Many of the instruments used to perform medieval music still exist, but in different forms. Medieval instruments included the wood flute (which in the 21st century is made of metal), the recorder and plucked string instruments like the lute. As well, early versions of the organ, fiddle (or vielle), and trombone (called the sackbut) existed. Medieval instruments in Europe had most commonly been used singly, often self accompanied with a drone note, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into haut (loud, shrill, outdoor instruments) and bas (quieter, more intimate instruments).


During the earlier medieval period, the vocal music from the liturgical genre, predominantly Gregorian chant, was monophonic, using a single, unaccompanied vocal melody line. Polyphonic vocal genres, which used multiple independent vocal melodies, began to develop during the high medieval era, becoming prevalent by the later 13th and early 14th century.


Many instruments originated during the Renaissance; others were variations of, or improvements upon, instruments that had existed previously. Some have survived to the present day; others have disappeared, only to be recreated in order to perform music of the period on authentic instruments. As in the modern day, instruments may be classified as brass, strings, percussion, and woodwind.


Brass instruments in the Renaissance were traditionally played by professionals who were members of Guilds and they included the slide trumpet, the wooden cornet, the valveless trumpet and the sackbut. Stringed instruments included the viol, the harp-like lyre, the hurdy-gurdy, the cittern and the lute. Keyboard instruments with strings included the harpsichord and the virginal. Percussion instruments include the triangle, the Jew's harp, the tambourine, the bells, the rumble-pot, and various kinds of drums. Woodwind instruments included the double reed shawm, the reed pipe, the bagpipe, the transverse flute and the recorder.


Vocal music in the Renaissance is noted for the flourishing of an increasingly elaborate polyphonic style. The principal liturgical forms which endured throughout the entire Renaissance period were masses and motets, with some other developments towards the end, especially as composers of sacred music began to adopt secular forms (such as the madrigal) for their own designs. Towards the end of the period, the early dramatic precursors of opera such as monody, the madrigal comedy, and the intermedio are seen.


Baroque instruments included some instruments from the earlier periods (e.g., the hurdy-gurdy and recorder) and a number of new instruments (e.g, the cello, contrabass and fortepiano). Some instruments from previous eras fell into disuse, such as the shawm and the wooden cornet. The key Baroque instruments for strings included the violin, viol, viola, viola d'amore, cello, contrabass, lute, theorbo (which often played the basso continuo parts), mandolin, cittern, Baroque guitar, harp and hurdy-gurdy. Woodwinds included the Baroque flute, Baroque oboe, rackett, recorder and the bassoon. Brass instruments included the cornett, natural horn, Baroque trumpet, serpent and the trombone. Keyboard instruments included the clavichord, tangent piano, the fortepiano (an early version of the piano), the harpsichord and the pipe organ. Percussion instruments included the timpani, snare drum, tambourine and the castanets.


One major difference between Baroque music and the classical era that followed it is that the types of instruments used in ensembles were much less standardized. Whereas a classical era string quartet consists almost exclusively of two violins, a viola and a cello, a Baroque group accompanying a soloist or opera could include one of several different types of keyboard instruments (e.g., pipe organ, harpsichord, or clavichord), additional stringed chordal instruments (e.g., a lute) and an unspecified number of bass instruments performing the basso continuo bassline, including bowed strings, woodwinds and brass instruments (e.g., a cello, contrabass, viol, bassoon, serpent, etc.).


The term "classical music" has two meanings: the broader meaning includes all Western art music from the Medieval era to today, and the specific meaning refers to the music from the 1750s to the early 1830s—the era of Mozart and Haydn. This section is about the more specific meaning.


Classical musicians continued to use many of instruments from the Baroque era, such as the cello, contrabass, recorder, trombone, timpani, fortepiano and organ. While some Baroque instruments fell into disuse (e.g., the theorbo and rackett), many Baroque instruments were changed into the versions that are still in use today, such as the Baroque violin (which became the violin), the Baroque oboe (which became the oboe) and the Baroque trumpet, which transitioned to the regular valved trumpet.


The Classical era stringed instruments were the four instruments which form the string section of the orchestra: the violin, viola, cello and contrabass. Woodwinds included the basset clarinet, basset horn, clarinette d'amour, the Classical clarinet, the chalumeau, the flute, oboe and bassoon. Keyboard instruments included the clavichord and the fortepiano. While the harpsichord was still used in basso continuo accompaniment in the 1750s and 1760s, it fell out of use in the end of the century. Brass instruments included the buccin, the ophicleide (a serpent replacement which was the precursor of tuba) and the natural horn.


The "standard complement" of double winds and brass in the orchestra from the first half of the 19th century is generally attributed to Beethoven. The exceptions to this are his Symphony No. 4, Violin Concerto, and Piano Concerto No. 4, which each specify a single flute. The composer's instrumentation usually included paired flutes, oboes, clarinets, bassoons, horns and trumpets. Beethoven carefully calculated the expansion of this particular timbral "palette" in Symphonies 3, 5, 6, and 9 for an innovative effect. The third horn in the "Eroica" Symphony arrives to provide not only some harmonic flexibility, but also the effect of "choral" brass in the Trio. Piccolo, contrabassoon, and trombones add to the triumphal finale of his Symphony No. 5. A piccolo and a pair of trombones help deliver "storm" and "sunshine" in the Sixth. The Ninth asks for a second pair of horns, for reasons similar to the "Eroica" (four horns has since become standard); Beethoven's use of piccolo, contrabassoon, trombones, and untuned percussion—plus chorus and vocal soloists—in his finale, are his earliest suggestion that the timbral boundaries of symphony should be expanded. For several decades after he died, symphonic instrumentation was faithful to Beethoven's well-established model, with few exceptions.


In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers."  New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (a bell-like keyboard instrument), large orchestral harps, bells, and triangles  and even wind machines for sound effects.


Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.


The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major. Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.


Electric instruments such as the electric guitar, the electric bass and the ondes Martenot appear occasionally in the classical music of the 20th and 21st centuries. Both classical and popular musicians have experimented in recent decades with electronic instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and instruments from other cultures such as the gamelan.


Many instruments today associated with popular music filled important roles in early classical music, such as bagpipes, vihuelas, hurdy-gurdies, and some woodwind instruments. On the other hand, instruments such as the acoustic guitar, once associated mainly with popular music, gained prominence in classical music in the 19th and 20th centuries.


While equal temperament became gradually accepted as the dominant musical temperament during the 18th century, different historical temperaments are often used for music from earlier periods. For instance, music of the English Renaissance is often performed in meantone temperament.


Performers who have studied classical music extensively are said to be "classically trained". This training may be from private lessons from instrument or voice teachers or from completion of a formal program offered by a Conservatory, college or university, such as a B.mus. or M.mus. degree (which includes individual lessons from professors). In classical music, "...extensive formal music education and training, often to postgraduate [Master's degree] level" is required.


Performance of classical music repertoire requires a proficiency in sight-reading and ensemble playing, harmonic principles, strong ear training (to correct and adjust pitches by ear), knowledge of performance practice (e.g., Baroque ornamentation), and a familiarity with the style/musical idiom expected for a given composer or musical work (e.g., a Brahms symphony or a Mozart concerto).


Some "popular" genre musicians have had significant classical training, such as Billy Joel, Elton John, the Van Halen brothers, Randy Rhoads and Ritchie Blackmore. Moreover, formal training is not unique to the classical genre. Many rock and pop musicians have completed degrees in commercial music programs such as those offered by the Berklee College of Music and many jazz musicians have completed degrees in music from universities with jazz programs, such as the Manhattan School of Music and McGill University.


Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of harpist. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.


In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist." As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.


In 2013, an article in Mother Jones stated that while "[m]any prestigious orchestras have significant female membership—women outnumber men in the New York Philharmonic's violin section—and several renowned ensembles, including the National Symphony Orchestra, the Detroit Symphony, and the Minnesota Symphony, are led by women violinists", the double bass, brass, and percussion sections of major orchestras "...are still predominantly male." A 2014 BBC article stated that the "...introduction of 'blind' auditions, where a prospective instrumentalist performs behind a screen so that the judging panel can exercise no gender or racial prejudice, has seen the gender balance of traditionally male-dominated symphony orchestras gradually shift."


Works of classical repertoire often exhibit complexity in their use of orchestration, counterpoint, harmony, musical development, rhythm, phrasing, texture, and form. Whereas most popular styles are usually written in song forms, classical music is noted for its development of highly sophisticated musical forms, like the concerto, symphony, sonata, and opera.


Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. For instance, symphonies written during the Classical period are usually divided into four movements: (1) an opening Allegro in sonata form, (2) a slow movement, (3) a minuet or scherzo, and (4) a final Allegro. These movements can then be further broken down into a hierarchy of smaller units: first sections, then periods, and finally phrases.


The major time divisions of classical music up to 1900 are the early music period, which includes Medieval (500–1400) and Renaissance (1400–1600) eras, and the Common practice period, which includes the Baroque (1600–1750), Classical (1750–1830) and Romantic (1804–1910) eras. Since 1900, classical periods have been reckoned more by calendar century than by particular stylistic movements that have become fragmented and difficult to define. The 20th century calendar period (1901–2000) includes most of the early modern musical era (1890–1930), the entire high modern (mid 20th-century), and the first 25 years of the contemporary or postmodern musical era (1975–current). The 21st century has so far been characterized by a continuation of the contemporary/postmodern musical era.


