's ''Porgy and Bess'' and Leonard Bernstein's ''West Side Story'' are claimed by both opera and the Broadway musical tradition. Many current music festivals celebrate a particular musical genre.

Indian music, for example, is one of the oldest and longest living types of music, and is still widely heard and performed in South Asia, as well as internationally (especially since the 1960s). Indian music has mainly three forms of classical music, Hindustani, Carnatic, and Dhrupad styles. It has also a large repertoire of styles, which involve only percussion music such as the talavadya performances famous in South India.

Music therapy

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

One of the earliest mentions of Music Therapy was in Al-Farabi's (c. 872 – 950) treatise ''Meanings of the Intellect'', which described the therapeutic effects of music on the soul. Music has long been used to help people deal with their emotions. In the 17th century, the scholar Robert Burton's ''The Anatomy of Melancholy'' argued that music and dance were critical in treating mental illness, especially melancholia. He noted that music has an "excellent power ...to expel many other diseases" and he called it "a sovereign remedy against despair and melancholy." He pointed out that in Antiquity, Canus, a Rhodian fiddler, used music to "make a melancholy man merry, ...a lover more enamoured, a religious man more devout." In November 2006, Dr. Michael J. Crawford and his colleagues also found that music therapy helped schizophrenic patients. In the Ottoman Empire, mental illnesses were treated with music.

See also

Wikipedia Books: Wikipedia:Books/Music

Music-specific disorders

Lists of musicians

References

Further reading

Colles, Henry Cope (1978). ''The Growth of Music : A Study in Musical History'', 4th ed., London ; New York : Oxford University Press. ISBN 0-19-316116-8 (1913 edition online at Google Books)

Small, Christopher (1977). ''Music, Society, Education''. John Calder Publishers, London. ISBN 0-7145-3614-8

External links

BBC Blast Music For 13–19-year-olds interested in learning about, making, performing and talking about music.

The Virginia Tech Multimedia Music Dictionary, with definitions, pronunciations, examples, quizzes and simulations

The Music-Web Music Encyclopedia, for musicians, composers and music lovers

Dolmetsch free online music dictionary, complete, with references to a list of specialised music dictionaries (by continent, by instrument, by genre, etc.)

Musical Terms – Glossary of music terms from Naxos

"On Hermeneutical Ethics and Education: Bach als Erzieher", a paper by Prof. Miguel Ángel Quintana Paz in which he explains the history of the different views hold about music in Western societies, since the Ancient Greece to our days.

Monthly Online Features From Bloomingdale School of Music, addressing a variety of musical topics for a wide audience

Arts and Music Uplifting Society towards Transformation and Tolerance Articles meant to stimulate people’s awareness about the peace enhancing, transforming, communicative, educational and healing powers of music.

Scientific American, ''Musical Chills Related to Brain Dopamine Release''

Category:Greek loanwords Category:Performing arts Category:Entertainment

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Coordinates	56°09′″N40°25′″N
Name	The Impressions
Background	group_or_band
Origin	Chicago, IL, U.S.
Genre	R&B;, Soul, Gospel
Years active	1958–present
Label	ABC-ParamountCurtomUniversal
Website	http://www.the-impressions.com/
Current members	Fred CashSam GoodenReggie Torian
Past members	Jerry ButlerCurtis Mayfield (deceased)Arthur BrooksRichard BrooksLeroy HutsonRalph JohnsonVandy Hampton (Deceased)Gary Underwood }}

The Impressions are an American music group from Chicago, originally formed in 1958. Their repertoire includes doo-wop, gospel, soul, and R&B;.

The group was founded as ''The Roosters'' by Chattanooga, Tennessee natives Sam Gooden, Richard Brooks, and Arthur Brooks, who moved to Chicago and added Jerry Butler and Curtis Mayfield to their line-up to become ''Jerry Butler & the Impressions''. By 1962, Butler and the Brookses had departed, and after switching to ABC-Paramount Records, Mayfield, Gooden, and new Impression Fred Cash collectively became a top-selling soul act. Mayfield left the group for a solo career in 1970; Leroy Hutson, Ralph Johnson, Reggie Torian, Sammy Fender, and Nate Evans were among the replacements who joined Gooden and Cash. Inductees into both the Rock and Roll Hall of Fame and the Vocal Group Hall of Fame, The Impressions are best known for their 1960s string of hits, many of which were heavily influenced by gospel music and served as inspirational anthems for the Civil Rights Movement.They are also 1998 ''Grammy Hall of Fame'' Inductees for their hit, ''People Get Ready'' , and are winners of the Rhythm and Blues Foundation's ''Pioneer Award'' (in 2000) .

History

Early years

Jerry Butler and Curtis Mayfield met while singing in the same Chicago church choir. After singing in a number of local gospel groups, the two of them joined a doo-wop group called "The Roosters" in 1957, whose members included Chattanooga, Tennessee natives Sam Gooden, Richard Brooks, and his brother Arthur Brooks. By 1958, The Roosters had a new manager in Eddie Thomas, a record deal with Vee-Jay Records, and a new name: "Jerry Butler & the Impressions".

The group's first hit single was 1958's "For Your Precious Love", which hit #11 on the US pop charts and #3 on the R&B; charts. However, soon after the release of the R&B; Top 30 hit "Come Back My Love", Butler left the group to go on to a successful solo career. After briefly touring with the now-solo Butler as his guitarist, Curtis Mayfield became the group's new lead singer and songwriter, and Fred Cash, a returning original Roosters member, was appointed as the new fifth member.

