Datasets:

YuWangX

/

KnowledgeRetentionProcessed

like 0

Beyoncé Giselle Knowles-Carter (/biːˈjɒnseɪ/ bee-YON-say) (born September 4, 1981) is an American singer, songwriter, record producer and actress. Born and raised in Houston, Texas, she performed in various singing and dancing competitions as a child, and rose to fame in the late 1990s as lead singer of R&B girl-group Destiny's Child. Managed by her father, Mathew Knowles, the group became one of the world's best-selling girl groups of all time. Their hiatus saw the release of Beyoncé's debut album, Dangerously in Love (2003), which established her as a solo artist worldwide, earned five Grammy Awards and featured the Billboard Hot 100 number-one singles "Crazy in Love" and "Baby Boy". Following the disbandment of Destiny's Child in June 2005, she released her second solo album, B'Day (2006), which contained hits "Déjà Vu", "Irreplaceable", and "Beautiful Liar". Beyoncé also ventured into acting, with a Golden Globe-nominated performance in Dreamgirls (2006), and starring roles in The Pink Panther (2006) and Obsessed (2009). Her marriage to rapper Jay Z and portrayal of Etta James in Cadillac Records (2008) influenced her third album, I Am... Sasha Fierce (2008), which saw the birth of her alter-ego Sasha Fierce and earned a record-setting six Grammy Awards in 2010, including Song of the Year for "Single Ladies (Put a Ring on It)". Beyoncé took a hiatus from music in 2010 and took over management of her career; her fourth album 4 (2011) was subsequently mellower in tone, exploring 1970s funk, 1980s pop, and 1990s soul. Her critically acclaimed fifth studio album, Beyoncé (2013), was distinguished from previous releases by its experimental production and exploration of darker themes. A self-described "modern-day feminist", Beyoncé creates songs that are often characterized by themes of love, relationships, and monogamy, as well as female sexuality and empowerment. On stage, her dynamic, highly choreographed performances have led to critics hailing her as one of the best entertainers in contemporary popular music. Throughout a career spanning 19 years, she has sold over 118 million records as a solo artist, and a further 60 million with Destiny's Child, making her one of the best-selling music artists of all time. She has won 20 Grammy Awards and is the most nominated woman in the award's history. The Recording Industry Association of America recognized her as the Top Certified Artist in America during the 2000s decade. In 2009, Billboard named her the Top Radio Songs Artist of the Decade, the Top Female Artist of the 2000s and their Artist of the Millennium in 2011. Time listed her among the 100 most influential people in the world in 2013 and 2014. Forbes magazine also listed her as the most powerful female musician of 2015.

Beyoncé Giselle Knowles was born in Houston, Texas, to Celestine Ann "Tina" Knowles (née Beyincé), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyoncé's name is a tribute to her mother's maiden name. Beyoncé's younger sister Solange is also a singer and a former member of Destiny's Child. Mathew is African-American, while Tina is of Louisiana Creole descent (with African, Native American, French, Cajun, and distant Irish and Spanish ancestry). Through her mother, Beyoncé is a descendant of Acadian leader Joseph Broussard. She was raised in a Methodist household. Beyoncé attended St. Mary's Elementary School in Fredericksburg, Texas, where she enrolled in dance classes. Her singing talent was discovered when dance instructor Darlette Johnson began humming a song and she finished it, able to hit the high-pitched notes. Beyoncé's interest in music and performing continued after winning a school talent show at age seven, singing John Lennon's "Imagine" to beat 15/16-year-olds. In fall of 1990, Beyoncé enrolled in Parker Elementary School, a music magnet school in Houston, where she would perform with the school's choir. She also attended the High School for the Performing and Visual Arts and later Alief Elsik High School. Beyoncé was also a member of the choir at St. John's United Methodist Church as a soloist for two years. At age eight, Beyoncé and childhood friend Kelly Rowland met LaTavia Roberson while in an audition for an all-girl entertainment group. They were placed into a group with three other girls as Girl's Tyme, and rapped and danced on the talent show circuit in Houston. After seeing the group, R&B producer Arne Frager brought them to his Northern California studio and placed them in Star Search, the largest talent show on national TV at the time. Girl's Tyme failed to win, and Beyoncé later said the song they performed was not good. In 1995 Beyoncé's father resigned from his job to manage the group. The move reduced Beyoncé's family's income by half, and her parents were forced to move into separated apartments. Mathew cut the original line-up to four and the group continued performing as an opening act for other established R&B girl groups. The girls auditioned before record labels and were finally signed to Elektra Records, moving to Atlanta Records briefly to work on their first recording, only to be cut by the company. This put further strain on the family, and Beyoncé's parents separated. On October 5, 1995, Dwayne Wiggins's Grass Roots Entertainment signed the group. In 1996, the girls began recording their debut album under an agreement with Sony Music, the Knowles family reunited, and shortly after, the group got a contract with Columbia Records.