The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "era" comprising baroque, classical, and romantic "periods". For example, the use of counterpoint and fugue, which is considered characteristic of the Baroque era (or period), was continued by Haydn, who is classified as typical of the Classical era. Beethoven, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.


The prefix neo is used to describe a 20th-century or contemporary composition written in the style of an earlier era, such as Classical or Romantic. Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.


Burgh (2006), suggests that the roots of Western classical music ultimately lie in ancient Egyptian art music via cheironomy and the ancient Egyptian orchestra, which dates to 2695 BC. This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as the aulos (a reed instrument) and the lyre (a stringed instrument similar to a small harp) eventually led to the modern-day instruments of a classical orchestra. The antecedent to the early period was the era of ancient music before the fall of the Roman Empire (476 AD). Very little music survives from this time, most of it from ancient Greece.


The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also called plainsong or Gregorian chant, was the dominant form until about 1100. Polyphonic (multi-voiced) music developed from monophonic chant throughout the late Middle Ages and into the Renaissance, including the more complex voicings of motets.


The Renaissance era was from 1400 to 1600. It was characterized by greater use of instrumentation, multiple interweaving melodic lines, and the use of the first bass instruments. Social dancing became more widespread, so musical forms appropriate to accompanying dance began to standardize.


It is in this time that the notation of music on a staff and other elements of musical notation began to take shape. This invention made possible the separation of the composition of a piece of music from its transmission; without written music, transmission was oral, and subject to change every time it was transmitted. With a musical score, a work of music could be performed without the composer's presence. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.


Typical stringed instruments of the early period include the harp, lute, vielle, and psaltery, while wind instruments included the flute family (including recorder), shawm (an early member of the oboe family), trumpet, and the bagpipes. Simple pipe organs existed, but were largely confined to churches, although there were portable varieties. Later in the period, early versions of keyboard instruments like the clavichord and harpsichord began to appear. Stringed instruments such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.


The common practice period is when many of the ideas that make up western classical music took shape, standardized, or were codified. It began with the Baroque era, running from roughly 1600 to the middle of the 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.


Baroque music is characterized by the use of complex tonal counterpoint and the use of a basso continuo, a continuous bass line. Music became more complex in comparison with the songs of earlier periods. The beginnings of the sonata form took shape in the canzona, as did a more formalized notion of theme and variations. The tonalities of major and minor as means for managing dissonance and chromaticism in music took full shape.


During the Baroque era, keyboard music played on the harpsichord and pipe organ became increasingly popular, and the violin family of stringed instruments took the form generally seen today. Opera as a staged musical drama began to differentiate itself from earlier musical and dramatic forms, and vocal forms like the cantata and oratorio became more common. Vocalists began adding embellishments to melodies. Instrumental ensembles began to distinguish and standardize by size, giving rise to the early orchestra for larger ensembles, with chamber music being written for smaller groups of instruments where parts are played by individual (instead of massed) instruments. The concerto as a vehicle for solo performance accompanied by an orchestra became widespread, although the relationship between soloist and orchestra was relatively simple.


The theories surrounding equal temperament began to be put in wider practice, especially as it enabled a wider range of chromatic possibilities in hard-to-tune keyboard instruments. Although Bach did not use equal temperament, as a modern piano is generally tuned, changes in the temperaments from the meantone system, common at the time, to various temperaments that made modulation between all keys musically acceptable, made possible Bach's Well-Tempered Clavier.


The Classical era, from about 1750 to 1820, established many of the norms of composition, presentation, and style, and was also when the piano became the predominant keyboard instrument. The basic forces required for an orchestra became somewhat standardized (although they would grow as the potential of a wider array of instruments was developed in the following centuries). Chamber music grew to include ensembles with as many as 8 to 10 performers for serenades. Opera continued to develop, with regional styles in Italy, France, and German-speaking lands. The opera buffa, a form of comic opera, rose in popularity. The symphony came into its own as a musical form, and the concerto was developed as a vehicle for displays of virtuoso playing skill. Orchestras no longer required a harpsichord (which had been part of the traditional continuo in the Baroque style), and were often led by the lead violinist (now called the concertmaster).


Wind instruments became more refined in the Classical era. While double reeded instruments like the oboe and bassoon became somewhat standardized in the Baroque, the clarinet family of single reeds was not widely used until Mozart expanded its role in orchestral, chamber, and concerto settings.


The music of the Romantic era, from roughly the first decade of the 19th century to the early 20th century, was characterized by increased attention to an extended melodic line, as well as expressive and emotional elements, paralleling romanticism in other art forms. Musical forms began to break from the Classical era forms (even as those were being codified), with free-form pieces like nocturnes, fantasias, and preludes being written where accepted ideas about the exposition and development of themes were ignored or minimized. The music became more chromatic, dissonant, and tonally colorful, with tensions (with respect to accepted norms of the older forms) about key signatures increasing. The art song (or Lied) came to maturity in this era, as did the epic scales of grand opera, ultimately transcended by Richard Wagner's Ring cycle.


In the 19th century, musical institutions emerged from the control of wealthy patrons, as composers and musicians could construct lives independent of the nobility. Increasing interest in music by the growing middle classes throughout western Europe spurred the creation of organizations for the teaching, performance, and preservation of music. The piano, which achieved its modern construction in this era (in part due to industrial advances in metallurgy) became widely popular with the middle class, whose demands for the instrument spurred a large number of piano builders. Many symphony orchestras date their founding to this era. Some musicians and composers were the stars of the day; some, like Franz Liszt and Niccolò Paganini, fulfilled both roles.


The family of instruments used, especially in orchestras, grew. A wider array of percussion instruments began to appear. Brass instruments took on larger roles, as the introduction of rotary valves made it possible for them to play a wider range of notes. The size of the orchestra (typically around 40 in the Classical era) grew to be over 100. Gustav Mahler's 1906 Symphony No. 8, for example, has been performed with over 150 instrumentalists and choirs of over 400.


European cultural ideas and institutions began to follow colonial expansion into other parts of the world. There was also a rise, especially toward the end of the era, of nationalism in music (echoing, in some cases, political sentiments of the time), as composers such as Edvard Grieg, Nikolai Rimsky-Korsakov, and Antonín Dvořák echoed traditional music of their homelands in their compositions.


Encompassing a wide variety of post-Romantic styles composed through the year 2000, 20th century classical music includes late romantic, modern, high-modern, and postmodern styles of composition. Modernism (1890–1930) marked an era when many composers rejected certain values of the common practice period, such as traditional tonality, melody, instrumentation, and structure. The high-modern era saw the emergence of neo-classical and serial music. A few authorities have claimed high-modernism as the beginning of postmodern music from about 1930. Others have more or less equated postmodern music with the "contemporary music" composed from the late 20th century through to the early 21st century.


Almost all of the composers who are described in music textbooks on classical music and whose works are widely performed as part of the standard concert repertoire are male composers, even though there has been a large number of women composers throughout the classical music period. Musicologist Marcia Citron has asked "[w]hy is music composed by women so marginal to the standard 'classical' repertoire?" Citron "examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers. In the "...Concise Oxford History of Music, Clara Shumann  [sic] is one of the only  [sic] female composers mentioned." Abbey Philips states that "[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts."


The modernist views hold that classical music is considered primarily a written musical tradition, preserved in music notation, as opposed to being transmitted orally, by rote, or by recordings of particular performances.[citation needed] While there are differences between particular performances of a classical work, a piece of classical music is generally held to transcend any interpretation of it. The use of musical notation is an effective method for transmitting classical music, since the written music contains the technical instructions for performing the work.


In 1996–1997, a research study was conducted on a large population of middle age students in the Cherry Creek School District in Denver, Colorado, USA. The study showed that students who actively listen to classical music before studying had higher academic scores. The research further indicated that students who listened to the music prior to an examination also had positively elevated achievement scores. Students who listened to rock-and-roll or country had moderately lower scores. The study further indicated that students who used classical during the course of study had a significant leap in their academic performance; whereas, those who listened to other types of music had significantly lowered academic scores. The research was conducted over several schools within the Cherry Creek School District and was conducted through University of Colorado. This study is reflective of several recent studies (i.e. Mike Manthei and Steve N. Kelly of the University of Nebraska at Omaha; Donald A. Hodges and Debra S. O'Connell of the University of North Carolina at Greensboro; etc.) and others who had significant results through the discourse of their work.


During the 1990s, several research papers and popular books wrote on what came to be called the "Mozart effect": an observed temporary, small elevation of scores on certain tests as a result of listening to Mozart's works. The approach has been popularized in a book by Don Campbell, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students' IQ by 8 to 9 points. This popularized version of the theory was expressed succinctly by the New York Times music columnist Alex Ross: "researchers... have determined that listening to Mozart actually makes you smarter." Promoters marketed CDs claimed to induce the effect. Florida passed a law requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the governor of Georgia budgeted $105,000 per year to provide every child born in Georgia with a tape or CD of classical music. One of the co-authors of the original studies of the Mozart effect commented "I don't think it can hurt. I'm all for exposing children to wonderful cultural experiences. But I do think the money could be better spent on music education programs."