ABC-Paramount Records success

Mayfield wrote a number of Butler's early solo hits, and used the money to get The Impressions to move to Chicago, Illinois. There, they got a new deal with ABC-Paramount Records in 1961, and released their first post-Butler single. That single, "Gypsy Woman", was their biggest single to date, hitting #2 on the R&B; charts and #20 on the pop chart. Successive singles failed to match "Gypsy Woman"'s success, and Richard and Arthur Brooks ended up leaving the group in 1962.

The Impressions returned to Chicago as a trio, and soon aligned themselves with producer Johnny Pate, who helped to update their sound and create a more lush soul sound for the group. The result was "It's All Right", a 1963 million-selling gold single that topped the R&B; charts and made it to #4 on the pop charts, and became one of the group's signature songs. "It's All Right" and "Gypsy Woman" were the anchors of The Impressions' first LP, 1963's ''The Impressions''.

1964 brought the first of Mayfield's Black pride anthem compositions, "Keep on Pushing", which became a Top 10 smash on both the Billboard Pop and R&B; charts, peaking at #10 Pop.It was the title cut from the album of the same name, ''Keep On Pushing'', which also reached the Top 10 on both charts. Future Mayfield compositions would feature an increasingly social and political awareness, including the following year's major hit and the group's best-known song, the gospel-influenced "People Get Ready", which hit #3 on the R&B; charts and #14 on the pop charts.

Increasing social consciousness

In the mid-1960s, The Impressions, were compared with Motown acts such as The Temptations, The Miracles, and The Four Tops. After 1965's "Woman's Got Soul", and the #7 pop hit "Amen", The Impressions failed to reach the R&B; Top Ten for three more years, finally scoring in 1968 with the #9 "I Loved and Lost". "We're a Winner", which hit #1 on the R&B; charts that same year, represented a new level of social awareness in Mayfield's music. Mayfield created his own label, Curtom, and moved The Impressions to the label. Over the next two years, more Impressions message tracks, including the #1 R&B; hit "Choice of Colors" (1969) and the #3 "Check Out Your Mind" (1970), became big hits for the group.

It should also be noted that 'The Impressions' were a huge influence on Bob Marley and The Wailers and other ska/rocksteady groups in Jamaica: The Wailers modelled their singing/harmony style on them and in part borrowed their look, too. There are many covers of Impressions songs by The Wailers, including 'Keep On Moving', 'Long Long Winter' and 'Just Another Dance'. Pat Kelly covered 'Soulful Love' and The Heptones covered 'I've Been Trying'. No doubt the social consciousness of Curtis Mayfield's lyrics appealed as well as the spectacular harmonies.

After Mayfield's departure

After the release of the ''Check Out Your Mind'' LP in 1970, Mayfield left the group and began a successful solo career, the highlight of which was writing and producing the ''Super Fly'' soundtrack. After his success with this soundtrack, he collaborated on the soundtracks of ''Claudine (soundtrack)'', ''Sparkle (album)'', and ''A Piece of the Action (soundtrack)''. He continued to write and produce for The Impressions, who remained on Curtom. Leroy Hutson was the first new lead singer for the group following Mayfield's departure, but success eluded The Impressions, and Hutson left the group in 1973.

Later years, awards, and accolades

New members Ralph Johnson and Reggie Torian replaced Hutson, and The Impressions had three R&B; Top 5 singles in 1974–1975: the #1 "Finally Got Myself Together (I'm a Changed Man)" (which also reached the Pop top 20 ) , and the #3 singles "Same Thing it Took" and "Sooner or Later". In 1976, The Impressions left Curtom and Mayfield behind for Cotillion Records, and had their final major hit with "Loving Power". The same year, Ralph Johnson was replaced by Nate Evans, who remained in the group for three years, during which time The Impressions switched to 20th Century Records. Singles and albums sales continued to slip, and Evans left in 1979, reducing the group to a trio. The album ''Fan the Flames'', was released in 1981.

Reggie Torian left in 1983. Ralph Johnson rejoined that year, as well as new member Vandy Hampton. This lineup recorded with Eric Clapton on his ''Reptile'' album. There is also a new album that released called ''A Tribute to the Memory of Curtis Mayfield''. On August 14, 1990, Mayfield was severely injured when lighting equipment fell on him during an on-stage performance. Paralyzed from the neck down, he could no longer play and could barely sing. He eventually was able to make a brief, well-received, comeback in 1997 with his album ''New World Order''. He died in Roswell, Georgia, on December 26, 1999, at the age of 57.

The Impressions were inducted into the Rock and Roll Hall of Fame in 1991, and into the Vocal Group Hall of Fame in 2003. The members who got to take part in this honor, as Rock and Roll Hall of Fame inductees, were Sam Gooden, Jerry Butler, Richard Brooks, Curtis Mayfield, Arthur Brooks, and Fred Cash.