The group changed their name to Destiny's Child in 1996, based upon a passage in the Book of Isaiah. In 1997, Destiny's Child released their major label debut song "Killing Time" on the soundtrack to the 1997 film, Men in Black. The following year, the group released their self-titled debut album, scoring their first major hit "No, No, No". The album established the group as a viable act in the music industry, with moderate sales and winning the group three Soul Train Lady of Soul Awards for Best R&B/Soul Album of the Year, Best R&B/Soul or Rap New Artist, and Best R&B/Soul Single for "No, No, No". The group released their multi-platinum second album The Writing's on the Wall in 1999. The record features some of the group's most widely known songs such as "Bills, Bills, Bills", the group's first number-one single, "Jumpin' Jumpin'" and "Say My Name", which became their most successful song at the time, and would remain one of their signature songs. "Say My Name" won the Best R&B Performance by a Duo or Group with Vocals and the Best R&B Song at the 43rd Annual Grammy Awards. The Writing's on the Wall sold more than eight million copies worldwide. During this time, Beyoncé recorded a duet with Marc Nelson, an original member of Boyz II Men, on the song "After All Is Said and Done" for the soundtrack to the 1999 film, The Best Man. LeToya Luckett and Roberson became unhappy with Mathew's managing of the band and eventually were replaced by Farrah Franklin and Michelle Williams. Beyoncé experienced depression following the split with Luckett and Roberson after being publicly blamed by the media, critics, and blogs for its cause. Her long-standing boyfriend left her at this time. The depression was so severe it lasted for a couple of years, during which she occasionally kept herself in her bedroom for days and refused to eat anything. Beyoncé stated that she struggled to speak about her depression because Destiny's Child had just won their first Grammy Award and she feared no one would take her seriously. Beyoncé would later speak of her mother as the person who helped her fight it. Franklin was dismissed, leaving just Beyoncé, Rowland, and Williams. The remaining band members recorded "Independent Women Part I", which appeared on the soundtrack to the 2000 film, Charlie's Angels. It became their best-charting single, topping the U.S. Billboard Hot 100 chart for eleven consecutive weeks. In early 2001, while Destiny's Child was completing their third album, Beyoncé landed a major role in the MTV made-for-television film, Carmen: A Hip Hopera, starring alongside American actor Mekhi Phifer. Set in Philadelphia, the film is a modern interpretation of the 19th century opera Carmen by French composer Georges Bizet. When the third album Survivor was released in May 2001, Luckett and Roberson filed a lawsuit claiming that the songs were aimed at them. The album debuted at number one on the U.S. Billboard 200, with first-week sales of 663,000 copies sold. The album spawned other number-one hits, "Bootylicious" and the title track, "Survivor", the latter of which earned the group a Grammy Award for Best R&B Performance by a Duo or Group with Vocals. After releasing their holiday album 8 Days of Christmas in October 2001, the group announced a hiatus to further pursue solo careers.