Shawn Vancour argues that the commercialization of classical music in the early 20th century served to harm the music industry through inadequate representation.


Several works from the Golden Age of Animation matched the action to classical music. Notable examples are Walt Disney's Fantasia, Tom and Jerry's Johann Mouse, and Warner Bros.' Rabbit of Seville and What's Opera, Doc?.


Similarly, movies and television often revert to standard, clichéd snatches of classical music to convey refinement or opulence: some of the most-often heard pieces in this category include Bach´s Cello Suite No. 1, Mozart's Eine kleine Nachtmusik, Vivaldi's Four Seasons, Mussorgsky's Night on Bald Mountain (as orchestrated by Rimsky-Korsakov), and Rossini's William Tell Overture.


The written score, however, does not usually contain explicit instructions as to how to interpret the piece in terms of production or performance, apart from directions for dynamics, tempo and expression (to a certain extent). This is left to the discretion of the performers, who are guided by their personal experience and musical education, their knowledge of the work's idiom, their personal artistic tastes, and the accumulated body of historic performance practices.


Some critics express the opinion that it is only from the mid-19th century, and especially in the 20th century, that the score began to hold such a high significance. Previously, improvisation (in preludes, cadenzas and ornaments), rhythmic flexibility (e.g., tempo rubato), improvisatory deviation from the score and oral tradition of playing was integral to the style. Yet in the 20th century, this oral tradition and passing on of stylistic features within classical music disappeared. Instead, musicians tend to use just the score to play music. Yet, even with the score providing the key elements of the music, there is considerable controversy about how to perform the works. Some of this controversy relates to the fact that this score-centric approach has led to performances that emphasize metrically strict block-rhythms (just as the music is notated in the score).


Improvisation once played an important role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an important aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare.


Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.


Composers of classical music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins.


Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers.


The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.


Classical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.


Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. In heavy metal, a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads.


Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and historical backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents.


Present-day Slavic people are classified into West Slavic (chiefly Poles, Czechs and Slovaks), East Slavic (chiefly Russians, Belarusians, and Ukrainians), and South Slavic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs. For a more comprehensive list, see the ethnocultural subdivisions. Modern Slavic nations and ethnic groups are considerably diverse both genetically and culturally, and relations between them – even within the individual ethnic groups themselves – are varied, ranging from a sense of connection to mutual feelings of hostility.


The Slavic autonym is reconstructed in Proto-Slavic as *Slověninъ, plural *Slověne. The oldest documents written in Old Church Slavonic and dating from the 9th century attest Словѣне Slověne to describe the Slavs. Other early Slavic attestations include Old East Slavic Словѣнѣ Slověně for "an East Slavic group near Novgorod." However, the earliest written references to the Slavs under this name are in other languages. In the 6th century AD Procopius, writing in Byzantine Greek, refers to the Σκλάβοι Sklaboi, Σκλαβηνοί Sklabēnoi, Σκλαυηνοί Sklauenoi, Σθλαβηνοί Sthlabenoi, or Σκλαβῖνοι Sklabinoi, while his contemporary Jordanes refers to the Sclaveni in Latin.


The Slavic autonym *Slověninъ is usually considered (e.g. by Roman Jakobson) a derivation from slovo "word", originally denoting "people who speak (the same language)," i.e. people who understand each other, in contrast to the Slavic word denoting "foreign people" – němci, meaning "mumbling, murmuring people" (from Slavic *němъ – "mumbling, mute").


The word slovo ("word") and the related slava ("fame") and slukh ("hearing") originate from the Proto-Indo-European root *ḱlew- ("be spoken of, fame"), cognate with Ancient Greek κλῆς (klês - "famous"), whence the name Pericles, and Latin clueo ("be called"), and English loud.


The English word Slav could be derived from the Middle English word sclave, which was borrowed from Medieval Latin sclavus or slavus, itself a borrowing and Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from a misunderstanding of the Slavic autonym (denoting a speaker of their own languages). The Byzantine term Sklavinoi was loaned into Arabic as Saqaliba صقالبة (sing. Saqlabi صقلبي) by medieval Arab historiographers. However, the origin of this word is disputed.


Alternative proposals for the etymology of *Slověninъ propounded by some scholars have much less support. Lozinski argues that the word *slava once had the meaning of worshipper, in this context meaning "practicer of a common Slavic religion," and from that evolved into an ethnonym. S.B. Bernstein speculates that it derives from a reconstructed Proto-Indo-European *(s)lawos, cognate to Ancient Greek λαός laós "population, people," which itself has no commonly accepted etymology. Meanwhile, others have pointed out that the suffix -enin indicates a man from a certain place, which in this case should be a place called Slova or Slava, possibly a river name. The Old East Slavic Slavuta for the Dnieper River was argued by Henrich Bartek (1907–1986) to be derived from slova and also the origin of Slovene.


The earliest mentions of Slavic raids across the lower River Danube may be dated to the first half of the 6th century, yet no archaeological evidence of a Slavic settlement in the Balkans could be securely dated before c. 600 AD.


The Slavs under name of the Antes and the Sclaveni make their first appearance in Byzantine records in the early 6th century. Byzantine historiographers under Justinian I (527–565), such as Procopius of Caesarea, Jordanes and Theophylact Simocatta describe tribes of these names emerging from the area of the Carpathian Mountains, the lower Danube and the Black Sea, invading the Danubian provinces of the Eastern Empire.


Procopius wrote in 545 that "the Sclaveni and the Antae actually had a single name in the remote past; for they were both called Spori in olden times." He describes their social structure and beliefs:


Jordanes tells us that the Sclaveni had swamps and forests for their cities. Another 6th-century source refers to them living among nearly impenetrable forests, rivers, lakes, and marshes.


Menander Protector mentions a Daurentius (577–579) that slew an Avar envoy of Khagan Bayan I. The Avars asked the Slavs to accept the suzerainty of the Avars, he however declined and is reported as saying: "Others do not conquer our land, we conquer theirs – so it shall always be for us".


The relationship between the Slavs and a tribe called the Veneti east of the River Vistula in the Roman period is uncertain. The name may refer both to Balts and Slavs.


According to eastern homeland theory, prior to becoming known to the Roman world, Slavic-speaking tribes were part of the many multi-ethnic confederacies of Eurasia – such as the Sarmatian, Hun and Gothic empires. The Slavs emerged from obscurity when the westward movement of Germans in the 5th and 6th centuries CE (thought to be in conjunction with the movement of peoples from Siberia and Eastern Europe: Huns, and later Avars and Bulgars) started the great migration of the Slavs, who settled the lands abandoned by Germanic tribes fleeing the Huns and their allies: westward into the country between the Oder and the Elbe-Saale line; southward into Bohemia, Moravia, much of present-day Austria, the Pannonian plain and the Balkans; and northward along the upper Dnieper river. Perhaps some Slavs migrated with the movement of the Vandals to Iberia and north Africa.


Around the 6th century, Slavs appeared on Byzantine borders in great numbers.[page needed] The Byzantine records note that grass would not regrow in places where the Slavs had marched through, so great were their numbers. After a military movement even the Peloponnese and Asia Minor were reported to have Slavic settlements. This southern movement has traditionally been seen as an invasive expansion. By the end of the 6th century, Slavs had settled the Eastern Alps regions.


When their migratory movements ended, there appeared among the Slavs the first rudiments of state organizations, each headed by a prince with a treasury and a defense force. Moreover, it was the beginnings of class differentiation, and nobles pledged allegiance either to the Frankish/ Holy Roman Emperors or the Byzantine Emperors.


In the 7th century, the Frankish merchant Samo, who supported the Slavs fighting their Avar rulers, became the ruler of the first known Slav state in Central Europe, which, however, most probably did not outlive its founder and ruler. This provided the foundation for subsequent Slavic states to arise on the former territory of this realm with Carantania being the oldest of them. Very old also are the Principality of Nitra and the Moravian principality (see under Great Moravia). In this period, there existed central Slavic groups and states such as the Balaton Principality, but the subsequent expansion of the Magyars, as well as the Germanisation of Austria, separated the northern and southern Slavs. The First Bulgarian Empire was founded in 681, the Slavic language Old Bulgarian became the main and official of the empire in 864. Bulgaria was instrumental in the spread of Slavic literacy and Christianity to the rest of the Slavic world.


As of 1878, there were only three free Slavic states in the world: the Russian Empire, Serbia and Montenegro. Bulgaria was also free but was de jure vassal to the Ottoman Empire until official independence was declared in 1908. In the entire Austro-Hungarian Empire of approximately 50 million people, about 23 million were Slavs. The Slavic peoples who were, for the most part, denied a voice in the affairs of the Austro-Hungarian Empire, were calling for national self-determination. During World War I, representatives of the Czechs, Slovaks, Poles, Serbs, Croats, and Slovenes set up organizations in the Allied countries to gain sympathy and recognition. In 1918, after World War I ended, the Slavs established such independent states as Czechoslovakia, the Second Polish Republic, and the State of Slovenes, Croats and Serbs.