Johnson left in 2001, was replaced by Willie Kitchens. This lineup was featured on the PBS specials ''R&B; 40'' and ''Soul and Inspiration''. Hampton was released in 2003; he died in 2005. Reggie Torian later returned, replacing Kitchens. The Impressions recorded a tribute album to Curtis Mayfield in 2000, which was released by Edel America. In 2008, Universal Music & ip O Records released ''Movin' On Up'' - the first-ever video compilation of The Impressions, featuring brand new interviews with original Impressions members Sam Gooden and Fred Cash, along with taped interviews with the late Curtis Mayfield and video performances of the group's greatest hits and several of Mayfield's solo hits.The group's first million-selling hit song "For Your Precious Love" , featuring original lead singer Jerry Butler on lead, is ranked #327 on the ''Rolling Stone'' magazine's list of The 500 Greatest Songs of All Time),and their hit ''People Get Ready'' is ranked #24 on that same list.Also,The Impressions' album/CD The Anthology 1961–1977 is ranked at #179 on Rolling Stone Magazine's list of the 500 greatest albums of all time.

Their 1965 hit song, "People Get Ready", has also been chosen as one of the Top 10 Best Songs Of All Time by a panel of 20 top industry songwriters and producers, including Paul McCartney, Brian Wilson, Hal David, and others, as reported to Britain's ''Mojo'' music magazine.

Personnel

''For a detailed listing of the various versions of the group, see Impressions chronology.''

Jerry Butler (1958–1960)

Curtis Mayfield (1958–1970)

Sam Gooden (1958–present)

Arthur Brooks (1958–1962)

Richard Brooks (1958–1962)

Fred Cash (1960–present)

Leroy Hutson (1970–1973)

Ralph Johnson (1973–1976;1983–2000)

Vandy Hampton (1983–2003)

Nate Evans (1976–1979)

Reggie Torian (1973–83;200?–present)

Gary Underwood (1992–2001)

Discography

Studio albums

1963: ''The Impressions''

1964: ''The Never Ending Impressions''

1964: ''Keep on Pushing''

1965: ''People Get Ready''

1965: ''One by One''

1966: ''Ridin' High''

1967: ''The Fabulous Impressions''

1968: ''We're a Winner''

1968: ''This Is My Country''

1969: ''The Versatile Impressions''

1969: ''The Young Mods' Forgotten Story''

1970: ''Check Out Your Mind!''

1972: ''Times Have Changed''

1973: ''Preacher Man''

1974: ''Finally Got Myself Together''

1975: ''First Impressions''

1975: ''Three the Hard Way''

1976: ''Loving Power''

1979: ''Come to My Party''

1981: ''Fan the Fire''

With others

2001: ''Reptile'' - Eric Clapton

DVD

2008:''Movin' On Up''- "The Music and Message of Curtis Mayfield and The Impressions"

References

Further reading

The Impressions in-depth interview by Pete Lewis, 'Blues & Soul' June 2011

Their album The Complete A &B; Sides 1961 to 1968 won Rhapsody's Album of the Day on June 27, 2010: http://blog.rhapsody.com/2010/06/aotd0627.html

External links

Official website

'The Impressions' Vocal Group hall of Fame Page

'Richard Brooks'

'Arthur Brooks

The Impressions at Rolling Stone

Category:American rhythm and blues musical groups Category:American soul musical groups Category:Musical groups from Chicago, Illinois Category:Rock and Roll Hall of Fame inductees‎ Category:Musical groups established in 1958 Category:Vee-Jay Records artists

bg:Импрешънс de:The Impressions es:The Impressions fr:The Impressions it:The Impressions no:The Impressions pl:The Impressions sv:The Impressions tr:The Impressions uk:The Impressions

Coordinates	56°09′″N40°25′″N
name	Jim Jones
birth name	James W. Jones
birth date	May 13, 1931
birth place	Lynn, Indiana, U.S.
death date	November 18, 1978
death place	Jonestown, Guyana
occupation	Leader, Peoples Temple }}

James Warren "Jim" Jones (May 13, 1931 – November 18, 1978) was the founder and leader of the Peoples Temple, which is best known for the November 18, 1978 mass suicide of more than 900 Temple members in Jonestown, Guyana along with the killings of five other people at a nearby airstrip.

Jones was born in Indiana and started the Temple in that state in the 1950s. Jones and the Temple later moved to California, and both gained notoriety with the move of the Temple's headquarters to San Francisco in the mid-1970s.

The incident in Guyana ranks among the largest mass murders/mass suicides in history, and was the single greatest loss of American civilian life in a non-natural disaster until the events of September 11, 2001. Among the dead was Leo Ryan, who remains the only Congressman assassinated in the line of duty as a Congressman in the history of the United States.

Early life

Jim Jones was born in Crete, Indiana, a rural unincorporated community in Randolph County near the Ohio border, to James Thurman Jones (May 31, 1887 – May 29, 1951), a World War I veteran, and Lynetta Putnam (April 16, 1902 – December 11, 1977). He was of Irish and Welsh descent. Jones would later claim partial Cherokee ancestry through his mother, though this was likely false according to his maternal second cousin Barbara Shaffer. Economic difficulties during the Great Depression necessitated that Jones' family move to nearby Lynn, Indiana in 1934. Jim Jones and a childhood friend both claimed that Jones' father was associated with the Ku Klux Klan.

In interviews for the 2006 documentary ''Jonestown: The Life and Death of Peoples Temple'', childhood acquaintances recalled Jones as being a "really weird kid" who was "obsessed with religion ... obsessed with death". They alleged that as a child, Jones frequently held funerals for small animals and had reportedly stabbed a cat to death.