In July 2002, Beyoncé continued her acting career playing Foxxy Cleopatra alongside Mike Myers in the comedy film, Austin Powers in Goldmember, which spent its first weekend atop the US box office and grossed $73 million. Beyoncé released "Work It Out" as the lead single from its soundtrack album which entered the top ten in the UK, Norway, and Belgium. In 2003, Beyoncé starred opposite Cuba Gooding, Jr., in the musical comedy The Fighting Temptations as Lilly, a single mother whom Gooding's character falls in love with. The film received mixed reviews from critics but grossed $30 million in the U.S. Beyoncé released "Fighting Temptation" as the lead single from the film's soundtrack album, with Missy Elliott, MC Lyte, and Free which was also used to promote the film. Another of Beyoncé's contributions to the soundtrack, "Summertime", fared better on the US charts. Beyoncé's first solo recording was a feature on Jay Z's "'03 Bonnie & Clyde" that was released in October 2002, peaking at number four on the U.S. Billboard Hot 100 chart. Her first solo album Dangerously in Love was released on June 24, 2003, after Michelle Williams and Kelly Rowland had released their solo efforts. The album sold 317,000 copies in its first week, debuted atop the Billboard 200, and has since sold 11 million copies worldwide. The album's lead single, "Crazy in Love", featuring Jay Z, became Beyoncé's first number-one single as a solo artist in the US. The single "Baby Boy" also reached number one, and singles, "Me, Myself and I" and "Naughty Girl", both reached the top-five. The album earned Beyoncé a then record-tying five awards at the 46th Annual Grammy Awards; Best Contemporary R&B Album, Best Female R&B Vocal Performance for "Dangerously in Love 2", Best R&B Song and Best Rap/Sung Collaboration for "Crazy in Love", and Best R&B Performance by a Duo or Group with Vocals for "The Closer I Get to You" with Luther Vandross. In November 2003, she embarked on the Dangerously in Love Tour in Europe and later toured alongside Missy Elliott and Alicia Keys for the Verizon Ladies First Tour in North America. On February 1, 2004, Beyoncé performed the American national anthem at Super Bowl XXXVIII, at the Reliant Stadium in Houston, Texas. After the release of Dangerously in Love, Beyoncé had planned to produce a follow-up album using several of the left-over tracks. However, this was put on hold so she could concentrate on recording Destiny Fulfilled, the final studio album by Destiny's Child. Released on November 15, 2004, in the US and peaking at number two on the Billboard 200, Destiny Fulfilled included the singles "Lose My Breath" and "Soldier", which reached the top five on the Billboard Hot 100 chart. Destiny's Child embarked on a worldwide concert tour, Destiny Fulfilled... and Lovin' It and during the last stop of their European tour, in Barcelona on June 11, 2005, Rowland announced that Destiny's Child would disband following the North American leg of the tour. The group released their first compilation album Number 1's on October 25, 2005, in the US and accepted a star on the Hollywood Walk of Fame in March 2006.