During World War II, Hitler's Generalplan Ost (general plan for the East) entailed killing, deporting, or enslaving the Slavic and Jewish population of occupied Eastern Europe to create Lebensraum (living space) for German settlers. The Nazi Hunger Plan and Generalplan Ost would have led to the starvation of 80 million people in the Soviet Union. These partially fulfilled plans resulted in the deaths of an estimated 19.3 million civilians and prisoners of war.


The first half of the 20th century in Russia and the Soviet Union was marked by a succession of wars, famines and other disasters, each accompanied by large-scale population losses. Stephen J. Lee estimates that, by the end of World War II in 1945, the Russian population was about 90 million fewer than it could have been otherwise.


Because of the vastness and diversity of the territory occupied by Slavic people, there were several centers of Slavic consolidation. In the 19th century, Pan-Slavism developed as a movement among intellectuals, scholars, and poets, but it rarely influenced practical politics and did not find support in some nations that had Slavic origins. Pan-Slavism became compromised when the Russian Empire started to use it as an ideology justifying its territorial conquests in Central Europe as well as subjugation of other ethnic groups of Slavic origins such as Poles and Ukrainians, and the ideology became associated with Russian imperialism. The common Slavic experience of communism combined with the repeated usage of the ideology by Soviet propaganda after World War II within the Eastern bloc (Warsaw Pact) was a forced high-level political and economic hegemony of the USSR dominated by Russians. A notable political union of the 20th century that covered most South Slavs was Yugoslavia, but it ultimately broke apart in the 1990s along with the Soviet Union.


The word "Slavs" was used in the national anthem of the Slovak Republic (1939–1945), Yugoslavia (1943–1992) and the Federal Republic of Yugoslavia (1992–2003), later Serbia and Montenegro (2003–2006).


Former Soviet states, as well as countries that used to be satellite states or territories of the Warsaw Pact, have numerous minority Slavic populations, many of whom are originally from the Russian SFSR, Ukrainian SSR and Byelorussian SSR. As of now, Kazakhstan has the largest Slavic minority population with most being Russians (Ukrainians, Belarusians and Poles are present as well but in much smaller numbers).


Pan-Slavism, a movement which came into prominence in the mid-19th century, emphasized the common heritage and unity of all the Slavic peoples. The main focus was in the Balkans where the South Slavs had been ruled for centuries by other empires: the Byzantine Empire, Austria-Hungary, the Ottoman Empire, and Venice. The Russian Empire used Pan-Slavism as a political tool; as did the Soviet Union, which gained political-military influence and control over most Slavic-majority nations between 1945 and 1948 and retained a hegemonic role until the period 1989–1991.


Slavic studies began as an almost exclusively linguistic and philological enterprise. As early as 1833, Slavic languages were recognized as Indo-European.


Slavic standard languages which are official in at least one country: Belarusian, Bosnian, Bulgarian, Croatian, Czech, Macedonian, Montenegrin, Polish, Russian, Serbian, Slovak, Slovene, and Ukrainian. The alphabet depends on what religion is usual for the respective Slavic ethnic groups. The Orthodox use the Cyrillic alphabet and the Roman Catholics use Latin alphabet, the Bosniaks who are Muslims also use the Latin. Few Greek Roman and Roman Catholics use the Cyrillic alphabet however. The Serbian language and Montenegrin language uses both Cyrillic and Latin alphabets. There is also a Latin script to write in Belarusian, called the Lacinka alphabet.


Proto-Slavic, the supposed ancestor language of all Slavic languages, is a descendant of common Proto-Indo-European, via a Balto-Slavic stage in which it developed numerous lexical and morphophonological isoglosses with the Baltic languages. In the framework of the Kurgan hypothesis, "the Indo-Europeans who remained after the migrations [from the steppe] became speakers of Balto-Slavic".


Proto-Slavic, sometimes referred to as Common Slavic or Late Proto-Slavic, is defined as the last stage of the language preceding the geographical split of the historical Slavic languages. That language was uniform, and on the basis of borrowings from foreign languages and Slavic borrowings into other languages, cannot be said to have any recognizable dialects, suggesting a comparatively compact homeland. Slavic linguistic unity was to some extent visible as late as Old Church Slavonic manuscripts which, though based on local Slavic speech of Thessaloniki, could still serve the purpose of the first common Slavic literary language.


The pagan Slavic populations were Christianized between the 6th and 10th centuries. Orthodox Christianity is predominant in the East and South Slavs, while Roman Catholicism is predominant in West Slavs and the western South Slavs. The religious borders are largely comparable to the East–West Schism which began in the 11th century. The majority of contemporary Slavic populations who profess a religion are Orthodox, followed by Catholic, while a small minority are Protestant. There are minor Slavic Muslim groups. Religious delineations by nationality can be very sharp; usually in the Slavic ethnic groups the vast majority of religious people share the same religion. Some Slavs are atheist or agnostic: only 19% of Czechs professed belief in god/s in the 2005 Eurobarometer survey.


Slavs are customarily divided along geographical lines into three major subgroups: West Slavs, East Slavs, and South Slavs, each with a different and a diverse background based on unique history, religion and culture of particular Slavic groups within them. Apart from prehistorical archaeological cultures, the subgroups have had notable cultural contact with non-Slavic Bronze- and Iron Age civilisations.


^1 Also considered part of Rusyns
^2 Considered transitional between Ukrainians and Belarusians
^3 The ethnic affiliation of the Lemkos has become an ideological conflict. It has been alleged that among the Lemkos the idea of "Carpatho-Ruthenian" nation is supported only by Lemkos residing in Transcarpathia and abroad
^4 Most inhabitants of historic Moravia considered themselves as Czechs but significant amount declared their Moravian nationality, different from that Czech (although people from Bohemia and Moravia use the same official language).
^5 Also considered Poles.
^6 There are sources that show Silesians as part of the Poles. Parts of the southmost population of Upper Silesia is sometimes considered Czech (controversial).


^7 A census category recognized as an ethnic group. Most Slavic Muslims (especially in Bosnia, Croatia, Montenegro and Serbia) now opt for Bosniak ethnicity, but some still use the "Muslim" designation. Bosniak and Muslim are considered two ethnonyms for a single ethnicity and the terms may even be used interchangeably. However, a small number of people within Bosnia and Herzegovina declare themselves Bosniak but are not necessarily Muslim by faith.


^8 This identity continues to be used by a minority throughout the former Yugoslav republics. The nationality is also declared by diasporans living in the USA and Canada. There are a multitude of reasons as to why people prefer this affiliation, some published on the article.


^9 Sub-groups of Croats include Bunjevci (in Bačka), Šokci (in Slavonia and Vojvodina), Janjevci (in Kosovo), Burgenland Croats (in Austria), Bosniaks (in Hungary), Molise Croats (in Italy), Krashovans (in Romania), Moravian Croats (in the Czech Republic)


^10 Sub-groups of Slovenes include Prekmurians, Hungarian Slovenes, Carinthian Slovenes, Venetian Slovenes, Resians, and the extinct Carantanians and Somogy Slovenes.


Note: Besides ethnic groups, Slavs often identify themselves with the local geographical region in which they live. Some of the major regional South Slavic groups include: Zagorci in northern Croatia, Istrijani in westernmost Croatia, Dalmatinci in southern Croatia, Boduli in Adriatic islands, Vlaji in hinterland of Dalmatia, Slavonci in eastern Croatia, Bosanci in Bosnia, Hercegovci in Herzegovina, Krajišnici in western Bosnia, but is more commonly used to refer to the Serbs of Croatia, most of whom are descendants of the Grenzers, and continued to live in the area which made up the Military Frontier until the Croatian war of independence, Semberci in northeast Bosnia, Srbijanci in Serbia proper, Šumadinci in central Serbia, Vojvođani in northern Serbia, Sremci in Syrmia, Bačvani in northwest Vojvodina, Banaćani in Banat, Sandžaklije (Muslims in Serbia/Montenegro border), Kosovci in Kosovo, Bokelji in southwest Montenegro, Trakiytsi in Upper Thracian Lowlands, Dobrudzhantsi in north-east Bulgarian region, Balkandzhii in Central Balkan Mountains, Miziytsi in north Bulgarian region, Warmiaks and Masurians in north-east Polish regions Warmia and Mazuria, Pirintsi in Blagoevgrad Province, Ruptsi in the Rhodopes etc.


The modern Slavic peoples carry a variety of mitochondrial DNA haplogroups and Y-chromosome DNA haplogroups. Yet two paternal haplogroups predominate: R1a1a [M17] and I2a2a [L69.2=T/S163.2]. The frequency of Haplogroup R1a ranges from 63.39% in the Sorbs, through 56.4% in Poland, 54% in Ukraine, 52% in Russia, Belarus, to 15.2% in Republic of Macedonia, 14.7% in Bulgaria and 12.1% in Herzegovina. The correlation between R1a1a [M17] and the speakers of Indo-European languages, particularly those of Eastern Europe (Russian) and Central and Southern Asia, was noticed in the late 1990s. From this Spencer Wells and colleagues, following the Kurgan hypothesis, deduced that R1a1a arose on the Pontic-Caspian steppe.