Jones was a voracious reader as a child and studied Joseph Stalin, Karl Marx, Mahatma Gandhi and Adolf Hitler carefully, noting each of their strengths and weaknesses. After Jones' parents separated, he moved with his mother to Richmond, Indiana. He graduated from Richmond High School early and with honors in December 1948.

Jones married nurse Marceline Baldwin in 1949, and moved to Bloomington, Indiana. He attended Indiana University at Bloomington, where a speech by Eleanor Roosevelt about the plight of African Americans impressed him. Jones' sympathetic statements about communism offended Marceline's grandmother. In 1951, Jones moved to Indianapolis, where he attended night school at Butler University, earning a degree in secondary education in 1961.

Building the Temple

Indiana beginnings

In 1951, Jones became a member of the Communist Party USA, and began attending meetings and rallies in Indianapolis. He became flustered with harassment he received during the McCarthy Hearings, particularly regarding an event he attended with his mother focusing on Paul Robeson, after which she was harassed by the FBI in front of her co-workers for attending. He also became frustrated with what he perceived to be ostracism of open communists in the United States, especially during the trial of Julius and Ethel Rosenberg. This frustration, among other things, provoked a seminal moment for Jones in which he asked himself "how can I demonstrate my Marxism? The thought was, infiltrate the church."

Jones' interest in religion began during his childhood, primarily because he found making friends difficult, though initially he vacillated on his church of choice. Jones was surprised when a Methodist superintendent helped him to get a start in the church even though he knew Jones to be a communist and Jones did not meet him through the Communist Party. In 1952, Jones became a student pastor in Sommerset Southside Methodist Church, but claims he left that church because its leaders barred him from integrating blacks into his congregation. Around this time, Jones witnessed a faith-healing service at the Seventh Day Baptist Church. He observed that it attracted people and their money and concluded that, with financial resources from such healings, he could help accomplish his social goals.

Jones then began his own church, which changed names until it became the Peoples Temple Christian Church Full Gospel. Jones sold pet monkeys door-to-door to raise funds for his church.

Jones moved away from the Communist Party and Maoists when CPUSA members and Mao Tse-tung became critical of some of the policies of former Soviet leader Joseph Stalin.

Integrationist

In 1960, Indianapolis Democratic Mayor Charles Boswell appointed Jones director of the Human Rights Commission. Jones ignored Boswell's advice to keep a low profile, finding new outlets for his views on local radio and television programs. When the mayor and other commissioners asked Jones to curtail his public actions, he resisted and was wildly cheered at a meeting of the NAACP and Urban League when he yelled for his audience to be more militant, and climaxed with "Let my people go!"

During this time, Jones also helped to integrate churches, restaurants, the telephone company, the police department, a theater, an amusement park, and the Methodist Hospital. After swastikas were painted on the homes of two African American families, Jones personally walked the neighborhood comforting African Americans and counseling white families not to move, in order to prevent white flight. He also set up stings to catch restaurants refusing to serve African American customers and wrote to American Nazi leaders then leaked their responses to the media. When Jones was accidentally placed in the black ward of a hospital after a collapse in 1961, he refused to be moved and began to make the beds, and empty the bed pans of black patients. Political pressures resulting from Jones' actions caused hospital officials to desegregate the wards.

Jones received considerable criticism in Indiana for his integrationist views. White-owned businesses and locals were critical of him. A swastika was placed on the Temple, a stick of dynamite was left in a Temple coal pile, and a dead cat was thrown at Jones' house after a threatening phone call. Other incidents occurred, though some suspect that Jones himself may have been involved in at least some of them.

Jones' "Rainbow Family"

Jim and Marceline Jones adopted several children of at least partial non-Caucasian ancestry; he referred to the clan as his "rainbow family," and stated: "Integration is a more personal thing with me now. It's a question of my son's future." Jones portrayed the Temple overall as a "rainbow family."

The couple adopted three children of Korean-American ancestry: Lew, Suzanne and Stephanie. Jones had been encouraging Temple members to adopt orphans from war ravaged Korea. Jones had long been critical of the United States' opposition to communist leader Kim Il-Sung's 1950 invasion of South Korea, calling it the "war of liberation" and stating that "the south is a living example of all that socialism in the north has overcome." In 1954, he and his wife also adopted Agnes Jones, who was partly of Native American descent. Agnes was 11 at the time of her adoption. Suzanne Jones was adopted at the age of six in 1959. In June 1959, the couple had their only biological child, Stephan Gandhi Jones.

Two years later, in 1961, the Joneses became the first white couple in Indiana to adopt a black child, James Warren Jones, Jr. Marceline was once spat upon while she carried Jim Jr.

The couple also adopted another son, who was white, named Tim. Tim Jones, whose birth mother was a member of the Peoples Temple, was originally named Timothy Glen Tupper.

Asylum

After a 1961 Temple speech about nuclear apocalypse, and a January 1962 ''Esquire Magazine'' article listing Belo Horizonte, Brazil, as a safe place in a nuclear war, Jones traveled with his family to the Brazilian city with the idea of setting up a new Temple location.

On his way to Brazil, Jones made his first trip into Guyana. After arriving in Belo Horizonte, the Joneses rented a modest three bedroom home. Jones studied the local economy and receptiveness of racial minorities to his message, though language remained a barrier. Jones was careful not to portray himself as a communist in a foreign territory, and spoke of an apostolic communal lifestyle rather than of Castro or Marx.

