Chopin's music for the piano combined a unique rhythmic sense (particularly his use of rubato), frequent use

of chromaticism, and counterpoint. This mixture produces a particularly fragile sound in the melody and the harmony, which are nonetheless underpinned by solid and interesting harmonic techniques. He took the new salon genre of the nocturne, invented by Irish composer John Field, to a deeper level of sophistication. Three of Chopin's twenty-one Nocturnes were published only after his death in 1849, contrary to his wishes.[69] He also endowed popular dance forms, such as the Polish mazurek and the Viennese Waltz, with a greater range of melody and expression. Chopin's mazurkas, while based somewhat on the traditional Polish dance (the mazurek), were different from the traditional variety in that they were suitable for concerts halls as well as dance settings. With his mazurkas, Chopin brought a new sense of nationalism, which was an idea that other composers writing both at the same time as, and after, Chopin would also incorporate into their compositions. Chopins nationalism was a great influence and inspiration for many other composers, especially Eastern Europeans, and he was one of the first composers to clearly express nationalism through his music. Furthermore, he was the first composer to take a national genre of music from his home country and transform it into a genre worthy of the general concert-going public, thereby creating an entirely new genre. Chopin was the first to write ballades[70] and scherzi as individual pieces. He also took the example of Bach's preludes and fugues, transforming the genre in his own Prludes. Further information: Nocturnes (Chopin), Preludes (Chopin), and tudes (Chopin) Chopin reinvented the tude,[71] expanding on the idea and making it into a gorgeous, eloquent and emotional showpiece. He also used his tudes to teach his own revolutionary style,[14] for instance playing with the weak fingers (3, 4, and 5) in fast figures (Op. 10, No. 2), playing in octaves (Op 25, No.10) and playing black keys with the thumb (Op. 10, No. 5).

"Beethoven's Fifth" redirects here. For the movie, see Beethoven's 5th (film). For Beethoven's 5th piano concerto, see Piano Concerto No. 5 (Beethoven).

The coversheet to Beethoven's 5th Symphony. The dedication to Prince J. F. M. Lobkowitz and Count Rasumovsky is visible. The Symphony No. 5 in C minor, Op. 67, was written by Ludwig van Beethoven in 1804 08. This symphony is one of the most popular and best-known compositions in all of classical music, and one of the most often played symphonies.[1] It comprises four movements: an opening sonata, an andante, and a fast scherzo which leads attacca to the finale. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterwards. E. T. A. Hoffmann described the symphony as "one of the most important works of the time". It begins by stating a distinctive four-note "short-short-short-long" motif twice: ( (helpinfo)) listen

The symphony, and the four-note opening motif in particular, are well known worldwide, with the motif appearing frequently in popular culture, from disco to rock and roll, to appearances in film and television.

Jazz is a musical style that originated at the beginning of the 20th century in African American communities in the Southern United States. It was born out of a confluence of African and European music traditions. From its early development until the present, jazz has incorporated music from 19th and 20th century American popular music.[1] Its West African pedigree is evident in its use of blue notes, improvisation, polyrhythms, syncopation, and the swung note.[2] The word "jazz" (in early years also spelled "jass") began as a West Coast slang term and was first used to refer to music in Chicago around 1915.[citation needed] From its beginnings in the early 20th century jazz has spawned a variety of subgenres: New Orleans Dixieland dating from the early 1910s, big band-style swing from the 1930s and 1940s, bebop from the mid-1940s, free jazz and a variety of Latin jazz fusions, such as AfroCuban, from the 1950s and 1960s, jazz fusion from the 1970s, acid jazz from the 1980s (which combines funk and hip-hop elements), and nu jazz in the 1990s. As the music has spread around the world it has drawn on local, national, and regional musical cultures, its aesthetics being adapted to its varied environments and giving rise to many distinctive styles.

Definition
Jazz can be very difficult to define because it spans from Ragtime marches to the present day. Attempts have been made to define jazz from the perspective of other musical traditions using the point of view of European music history or African music for examplebut jazz critic Joachim Berendt argues ined as 'swing'", "a spontaneity and vitality of musical production in which improvisation plays a role"; and "sonority and manner of phrasing which mirror the individuality of the performing jazz musician".[3]

Double bassist Reggie Workman, saxophone player Pharoah Sanders, and drummer Idris Muhammad performing in 1978 In New Orleans and Dixieland jazz, performers took turns playing the melody, while others improvised countermelodies. By the swing era, big bands were coming to rely more on arranged music: arrangements were either written or learned by ear and memorizedmany early jazz performers could not read music. Individual soloists would improvise within these arrangements. Later, in bebop the focus shifted imprsatons. Later styles of jazz such as modal jazz abandoned the strict notion of a chord progression, allowing the individual musicians to improvise even more freely within the context of a given scale or mode.[4] The avant-garde and free jazz idioms permit, even call for, abandoning chords, scales, and rhythmic meters.