Specific studies of Slavic genetics followed. In 2007 Rębała and colleagues studied several Slavic populations with the aim of localizing the Proto-Slavic homeland. The significant findings of this study are that:


Marcin Woźniak and colleagues (2010) searched for specifically Slavic sub-group of R1a1a [M17]. Working with haplotypes, they found a pattern among Western Slavs which turned out to correspond to a newly discovered marker, M458, which defines subclade R1a1a7. This marker correlates remarkably well with the distribution of Slavic-speakers today. The team led by Peter Underhill, which discovered M458, did not consider the possibility that this was a Slavic marker, since they used the "evolutionary effective" mutation rate, which gave a date far too old to be Slavic. Woźniak and colleagues pointed out that the pedigree mutation rate, giving a later date, is more consistent with the archaeological record.


Pomors are distinguished by the presence of Y Haplogroup N among them. Postulated to originate from southeast Asia, it is found at high rates in Uralic peoples. Its presence in Pomors (called "Northern Russians" in the report) attests to the non-Slavic tribes (mixing with Finnic tribes of northern Eurasia). Autosomally, Russians are generally similar to populations in central-eastern Europe but some northern Russians are intermediate to Finno-Ugric groups.


On the other hand, I2a1b1 (P41.2) is typical of the South Slavic populations, being highest in Bosnia-Herzegovina (>50%). Haplogroup I2a2 is also commonly found in north-eastern Italians. There is also a high concentration of I2a2a in the Moldavian region of Romania, Moldova and western Ukraine. According to original studies, Hg I2a2 was believed to have arisen in the west Balkans sometime after the LGM, subsequently spreading from the Balkans through Central Russian Plain. Recently, Ken Nordtvedt has split I2a2 into two clades – N (northern) and S (southern), in relation where they arose compared to Danube river. He proposes that N is slightly older than S. He recalculated the age of I2a2 to be ~ 2550 years and proposed that the current distribution is explained by a Slavic expansion from the area north-east of the Carpathians.


In 2008, biochemist Boris Arkadievich Malyarchuk (Russian: Борис Аркадьевич Малярчук) et al. of the Institute of Biological Problems of the North, Russian Academy of Sciences, Magadan, Russia, used a sample (n=279) of Czech individuals to determine the frequency of "Mongoloid" "mtDNA lineages". Malyarchuk found Czech mtDNA lineages were typical of "Slavic populations" with "1.8%" Mongoloid mtDNA lineage. Malyarchuk added that "Slavic populations" "almost always" contain Mongoloid mtDNA lineage. Malyarchuk said the Mongoloid component of Slavic people was partially added before the split of "Balto-Slavics" in 2,000–3,000 BC with additional Mongoloid mixture occurring among Slavics in the last 4,000 years. Malyarchuk said the "Russian population" was developed by the "assimilation of the indigenous pre-Slavic population of Eastern Europe by true Slavs" with additional "assimilation of Finno-Ugric populations" and "long-lasting" interactions with the populations of "Siberia" and "Central Asia". Malyarchuk said that other Slavs "Mongoloid component" was increased during the waves of migration from "steppe populations (Huns, Avars, Bulgars and Mongols)", especially the decay of the "Avar Khaganate".


DNA samples from 1228 Russians show that the Y chromosomes analyzed, all except 20 (1.6%) fall into seven major haplogroups all characteristic to West Eurasian populations. Taken together, they account for 95% of the total Russian Y chromosomal pool. Only (0.7%) fell into haplogroups that are specific to East and South Asian populations. Mitochondrial DNA (mtDNA) examined in Poles and Russians revealed the presence of all major European haplogroups, which were characterized by similar patterns of distribution in Poles and Russians. An analysis of the DNA did not reveal any specific combinations of unique mtDNA haplotypes and their subclusters. The DNA clearly shows that both Poles and Russians are not different from the neighbouring European populations.


Throughout their history, Slavs came into contact with non-Slavic groups. In the postulated homeland region (present-day Ukraine), they had contacts with the Iranic Sarmatians and the Germanic Goths. After their subsequent spread, they began assimilating non-Slavic peoples. For example, in the Balkans, there were Paleo-Balkan peoples, such as Romanized and Hellenized (Jireček Line) Illyrians, Thracians and Dacians, as well as Greeks and Celtic Scordisci. Over time, due to the larger number of Slavs, most descendants of the indigenous populations of the Balkans were Slavicized. The Thracians and Illyrians vanished from the population during this period – although the modern Albanian nation claims descent from the Illyrians. Exceptions are Greece, where the lesser numbered Slavs scattered there came to be Hellenized (aided in time by more Greeks returning to Greece in the 9th century and the role of the church and administration) and Romania where Slavic people settled en route for present-day Greece, Republic of Macedonia, Bulgaria and East Thrace whereby the Slavic population had come to assimilate. Bulgars were also assimilated by local Slavs but their ruling status and subsequent land cast the nominal legacy of Bulgarian country and people onto all future generations. The Romance speakers within the fortified Dalmatian cities managed to retain their culture and language for a long time, as Dalmatian Romance was spoken until the high Middle Ages. However, they too were eventually assimilated into the body of Slavs.


In the Western Balkans, South Slavs and Germanic Gepids intermarried with Avar invaders, eventually producing a Slavicized population.[citation needed] In Central Europe, the Slavs intermixed with Germanic and Celtic, while the eastern Slavs encountered Uralic and Scandinavian peoples. Scandinavians (Varangians) and Finnic peoples were involved in the early formation of the Rus' state but were completely Slavicized after a century. Some Finno-Ugric tribes in the north were also absorbed into the expanding Rus population. At the time of the Magyar migration, the present-day Hungary was inhabited by Slavs, numbering about 200,000, and by Romano-Dacians who were either assimilated or enslaved by the Magyars. In the 11th and 12th centuries, constant incursions by nomadic Turkic tribes, such as the Kipchaks and the Pechenegs, caused a massive migration of East Slavic populations to the safer, heavily forested regions of the north. In the Middle Ages, groups of Saxon ore miners settled in medieval Bosnia, Serbia and Bulgaria where they were Slavicized.


Polabian Slavs (Wends) settled in parts of England (Danelaw), apparently as Danish allies. Polabian-Pomeranian Slavs are also known to have even settled on Norse age Iceland. Saqaliba refers to the Slavic mercenaries and slaves in the medieval Arab world in North Africa, Sicily and Al-Andalus. Saqaliba served as caliph's guards. In the 12th century, there was intensification of Slavic piracy in the Baltics. The Wendish Crusade was started against the Polabian Slavs in 1147, as a part of the Northern Crusades. Niklot, pagan chief of the Slavic Obodrites, began his open resistance when Lothar III, Holy Roman Emperor, invaded Slavic lands. In August 1160 Niklot was killed and German colonization (Ostsiedlung) of the Elbe-Oder region began. In Hanoverian Wendland, Mecklenburg-Vorpommern and Lusatia invaders started germanization. Early forms of germanization were described by German monks: Helmold in the manuscript Chronicon Slavorum and Adam of Bremen in Gesta Hammaburgensis ecclesiae pontificum. The Polabian language survived until the beginning of the 19th century in what is now the German state of Lower Saxony. In Eastern Germany, around 20% of Germans have Slavic paternal ancestry. Similarly, in Germany, around 20% of the foreign surnames are of Slavic origin.


Cossacks, although Slavic-speaking and Orthodox Christians, came from a mix of ethnic backgrounds, including Tatars and other Turks. Many early members of the Terek Cossacks were Ossetians.


The Gorals of southern Poland and northern Slovakia are partially descended from Romance-speaking Vlachs who migrated into the region from the 14th to 17th centuries and were absorbed into the local population. The population of Moravian Wallachia also descend of this population.


Conversely, some Slavs were assimilated into other populations. Although the majority continued south, attracted by the riches of the territory which would become Bulgaria, a few remained in the Carpathian basin and were ultimately assimilated into the Magyar or Romanian population. There is a large number of river names and other placenames of Slavic origin in Romania.[better source needed]


Southampton (i/saʊθˈæmptən, -hæmptən/) is the largest city in the ceremonial county of Hampshire on the south coast of England, and is situated 75 miles (121 km) south-west of London and 19 miles (31 km) north-west of Portsmouth. Southampton is a major port and the closest city to the New Forest. It lies at the northernmost point of Southampton Water at the confluence of the River Test and River Itchen, with the River Hamble joining to the south of the urban area. The city, which is a unitary authority, has an estimated population of 253,651. The city's name is sometimes abbreviated in writing to "So'ton" or "Soton", and a resident of Southampton is called a Sotonian.


Significant employers in Southampton include The University of Southampton, Southampton Solent University, Southampton Airport, Ordnance Survey, BBC South, the NHS, ABP and Carnival UK. Southampton is noted for its association with the RMS Titanic, the Spitfire and more generally in the World War II narrative as one of the departure points for D-Day, and more recently as the home port of a number of the largest cruise ships in the world. Southampton has a large shopping centre and retail park called WestQuay. In October 2014, the City Council approved a follow-up from the WestQuay park, called WestQuay Watermark. Construction by Sir Robert McAlpine commenced in January 2015. Hammerson, the owners of the retail park, aim to have at least 1,550 people employed on its premises at year-end 2016.