After becoming frustrated with the lack of resources in the locale, in mid-1963, the Joneses moved to Rio de Janeiro. There, they worked with the poor in Rio's slums. Jones also explored local Brazilian religion.

Jones was plagued by guilt for leaving behind the Indiana civil rights struggle and possibly losing what he had struggled to build there. When Jones' associate preachers in Indiana told him that the Temple was about to collapse without him, Jones returned.

California Eden

After Jones' return to Indiana from Brazil, in 1965, Jones claimed that the world would be engulfed in a nuclear war on July 15, 1967, that would then create a new socialist Eden on earth, and that the Temple must move to Northern California for safety. Accordingly, the Temple began moving to Happy Valley, California, near Ukiah.

While Jones always spoke of the social gospel's virtues, before the late 1960s Jones chose to conceal that his gospel was actually communism. By the late 1960s, Jones began at least partially openly revealing in Temple sermons his "Apostolic Socialism" concept. Specifically, "those who remained drugged with the opiate of religion had to be brought to enlightenment — socialism." Jones often mixed those concepts, such as preaching that "If you're born in capitalist America, racist America, fascist America, then you're born in sin. But if you're born in socialism, you're not born in sin."

By the early 1970s, Jones began deriding traditional Christianity as "fly away religion," rejecting the Bible as being white men’s justification to subordinate women and subjugate people of color and stating that it spoke of a "Sky God" who was no God at all. Jones authored a booklet titled "The Letter Killeth," criticizing the King James Bible. Jones also began preaching that he was the reincarnation of Jesus of Nazareth, Mahatma Gandhi, Buddha, Vladimir Lenin, and Father Divine. In the documentary ''Jonestown: The Life and Death of Peoples Temple'', former Temple member Hue Fortson, Jr. quoted Jones as saying, "What you need to believe in is what you can see ... If you see me as your friend, I'll be your friend. As you see me as your father, I'll be your father, for those of you that don't have a father ... If you see me as your savior, I'll be your savior. If you see me as your God, I'll be your God."

By the spring of 1976, Jones began openly admitting even to outsiders that he was an atheist. Despite the Temple's fear that the IRS was investigating its religious tax exemption, by 1977 Marceline Jones admitted to the ''New York Times'' that, as early as age 18 when he watched his then idol Mao Zedong overthrow the Chinese government, Jim Jones realized that the way to achieve social change through Marxism in the United States was to mobilize people through religion. She stated that "Jim used religion to try to get some people out of the opiate of religion," and had slammed the Bible on the table yelling "I've got to destroy this paper idol!" In one sermon, Jones said that, "You're gonna help yourself, or you'll get no help! There's only one hope of glory; that's within you! Nobody's gonna come out of the sky! There's no heaven up there! We'll have to make heaven down here!"

Move to San Francisco

The move of Peoples Temple headquarters to San Francisco in 1975 invigorated Jones' political career. After the Temple served an important role in the mayoral election victory of George Moscone in 1975, Moscone appointed Jones as the Chairman of the San Francisco Housing Authority Commission.

Unlike most other figures deemed as cult leaders, Jones was able to gain public support and contact with prominent local and national United States politicians. For example, Jones and Moscone met privately with vice presidential candidate Walter Mondale on his campaign plane days before the 1976 election and Mondale publicly praised the Temple. First Lady Rosalynn Carter also personally met with Jones on multiple occasions, corresponded with him about Cuba, and spoke with him at the grand opening of the San Francisco Democratic Party Headquarters where Jones garnered louder applause than Mrs. Carter.

In September 1976, Willie Brown served as master of ceremonies at a large testimonial dinner for Jones attended by Governor Jerry Brown and Lieutenant Governor Mervyn Dymally and other political figures. At that dinner, while introducing Jones, Willie Brown stated "Let me present to you what you should see every day when you look in the mirror in the early morning hours ... Let me present to you a combination of Martin King, Angela Davis, Albert Einstein ... Chairman Mao." Harvey Milk, who spoke at political rallies at the Temple, and wrote to Jones after a visit to the Temple: "Rev Jim, It may take me many a day to come back down from the high that I reach today. I found something dear today. I found a sense of being that makes up for all the hours and energy placed in a fight. I found what you wanted me to find. I shall be back. For I can never leave."

In his San Francisco Temple apartment, Jones regularly hosted San Francisco radical political figures such as Angela Davis for discussions. He spoke with friend and ''San Francisco Sun-Reporter'' publisher Dr. Carlton Goodlett about Jones' remorse regarding not being able to travel to socialist countries such as China and the Soviet Union, speculating that he could be Chief Dairyman of the Soviet Union. After his criticisms caused increased tensions with the Nation of Islam, Jones spoke at a huge rally healing the rift between the two groups in the Los Angeles Convention center attended by many of Jones' closest political acquaintances. Jones also enjoyed a favorable relationship with Warith Deen Mohammed, son of Nation of Islam leader Elijah Muhammad.

While Jones forged media alliances with key columnists and others at the ''San Francisco Chronicle'' and other media outlets, the move to San Francisco also brought increasing media scrutiny. After Chronicle reporter Marshall Kilduff encountered resistance to publishing an exposé, he brought his story to New West Magazine. In the summer of 1977, Jones and several hundred Temple members moved to the Temple's "Agricultural Project" in Guyana after they learned of the contents of Kilduff's article to be published in which former Temple members claimed they were physically, emotionally, and sexually abused. Jones named the settlement Jonestown after himself.

Jonestown's formation and operation

Jones had first started building Jonestown in 1974 as a means to create both a "socialist paradise" and a "sanctuary" from the media scrutiny which had started in 1972. Regarding the former goal, Jones purported to establish Jonestown as a benevolent model communist community stating, "I believe we’re the purest communists there are." In that regard, like the restrictive emigration policies of the then Soviet Union, Cuba, North Korea and other communist states, Jones did not permit members to leave Jonestown.

Religious scholar Mary McCormick Maaga argues that Jones' authority decreased after he moved to the isolated commune, because he was not needed for recruitment and he could not hide his drug addiction from rank and file members. In spite of the allegations prior to Jones' departure to Jonestown, the leader was still respected by some for setting up a racially mixed church which helped the disadvantaged; 68 percent of Jonestown's residents were black.

New children

Jim Jones claimed that he was the biological father of John Victor Stoen, although the birth certificate lists Grace and Timothy Stoen as the parents of the boy. The Temple repeatedly claimed that Jones fathered the child when, in 1971, Temple member Tim Stoen had requested that Jones have sex with Grace Stoen to keep her from defecting. After Grace Stoen later defected in 1976 and began divorce proceedings against Tim Stoen in 1977, in order to avoid potentially giving up the boy in a custody dispute with Grace, Jones ordered Tim to take John to Guyana in February 1977.

After purported father Tim Stoen defected from the Temple in June 1977, the Temple kept John Stoen in Jonestown. The custody dispute over John Stoen would become a linchpin of several battles between the Temple and the Concerned Relatives.

Jim Jones also fathered a son, Jim Jon (Kimo), with Carolyn Louise Moore Layton, a Temple member.

Pressure and waning political support

While most of Jones' political allies broke ties after Jones' departure, some did not. As a show of support, Willie Brown spoke out against enemies at a rally at the Peoples Temple, also attended by Harvey Milk and Art Agnos. Most importantly for Jones and the Temple, Moscone's office shortly thereafter issued a press release saying that Jones had broken no laws. In the Fall of 1977, Tim Stoen and other relatives in Jonestown formed a "Concerned Relatives" group. Stoen traveled to Washington D.C. in January 1978 to visit with Congressmen, including Leo Ryan and State Department officials, and wrote a "white paper" to Congress detailing the dispute and pressing for Congressional correspondence. Stoen's efforts aroused the curiosity of Ryan, who wrote a letter on Stoen's behalf to Guyanese Prime Minister Forbes Burnham.

Amidst growing pressure in the United States to investigate the Temple, on February 19, 1978, Harvey Milk wrote a letter of support for the Peoples Temple to President Jimmy Carter. Therein, Milk wrote that Jones was known "as a man of the highest character." Regarding the leader of those attempting to extricate relatives from Jonestown, Milk wrote he was "attempting to damage Rev. Jones reputation" with "apparent bold-faced lies."

On April 11, 1978, the Concerned Relatives distributed a packet of documents, including letters and affidavits, that they titled an "Accusation of Human Rights Violations by Rev. James Warren Jones" to the Peoples Temple, members of the press and members of Congress. In June 1978, escaped Temple member Deborah Layton provided the group with a further affidavit detailing alleged crimes by the Peoples Temple and substandard living conditions in Jonestown.

Facing increasing scrutiny, in the summer of 1978, Jones also hired noted JFK assassination conspiracy theorists Mark Lane and Donald Freed to help make the case of a "grand conspiracy" by intelligence agencies against the Peoples Temple. Jones told Lane he wanted to "pull an Eldridge Cleaver", referring to a fugitive Black Panther who was able to return to the United States after repairing his reputation.

Visit by Congressman Ryan, murders

In November 1978, U.S. Congressman Leo Ryan led a fact-finding mission to Jonestown to investigate allegations of human rights abuses. Ryan's delegation included relatives of Temple members, Don Harris, an NBC network news reporter, an NBC cameraman and reporters for various newspapers. The group arrived in Georgetown on November 15. On November 17, Ryan's delegation traveled by airplane to Jonestown. The delegation left hurriedly the afternoon of November 18 after Temple member Don Sly attacked Ryan with a knife. The attack was thwarted, bringing the visit to an abrupt end. Congressman Ryan and his people succeeded in taking with them fifteen People's Temple members who had expressed a wish to leave. At that time, Jones made no attempt to prevent their departure.

Port Kaituma Airstrip shootings

As members of Ryan's delegation boarded two planes at the airstrip, Jones' "Red Brigade" armed guards arrived in a tractor-pulled trailer and began shooting at the delegation. The guards killed Congressman Ryan and four others near a twin engine Otter aircraft. At the same time, one of the supposed defectors, Larry Layton, drew a weapon and began firing on members of the party that had already boarded a small Cessna. An NBC cameraman was able to capture footage of the first few seconds of the shooting at the Otter. The five killed at the airstrip were Congressman Ryan; Don Harris, a reporter from NBC; Bob Brown, a cameraman from NBC; San Francisco Examiner photographer Greg Robinson; and Temple member Patricia Parks. Surviving the attack were future Congresswoman Jackie Speier, then a staff member for Ryan; Richard Dwyer, the Deputy Chief of Mission from the U.S. Embassy at Georgetown; Bob Flick, a producer for NBC News; Steve Sung, an NBC sound engineer; Tim Reiterman, a ''San Francisco Examiner'' reporter; Ron Javers, a ''San Francisco Chronicle'' reporter; Charles Krause, a ''Washington Post'' reporter; and several defecting Temple members.