In the 2001 census Southampton and Portsmouth were recorded as being parts of separate urban areas, however by the time of the 2011 census they had merged to become the sixth largest built-up area in England with a population of 855,569. This built-up area is part of the metropolitan area known as South Hampshire, which is also known as Solent City, particularly in the media when discussing local governance organisational changes. With a population of over 1.5 million this makes the region one of the United Kingdom's most populous metropolitan areas.


Archaeological finds suggest that the area has been inhabited since the stone age. Following the Roman invasion of Britain in AD 43 and the conquering of the local Britons in 70 AD the fortress settlement of Clausentum was established. It was an important trading port and defensive outpost of Winchester, at the site of modern Bitterne Manor. Clausentum was defended by a wall and two ditches and is thought to have contained a bath house. Clausentum was not abandoned until around 410.


The Anglo-Saxons formed a new, larger, settlement across the Itchen centred on what is now the St Mary's area of the city. The settlement was known as Hamwic, which evolved into Hamtun and then Hampton. Archaeological excavations of this site have uncovered one of the best collections of Saxon artefacts in Europe. It is from this town that the county of Hampshire gets its name.


Viking raids from 840 onwards contributed to the decline of Hamwic in the 9th century, and by the 10th century a fortified settlement, which became medieval Southampton, had been established.


Following the Norman Conquest in 1066, Southampton became the major port of transit between the then capital of England, Winchester, and Normandy. Southampton Castle was built in the 12th century and by the 13th century Southampton had become a leading port, particularly involved in the import of French wine in exchange for English cloth and wool.


Surviving remains of 12th century merchants' houses such as King John's House and Canute's Palace are evidence of the wealth that existed in the town at this time. In 1348, the Black Death reached England via merchant vessels calling at Southampton.


The town was sacked in 1338 by French, Genoese and Monegasque ships (under Charles Grimaldi, who used the plunder to help found the principality of Monaco). On visiting Southampton in 1339, Edward III ordered that walls be built to 'close the town'. The extensive rebuilding—part of the walls dates from 1175—culminated in the completion of the western walls in 1380. Roughly half of the walls, 13 of the original towers, and six gates survive.


The city walls include God's House Tower, built in 1417, the first purpose-built artillery fortification in England. Over the years it has been used as home to the city's gunner, the Town Gaol and even as storage for the Southampton Harbour Board. Until September 2011, it housed the Museum of Archaeology. The walls were completed in the 15th century, but later development of several new fortifications along Southampton Water and the Solent by Henry VIII meant that Southampton was no longer dependent upon its fortifications.


On the other hand, many of the medieval buildings once situated within the town walls are now in ruins or have disappeared altogether. From successive incarnations of the motte and bailey castle, only a section of the bailey wall remains today, lying just off Castle Way. The last remains of the Franciscan friary in Southampton, founded circa 1233 and dissolved in 1538, were swept away in the 1940s. The site is now occupied by Friary House.


Elsewhere, remnants of the medieval water supply system devised by the friars can still be seen today. Constructed in 1290, the system carried water from Conduit Head (remnants of which survive near Hill Lane, Shirley) some 1.7 kilometres to the site of the friary inside the town walls. The friars granted use of the water to the town in 1310 and passed on ownership of the water supply system itself in 1420. Further remains can be observed at Conduit House on Commercial Road.


In 1642, during the English Civil War, a Parliamentary garrison moved into Southampton. The Royalists advanced as far as Redbridge, Southampton, in March 1644 but were prevented from taking the town.


During the Middle Ages, shipbuilding became an important industry for the town. Henry V's famous warship HMS Grace Dieu was built in Southampton. Walter Taylor's 18th century mechanisation of the block-making process was a significant step in the Industrial Revolution. From 1904 to 2004, the Thornycroft shipbuilding yard was a major employer in Southampton, building and repairing ships used in the two World Wars.


Prior to King Henry's departure for the Battle of Agincourt in 1415, the ringleaders of the "Southampton Plot"—Richard, Earl of Cambridge, Henry Scrope, 3rd Baron Scrope of Masham, and Sir Thomas Grey of Heton—were accused of high treason and tried at what is now the Red Lion public house in the High Street. They were found guilty and summarily executed outside the Bargate.


Southampton has been used for military embarkation, including during 18th-century wars with the French, the Crimean war, and the Boer War. Southampton was designated No. 1 Military Embarkation port during the Great War and became a major centre for treating the returning wounded and POWs. It was also central to the preparations for the Invasion of Europe in 1944.


Southampton became a spa town in 1740. It had also become a popular site for sea bathing by the 1760s, despite the lack of a good quality beach. Innovative buildings specifically for this purpose were built at West Quay, with baths that were filled and emptied by the flow of the tide.


The town experienced major expansion during the Victorian era. The Southampton Docks company had been formed in 1835. In October 1838 the foundation stone of the docks was laid and the first dock opened in 1842. The structural and economic development of docks continued for the next few decades. The railway link to London was fully opened in May 1840. Southampton subsequently became known as The Gateway to the Empire.


In his 1854 book "The Cruise of the Steam Yacht North Star" John Choules described Southampton thus: "I hardly know a town that can show a more beautiful Main Street than Southampton, except it be Oxford. The High Street opens from the quay, and under various names it winds in a gently sweeping line for one mile and a half, and is of very handsome width. The variety of style and color of material in the buildings affords an exhibition of outline, light and color, that I think is seldom equalled. The shops are very elegant, and the streets are kept exceedingly clean."


The port was the point of departure for the Pilgrim Fathers aboard Mayflower in 1620. In 1912, the RMS Titanic sailed from Southampton. Four in five of the crew on board the vessel were Sotonians, with about a third of those who perished in the tragedy hailing from the city. Southampton was subsequently the home port for the transatlantic passenger services operated by Cunard with their Blue Riband liner RMS Queen Mary and her running mate RMS Queen Elizabeth. In 1938, Southampton docks also became home to the flying boats of Imperial Airways. Southampton Container Terminals first opened in 1968 and has continued to expand.


The Supermarine Spitfire was designed and developed in Southampton, evolving from the Schneider trophy-winning seaplanes of the 1920s and 1930s. Its designer, R J Mitchell, lived in the Portswood area of Southampton, and his house is today marked with a blue plaque. Heavy bombing of the factory in September 1940 destroyed it as well as homes in the vicinity, killing civilians and workers. World War II hit Southampton particularly hard because of its strategic importance as a major commercial port and industrial area. Prior to the Invasion of Europe, components for a Mulberry harbour were built here. After D-Day, Southampton docks handled military cargo to help keep the Allied forces supplied, making it a key target of Luftwaffe bombing raids until late 1944. Southampton docks was featured in the television show 24: Live Another Day in Day 9: 9:00 p.m. – 10:00 p.m.


630 people lost their lives as a result of the air raids on Southampton and nearly 2,000 more were injured, not to mention the thousands of buildings damaged or destroyed.


Pockets of Georgian architecture survived the war, but much of the city was levelled. There has been extensive redevelopment since World War II. Increasing traffic congestion in the 1920s led to partial demolition of medieval walls around the Bargate in 1932 and 1938. However a large portion of those walls remain.


A Royal Charter in 1952 upgraded University College at Highfield to the University of Southampton. Southampton acquired city status, becoming the City of Southampton in 1964.


After the establishment of Hampshire County Council, following the act in 1888, Southampton became a county borough within the county of Hampshire, which meant that it had many features of a county, but governance was now shared between the Corporation in Southampton and the new county council. There is a great source of confusion in the fact that the ancient shire county, along with its associated assizes, was known as the County of Southampton or Southamptonshire. This was officially changed to Hampshire in 1959 although the county had been commonly known as Hampshire or Hantscire for centuries. Southampton became a non-metropolitan district in 1974.


Southampton as a Port and city has had a long history of administrative independence of the surrounding County; as far back as the reign of King John the town and its port were removed from the writ of the King's Sheriff in Hampshire and the rights of custom and toll were granted by the King to the burgesses of Southampton over the port of Southampton and the Port of Portsmouth; this tax farm was granted for an annual fee of £200 in the charter dated at Orival on 29 June 1199. The definition of the port of Southampton was apparently broader than today and embraced all of the area between Lymington and Langstone. The corporation had resident representatives in Newport, Lymington and Portsmouth. By a charter of Henry VI, granted on 9 March 1446/7 (25+26 Hen. VI, m. 32), the mayor, bailiffs and burgesses of the towns and ports of Southampton and Portsmouth became a County incorporate and separate from Hampshire.