Deaths in Jonestown

Later that same day, 909 inhabitants of Jonestown, 303 of them children, died of apparent cyanide poisoning, mostly in and around a pavilion. This resulted in the greatest single loss of American civilian life in a non-natural disaster until the September 11, 2001 attacks. No video was taken during the mass suicide, though the FBI did recover a 45 minute audio recording of the suicide in progress.

On that tape, Jones tells Temple members that the Soviet Union, with whom the Temple had been negotiating a potential exodus for months, would not take them after the Temple had murdered Ryan and four others at a nearby airstrip. The reason given by Jones to commit suicide was consistent with his previously stated conspiracy theories of intelligence organizations allegedly conspiring against the Temple, that men would "parachute in here on us," "shoot some of our innocent babies" and "they'll torture our children, they'll torture some of our people here, they'll torture our seniors." Parroting Jones' prior statements that hostile forces would convert captured children to fascism, one temple member states "the ones that they take captured, they're gonna just let them grow up and be dummies." Given that reasoning, Jones and several members argued that the group should commit "revolutionary suicide" by drinking cyanide-laced grape flavored Flavor-Aid along with a sedative. One member, Christine Miller, dissents toward the beginning of the tape. When members apparently cried, Jones counseled "Stop this hysterics. This is not the way for people who are Socialists or Communists to die. No way for us to die. We must die with some dignity." Jones can be heard saying, "Don't be afraid to die," that death is "just stepping over into another plane" and that "[death is] a friend." At the end of the tape, Jones concludes: "We didn't commit suicide, we committed an act of revolutionary suicide protesting the conditions of an inhumane world." According to escaping Temple members, children were given the drink first and families were told to lie down together. Mass suicide had been previously discussed in simulated events called "White Nights" on a regular basis. During at least one such prior White Night, members drank liquid that Jones falsely told them was poison.

Jones was found dead in a deck chair with a gunshot wound to his head that Guyanese coroner Cyrill Mootoo stated was consistent with a self-inflicted gun wound. However, Jones' son Stephan believes his father may have directed someone else to shoot him. An autopsy of Jones' body also showed levels of the barbiturate Pentobarbital which may have been lethal to humans who had not developed physiological tolerance. Jones' drug usage (including LSD and marijuana) was confirmed by his son, Stephan, and Jones' doctor in San Francisco.

Other issues

On December 13, 1973, Jones was arrested and charged with soliciting a man for sex in a movie theater bathroom known for homosexual activity, in MacArthur Park in Los Angeles. The man was an undercover Los Angeles Police Department vice officer. Jones is on record as later telling his followers that he was "the only true heterosexual", but at least one account exists of his sexual abuse of a male member of his congregation in front of the followers, ostensibly to prove the man's own homosexual tendencies.

While Jones banned sex among Temple members outside of marriage, he himself voraciously engaged in sexual relations with both male and female Temple members. Jones, however, claimed that he detested engaging in homosexual activity and did so only for the male temple adherents' own good, purportedly to connect them symbolically with him (Jones).

One of Jones' sources of inspiration was the controversial International Peace Mission movement leader Father Divine. Jones had borrowed the term "revolutionary suicide" from Black Panther leader and Peoples Temple supporter Huey Newton who had argued "the slow suicide of life in the ghetto" ought to be replaced by revolutionary struggle that would end only in victory (socialism and self determination) or revolutionary suicide (death).

Family aftermath

Marceline

Jim Jones' wife, Marceline, was found poisoned at the pavilion. On the final morning of Ryan's visit, Marceline had taken reporters on a tour of Jonestown.

Found near Marceline Jones' body was a signed and witnessed will leaving all bank accounts "in my name" to the Communist Party of the Soviet Union and writing that Suzanne Jones Cartmell should receive no assets.

Stephan, Jim Jr. and Tim Jones

Stephan, Jim Jr., and Tim Jones did not take part in the mass suicide because they were playing with the Peoples Temple basketball team against the Guyanese national team in Georgetown. At the time of events in Jonestown, Stephan and Tim were both nineteen and Jim Jones Jr. was eighteen. Tim's biological family, the Tuppers, which consisted of his three biological sisters, biological brother, and biological mother, all died at Jonestown. Three days before the tragedy, Stephan Jones refused, over the radio, to comply with an order by his father to return the team to Jonestown for Ryan's visit.

During the events at Jonestown, Stephan, Tim, and Jim Jones Jr. drove to the American Embassy in Guyana in an attempt to receive help. The Guyanese soldiers guarding the embassy refused to let them in after hearing about the shootings at the Port Kaituma airstrip. Later, the three returned to the Temple's headquarters in Georgetown to find the bodies of Sharon Amos and her three children. Guyanese soldiers kept the Jones brothers under house arrest for five days, interrogating them about the deaths in Georgetown. Stephan Jones was accused of being involved in the Georgetown deaths, and was placed in a Guyanese prison for three months. Tim Jones and Johnny Cobb, another member of the Peoples Temple basketball team, were asked to go to Jonestown and help identify the bodies of people who had died. After returning to the United States, Jim Jones Jr. was placed under police surveillance for several months while he lived with his older sister, Suzanne, who had previously turned against the Temple.