The status of the town was changed by a later charter of Charles I by at once the formal separation from Portsmouth and the recognition of Southampton as a county, In the charter dated 27 June 1640 the formal title of the town became 'The Town and County of the Town of Southampton'. These charters and Royal Grants, of which there were many, also set out the governance and regulation of the town and port which remained the 'constitution' of the town until the local government organisation of the later Victorian period which from about 1888 saw the setting up of County Councils across England and Wales and including Hampshire County Council who now took on some of the function of Government in Southampton Town. In this regime, The Town and County of the Town of Southampton also became a county borough with shared responsibility for aspects of local government. On 24 February 1964 the status changed again by a Charter of Elizabeth II, creating the City and County of the City of Southampton.


The city has undergone many changes to its governance over the centuries and once again became administratively independent from Hampshire County as it was made into a unitary authority in a local government reorganisation on 1 April 1997, a result of the 1992 Local Government Act. The district remains part of the Hampshire ceremonial county.


Southampton City Council consists of 48 councillors, 3 for each of the 16 wards. Council elections are held in early May for one third of the seats (one councillor for each ward), elected for a four-year term, so there are elections three years out of four. Since the 2015 council elections, the composition of the council is:


There are three members of parliament for the city: Royston Smith (Conservative) for Southampton Itchen, the constituency covering the east of the city; Dr. Alan Whitehead (Labour) for Southampton Test, which covers the west of the city; and Caroline Nokes (Conservative) for Romsey and Southampton North, which includes a northern portion of the city.


The city has a Mayor and is one of the 16 cities and towns in England and Wales to have a ceremonial sheriff who acts as a deputy for the Mayor. The current and 793rd Mayor of Southampton is Linda Norris. Catherine McEwing is the current and 578th sherriff. The town crier from 2004 until his death in 2014 was John Melody, who acted as master of ceremonies in the city and who possessed a cry of 104 decibels.


Southampton City Council has developed twinning links with Le Havre in France (since 1973), Rems-Murr-Kreis in Germany (since 1991), Trieste in Italy (since 2002); Hampton, Virginia in USA, Qingdao in China (since 1998), and Busan in South Korea (since 1978).


The geography of Southampton is influenced by the sea and rivers. The city lies at the northern tip of the Southampton Water, a deep water estuary, which is a ria formed at the end of the last Ice Age. Here, the rivers Test and Itchen converge. The Test—which has salt marsh that makes it ideal for salmon fishing—runs along the western edge of the city, while the Itchen splits Southampton in two—east and west. The city centre is located between the two rivers.


Town Quay is the original public quay, and dates from the 13th century. Today's Eastern Docks were created in the 1830s by land reclamation of the mud flats between the Itchen & Test estuaries. The Western Docks date from the 1930s when the Southern Railway Company commissioned a major land reclamation and dredging programme. Most of the material used for reclamation came from dredging of Southampton Water, to ensure that the port can continue to handle large ships.


Southampton Water has the benefit of a double high tide, with two high tide peaks, making the movement of large ships easier. This is not caused as popularly supposed by the presence of the Isle of Wight, but is a function of the shape and depth of the English Channel. In this area the general water flow is distorted by more local conditions reaching across to France.


The River Test runs along the western border of the city, separating it from the New Forest. There are bridges over the Test from Southampton, including the road and rail bridges at Redbridge in the south and the M27 motorway to the north. The River Itchen runs through the middle of the city and is bridged in several places. The northernmost bridge, and the first to be built, is at Mansbridge, where the A27 road crosses the Itchen. The original bridge is closed to road traffic, but is still standing and open to pedestrians and cyclists. The river is bridged again at Swaythling, where Woodmill Bridge separates the tidal and non tidal sections of the river. Further south is Cobden Bridge which is notable as it was opened as a free bridge (it was originally named the Cobden Free Bridge), and was never a toll bridge. Downstream of the Cobden Bridge is the Northam Railway Bridge, then the Northam Road Bridge, which was the first major pre-stressed concrete bridge to be constructed in the United Kingdom. The southernmost, and newest, bridge on the Itchen is the Itchen Bridge, which is a toll bridge.


Southampton is divided into council wards, suburbs, constituencies, ecclesiastical parishes, and other less formal areas. It has a number of parks and green spaces, the largest being the 148 hectare Southampton Common, parts of which are used to host the annual summer festivals, circuses and fun fairs. The Common includes Hawthorns Urban Wildlife Centre on the former site of Southampton Zoo, a paddling pool and several lakes and ponds.


Council estates are in the Weston, Thornhill and Townhill Park districts. The city is ranked 96th most deprived out of all 354 Local Authorities in England.


As with the rest of the UK, Southampton experiences an oceanic climate (Köppen Cfb). Its southerly, low lying and sheltered location ensures it is among the warmer, sunnier cities in the UK. It has held the record for the highest temperature in the UK for June at 35.6 °C (96.1 °F) since 1976.


The centre of Southampton is located above a large hot water aquifer that provides geothermal power to some of the city's buildings. This energy is processed at a plant in the West Quay region in Southampton city centre, the only geothermal power station in the UK. The plant provides private electricity for the Port of Southampton and hot water to the Southampton District Energy Scheme used by many buildings including the WestQuay shopping centre. In a 2006 survey of carbon emissions in major UK cities conducted by British Gas, Southampton was ranked as being one of the lowest carbon emitting cities in the United Kingdom.


At the 2001 Census, 92.4 per cent of the city's populace was White—including one per cent White Irish—3.8 per cent were South Asian, 1.0 per cent Black, 1.3 per cent Chinese or other ethnic groups, and 1.5 per cent were of Mixed Race.


Southampton had an estimated 236,900 people living within the city boundary in 2011. There is a sizeable Polish population in the city, with estimates as high as 20,000.


There are 119,500 males within the city and 117,400 females. The 20–24 age range is the most populous, with an estimated 32,300 people falling in this age range. Next largest is the 25–29 range with 24,700 people and then 30–34 years with 17,800. By population, Southampton is the largest monocentric city in the South East England region and the second largest on the South Coast after Plymouth.


Between 1996 and 2004, the population of the city increased by 4.9 per cent—the tenth biggest increase in England. In 2005 the Government Statistics stated that Southampton was the third most densely populated city in the country after London and Portsmouth respectively. Hampshire County Council expects the city's population to grow by around a further two per cent between 2006 and 2013, adding around another 4,200 to the total number of residents. The highest increases are expected among the elderly.


In March 2007 there were 120,305 jobs in Southampton, and 3,570 people claiming job seeker's allowance, approximately 2.4 per cent of the city's population. This compares with an average of 2.5 per cent for England as a whole.


Just over a quarter of the jobs available in the city are in the health and education sector. A further 19 per cent are property and other business and the third largest sector is wholesale and retail, which accounts for 16.2 percent. Between 1995 and 2004, the number of jobs in Southampton has increased by 18.5 per cent.


In January 2007, the average annual salary in the city was £22,267. This was £1,700 lower than the national average and £3,800 less than the average for the South East.


Southampton has always been a port, and the docks have long been a major employer in the city. In particular, it is a port for cruise ships; its heyday was the first half of the 20th century, and in particular the inter-war years, when it handled almost half the passenger traffic of the UK. Today it remains home to luxury cruise ships, as well as being the largest freight port on the Channel coast and fourth largest UK port by tonnage, with several container terminals. Unlike some other ports, such as Liverpool, London, and Bristol, where industry and docks have largely moved out of the city centres leaving room for redevelopment, Southampton retains much of its inner-city industry. Despite the still active and expanding docklands to the west of the city centre, further enhanced with the opening of a fourth cruise terminal in 2009, parts of the eastern docks have been redeveloped; the Ocean Village development, which included a local marina and small entertainment complex, is a good example. Southampton is home to the headquarters of both the Maritime and Coastguard Agency and the Marine Accident Investigation Branch of the Department for Transport in addition to cruise operator Carnival UK.


During the latter half of the 20th century, a more diverse range of industry also came to the city, including aircraft and car manufacture, cables, electrical engineering products, and petrochemicals. These now exist alongside the city's older industries of the docks, grain milling, and tobacco processing.


University Hospital Southampton NHS Foundation Trust is one of the city's largest employers. It provides local hospital services to 500,000 people in the Southampton area and specialist regional services to more than 3 million people across the South of England. The Trust owns and manages Southampton General Hospital, the Princess Anne Hospital and a palliative care service at Countess Mountbatten House, part of the Moorgreen Hospital site in the village of West End, just outside the city.


Other major employers in the city include Ordnance Survey, the UK's national mapping agency, whose headquarters is located in a new building on the outskirts of the city, opened in February 2011. The Lloyd's Register Group has announced plans to move its London marine operations to a specially developed site at the University of Southampton. The area of Swaythling is home to Ford's Southampton Assembly Plant, where the majority of their Transit models are manufactured. Closure of the plant in 2013 was announced in 2012, with the loss of hundreds of jobs.