When Jonestown was first being established, Stephan Jones had originally avoided two attempts by his father to relocate to the settlement. He eventually moved to Jonestown after a third and final attempt. He has since said that he gave into his father's wishes to move to Jonestown because of his mother. Stephan Jones is now a businessman, and married with three daughters. He appeared in the documentary ''Jonestown: Paradise Lost'' which aired on the History Channel and Discovery Channel. He stated he will not watch the documentary and has never grieved for his father. Jim Jones Jr., who lost his wife and unborn child at Jonestown, returned to San Francisco. He remarried and has three sons from this marriage, including Rob Jones, a high-school basketball star who went on to play for the University of San Diego before transferring to Saint Mary's College of California.

Lew, Agnes and Suzanne Jones

Lew and Agnes Jones both died at Jonestown. Agnes Jones was thirty-five years old at the time of her death. Her husband and four children all died at Jonestown. Lew Jones, who was twenty-one years old at the time of his death, died alongside his wife Terry and son Chaeoke. Stephanie Jones had died at age five in a car accident. Suzanne Jones married Mike Cartmell; both turned against the Temple and were not in Jonestown on November 18, 1978. After this decision to abandon the Temple, Jones referred to Suzanne openly as "my goddamned, no good for nothing daughter" and stated that she was not to be trusted. In a signed note found at the time of her death, Marceline Jones directed that the Jones' funds were to be given to the Communist Party of the Soviet Union and specified: "I especially request that none of these are allowed to get into the hands of my adopted daughter, Suzanne Jones Cartmell." Cartmell had two children and died of colon cancer in November 2006.

John Stoen and Kimo

Specific references to Tim Stoen, the father of John Stoen, including the logistics of possibly murdering him, are made on the Temple's final "death tape," as well as a discussion over whether the Temple should include John Stoen among those committing "revolutionary suicide." At Jonestown, John Stoen was found poisoned in Jim Jones' cabin.

Both Jim Jon (Kimo) and his mother, Carolyn Layton, died during the events at Jonestown.

See also

Cult suicide

Doomsday cult

List of people who have claimed to be Jesus

List of Buddha claimants

Notes

References

Bibliography

Chidester, David, ''Salvation and Suicide: Jim Jones, the People's Temple and Jonestown (Religion in North America)'', 2nd rev.ed., Indiana University Press, 2004. ISBN 978-0253216328

Klineman, George and Sherman Butler. ''The Cult That Died''. G.P. Putnam's Sons, 1980. ISBN 0-399-12540-X.

Layton, Deborah. ''Seductive Poison''. Anchor Books, 1999. ISBN 0-385-48984-6.

Maaga, Mary McCormick. ''Hearing the voices of Jonestown''. Syracuse University Press, 1998. ISBN 0-8156-0515-3.

Naipaul, Shiva. ''Black & White''. Hamish Hamilton, London, 1980. ISBN 0-241-10337-1.

External links

The Jonestown Institute

FBI No. Q 042 The "Jonestown Death Tape", Recorded 18 November 1978 (Internet Archive)

Transcript of Jones' final speech, just before the mass suicide

The first part of a series of articles about Jim Jones published in the San Francisco Examiner in 1972.

History Channel Video and Stills

Isaacson, Barry. From Silver Lake to Suicide: One Family's Secret History of the Jonestown Massacre

Mass Suicide at Jonestown: 30 Years Later, Time magazine

Jonestown 30 Years Later photo gallery published Friday, October 17, 2008.

American Experience documentary, "Jonestown: The Life And Death Of Peoples Temple", shown on PBS

Jonestown: 25 Years Later How spiritual journey ended in destruction: Jim Jones led his flock to death in jungle by Michael Taylor, San Francisco Chronicle staff writer. Published Thursday, November 12, 1998.

Utopian nightmare Jonestown: What did we learn? Larry D. Hatfield, of The Examiner staff, Gregory Lewis and Eric Brazil of The Examiner staff and Examiner Librarian Judy Canter contributed to this report. Published Sunday, November 8, 1998.

Jones Captivated S.F.'s Liberal Elite: They were late to discover how cunningly he curried favor by Michael Taylor, San Francisco Chronicle staff writer. And [Haunted by Memories of Hell ] by Kevin Fagan, San Francisco Chronicle staff writer. Published Thursday, November 12, 1998. Both stories were included in the first of a two-part series.

The End To Innocent Acceptance Of Sects Sharper scrutiny is Jonestown legacy by Don Lattin, San Francisco Chronicle religion writer. And Most Peoples Temple Documents Still Sealed by Michael Taylor and Don Lattin, San Francisco Chronicle staff writers. And Surviving the Heart of Darkness: Twenty years later, Jackie Speier remembers how her companions and rum helped her endure the night of the Jonestown massacre by Maitland Zane, San Francisco Chronicle staff writer. Published Friday, November 13, 1998. All stories were included in the second part of a two-part series.

Inside Peoples Temple Marshall Kilduff and Phil Tracy, Used by permission of authors for the San Francisco Chronicle. Published Monday, August 1, 1977.

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