Southampton's largest retail centre, and 35th largest in the UK, is the WestQuay Shopping Centre, which opened in September 2000 and hosts major high street stores including John Lewis and Marks and Spencer. The centre was Phase Two of the West Quay development of the former Pirelli undersea cables factory; the first phase of this was the West Quay Retail Park, while the third phase (Watermark Westquay) was put on hold due to the recession. Work is has resumed in 2015, with plans for this third stage including shops, housing, an hotel and a public piazza alongside the Town Walls on Western Esplanade. Southampton has also been granted a licence for a large casino. A further part of the redevelopment of the West Quay site resulted in a new store, opened on 12 February 2009, for Swedish home products retailer IKEA. Marlands is a smaller shopping centre, built in the 1990s and located close to the northern side of WestQuay. Southampton currently has two disused shopping centres: the 1970s Eaststreet mall, and the 1980s Bargate centre. Neither of these were ever commercially successful; the former has been earmarked for redevelopment as a Morrison's supermarket, while the future of the latter is uncertain. There is also the East Street area which has been designated for speciality shopping, with the aim of promoting smaller retailers, alongside the chain store Debenhams. In 2007, Southampton was ranked 13th for shopping in the UK.


Southampton's strong economy is promoting redevelopment, and major projects are proposed, including the city's first skyscrapers on the waterfront. The three towers proposed will stand 23 storeys high and will be surrounded by smaller apartment blocks, office blocks and shops. There are also plans for a 15-storey hotel at the Ocean Village marina, and a 21-storey hotel on the north eastern corner of the city centre, as part of a £100m development.


According to 2004 figures, Southampton contributes around £4.2 bn to the regional economy annually. The vast majority of this is from the service sector, with the remainder coming from industry in the city. This figure has almost doubled since 1995.


The city is home to the longest surviving stretch of medieval walls in England, as well as a number of museums such as Tudor House Museum, reopened on 30 July 2011 after undergoing extensive restoration and improvement; Southampton Maritime Museum; God's House Tower, an archaeology museum about the city's heritage and located in one of the tower walls; the Medieval Merchant's House; and Solent Sky, which focuses on aviation. The SeaCity Museum is located in the west wing of the civic centre, formerly occupied by Hampshire Constabulary and the Magistrates' Court, and focuses on Southampton's trading history and on the RMS Titanic. The museum received half a million pounds from the National Lottery in addition to interest from numerous private investors and is budgeted at £28 million.


The annual Southampton Boat Show is held in September each year, with over 600 exhibitors present. It runs for just over a week at Mayflower Park on the city's waterfront, where it has been held since 1968. The Boat Show itself is the climax of Sea City, which runs from April to September each year to celebrate Southampton's links with the sea.


The largest theatre in the city is the 2,300 capacity Mayflower Theatre (formerly known as the Gaumont), which, as the largest theatre in Southern England outside London, has hosted West End shows such as Les Misérables, The Rocky Horror Show and Chitty Chitty Bang Bang, as well as regular visits from Welsh National Opera and English National Ballet. There is also the Nuffield Theatre based at the University of Southampton's Highfield campus, which is the city's primary producing theatre. It was awarded The Stage Award for Best Regional Theatre in 2015. It also hosts touring companies and local performing societies (such as Southampton Operatic Society, the Maskers and the University Players).


There are many innovative art galleries in the city. The Southampton City Art Gallery at the Civic Centre is one of the best known and as well as a nationally important Designated Collection, houses several permanent and travelling exhibitions. The Millais Gallery at Southampton Solent University, the John Hansard Gallery at Southampton University as well as smaller galleries including the Art House in Above Bar Street provide a different view. The city's Bargate is also an art gallery run by the arts organisation "a space". A space also run the Art Vaults project, which creatively uses several of Southampton's medieval vaults, halls and cellars as venues for contemporary art installations.


Southampton has two large live music venues, the Mayflower Theatre (formerly the Gaumont Theatre) and the Guildhall. The Guildhall has seen concerts from a wide range of popular artists including Pink Floyd, David Bowie, Delirious?, Manic Street Preachers, The Killers, The Kaiser Chiefs, Amy Winehouse, Lostprophets, The Midnight Beast, Modestep, and All Time Low. It also hosts classical concerts presented by the Bournemouth Symphony Orchestra, City of Southampton Orchestra, Southampton Concert Orchestra, Southampton Philharmonic Choir and Southampton Choral Society.


The city also has several smaller music venues, including the Brook, The Talking Heads, The Soul Cellar, The Joiners and Turner Sims, as well as smaller "club circuit" venues like Hampton's and Lennon's, and a number of public houses including the Platform tavern, the Dolphin, the Blue Keys and many others. The Joiners has played host to such acts as Oasis, Radiohead, Green Day, Suede, PJ Harvey, the Manic Street Preachers, Coldplay, the Verve, the Libertines and Franz Ferdinand, while Hampton's and Lennon's have hosted early appearances by Kate Nash, Scouting for Girls and Band of Skulls. The nightclub, Junk, has been nominated for the UK's best small nightclub, and plays host to a range of dance music's top acts.


The city is home or birthplace to a number of contemporary musicians such as R'n'B singer Craig David, Coldplay drummer Will Champion, former Holloways singer Rob Skipper as well as 1980s popstar Howard Jones. Several rock bands were formed in Southampton, including Band of Skulls, The Delays, Bury Tomorrow, Heart in Hand, Thomas Tantrum (disbanded in 2011) and Kids Can't Fly (disbanded in 2014). James Zabiela, a highly regarded and recognised name in dance music, is also from Southampton.


Local media include the Southern Daily Echo newspaper based in Redbridge and BBC South, which has its regional headquarters in the city centre opposite the civic centre. From there the BBC broadcasts South Today, the local television news bulletin and BBC Radio Solent. The local ITV franchise is Meridian, which has its headquarters in Whiteley, around nine miles (14 km) from the city. Until December 2004, the station's studios were located in the Northam area of the city on land reclaimed from the River Itchen. That's Solent is an local television channel that began broadcasting in November 2014, which will be based in and serve Southampton and Portsmouth.


Southampton also has 2 community FM radio stations, the Queens Award winning Unity 101 Community Radio (www.unity101.org) broadcasting full-time on 101.1 FM since 2006 to the Asian and Ethnic communities, and Voice FM (http://www.voicefmradio.co.uk) located in St Mary's, which has been broadcasting full-time on 103.9 FM since September 2011, playing a wide range of music from Rock to Dance music and Top 40. A third station, Awaaz FM (www.awaazfm.co.uk), is an internet only radio stations also catering for Asian and Ethnic community.


Commercial radio stations broadcasting to the city include The Breeze, previously The Saint and currently broadcasting Hot adult contemporary music, Capital, previously Power FM and Galaxy and broadcasting popular music, Wave 105 and Heart Hampshire, the latter previously Ocean FM and both broadcasting adult contemporary music, and 106 Jack FM (www.jackradio.com), previously The Coast 106. In addition, Southampton University has a radio station called SURGE, broadcasting on AM band as well as through the web.


Southampton is home to Southampton Football Club—nicknamed "The Saints"—who play in the Premier League at St Mary's Stadium, having relocated in 2001 from their 103-year-old former stadium, "The Dell". They reached the top flight of English football (First Division) for the first time in 1966, staying there for eight years. They lifted the FA Cup with a shock victory over Manchester United in 1976, returned to the top flight two years later, and stayed there for 27 years (becoming founder members of the Premier League in 1992) before they were relegated in 2005. The club was promoted back to the Premier League in 2012 following a brief spell in the third-tier and severe financial difficulties. In 2015, "The Saints" finished 7th in the Premier League, their highest league finish in 30 years, after a remarkable season under new manager Ronald Koeman. Their highest league position came in 1984 when they were runners-up in the old First Division. They were also runners-up in the 1979 Football League Cup final and 2003 FA Cup final. Notable former managers include Ted Bates, Lawrie McMenemy, Chris Nicholl, Ian Branfoot and Gordon Strachan. There is a strong rivalry between Portsmouth F.C. ("South Coast derby") which is located only about 30 km (19 mi) away.


The two local Sunday Leagues in the Southampton area are the City of Southampton Sunday Football League and the Southampton and District Sunday Football League.


Hampshire County Cricket Club play close to the city, at the Rose Bowl in West End, after previously playing at the County Cricket Ground and the Antelope Ground, both near the city centre. There is also the Southampton Evening Cricket League.


The city hockey club, Southampton Hockey Club, founded in 1938, is now one of the largest and highly regarded clubs in Hampshire, fielding 7 senior men's and 5 senior ladies teams on a weekly basis along with boys’ and girls’ teams from 6 upwards.


The city is also well provided for in amateur men's and women's rugby with a number of teams in and around the city, the oldest of which is Trojans RFC who were promoted to London South West 2 division in 2008/9. A notable former player is Anthony Allen, who played with Leicester Tigers as a centre. Tottonians are also in London South West division 2 and Southampton RFC are in Hampshire division 1 in 2009/10, alongside Millbrook RFC and Eastleigh RFC. Many of the sides run mini and midi teams from under sevens up to under sixteens for both boys and girls.


The city provides for yachting and water sports, with a number of marinas. From 1977 to 2001 the Whitbread Around the World Yacht Race, which is now known as the Volvo Ocean Race was based in Southampton's Ocean Village marina.


The city also has the Southampton Sports Centre which is the focal point for the public's sporting and outdoor activities and includes an Alpine Centre, theme park and athletics centre which is used by professional athletes. With the addition of 11 other additional leisure venures which are currently operate by the Council leisure executives. However these have been sold the operating rights to "Park Wood Leisure."