Beyoncé's second solo album B'Day was released on September 5, 2006, in the US, to coincide with her twenty-fifth birthday. It sold 541,000 copies in its first week and debuted atop the Billboard 200, becoming Beyoncé's second consecutive number-one album in the United States. The album's lead single "Déjà Vu", featuring Jay Z, reached the top five on the Billboard Hot 100 chart. The second international single "Irreplaceable" was a commercial success worldwide, reaching number one in Australia, Hungary, Ireland, New Zealand and the United States. B'Day also produced three other singles; "Ring the Alarm", "Get Me Bodied", and "Green Light" (released in the United Kingdom only). Her first acting role of 2006 was in the comedy film The Pink Panther starring opposite Steve Martin, grossing $158.8 million at the box office worldwide. Her second film Dreamgirls, the film version of the 1981 Broadway musical loosely based on The Supremes, received acclaim from critics and grossed $154 million internationally. In it, she starred opposite Jennifer Hudson, Jamie Foxx, and Eddie Murphy playing a pop singer based on Diana Ross. To promote the film, Beyoncé released "Listen" as the lead single from the soundtrack album. In April 2007, Beyoncé embarked on The Beyoncé Experience, her first worldwide concert tour, visiting 97 venues and grossed over $24 million.[note 1] Beyoncé conducted pre-concert food donation drives during six major stops in conjunction with her pastor at St. John's and America's Second Harvest. At the same time, B'Day was re-released with five additional songs, including her duet with Shakira "Beautiful Liar". On April 4, 2008, Beyoncé married Jay Z. She publicly revealed their marriage in a video montage at the listening party for her third studio album, I Am... Sasha Fierce, in Manhattan's Sony Club on October 22, 2008. I Am... Sasha Fierce was released on November 18, 2008 in the United States. The album formally introduces Beyoncé's alter ego Sasha Fierce, conceived during the making of her 2003 single "Crazy in Love", selling 482,000 copies in its first week, debuting atop the Billboard 200, and giving Beyoncé her third consecutive number-one album in the US. The album featured the number-one song "Single Ladies (Put a Ring on It)" and the top-five songs "If I Were a Boy" and "Halo". Achieving the accomplishment of becoming her longest-running Hot 100 single in her career, "Halo"'s success in the US helped Beyoncé attain more top-ten singles on the list than any other woman during the 2000s. It also included the successful "Sweet Dreams", and singles "Diva", "Ego", "Broken-Hearted Girl" and "Video Phone". The music video for "Single Ladies" has been parodied and imitated around the world, spawning the "first major dance craze" of the Internet age according to the Toronto Star. The video has won several awards, including Best Video at the 2009 MTV Europe Music Awards, the 2009 Scottish MOBO Awards, and the 2009 BET Awards. At the 2009 MTV Video Music Awards, the video was nominated for nine awards, ultimately winning three including Video of the Year. Its failure to win the Best Female Video category, which went to American country pop singer Taylor Swift's "You Belong with Me", led to Kanye West interrupting the ceremony and Beyoncé improvising a re-presentation of Swift's award during her own acceptance speech. In March 2009, Beyoncé embarked on the I Am... World Tour, her second headlining worldwide concert tour, consisting of 108 shows, grossing $119.5 million.

Beyoncé further expanded her acting career, starring as blues singer Etta James in the 2008 musical biopic, Cadillac Records. Her performance in the film received praise from critics, and she garnered several nominations for her portrayal of James, including a Satellite Award nomination for Best Supporting Actress, and a NAACP Image Award nomination for Outstanding Supporting Actress. Beyoncé donated her entire salary from the film to Phoenix House, an organization of rehabilitation centers for heroin addicts around the country. On January 20, 2009, Beyoncé performed James' "At Last" at the First Couple's first inaugural ball. Beyoncé starred opposite Ali Larter and Idris Elba in the thriller, Obsessed. She played Sharon Charles, a mother and wife who learns of a woman's obsessive behavior over her husband. Although the film received negative reviews from critics, the movie did well at the US box office, grossing $68 million—$60 million more than Cadillac Records—on a budget of $20 million. The fight scene finale between Sharon and the character played by Ali Larter also won the 2010 MTV Movie Award for Best Fight. At the 52nd Annual Grammy Awards, Beyoncé received ten nominations, including Album of the Year for I Am... Sasha Fierce, Record of the Year for "Halo", and Song of the Year for "Single Ladies (Put a Ring on It)", among others. She tied with Lauryn Hill for most Grammy nominations in a single year by a female artist. In 2010, Beyoncé was featured on Lady Gaga's single "Telephone" and its music video. The song topped the US Pop Songs chart, becoming the sixth number-one for both Beyoncé and Gaga, tying them with Mariah Carey for most number-ones since the Nielsen Top 40 airplay chart launched in 1992. "Telephone" received a Grammy Award nomination for Best Pop Collaboration with Vocals. Beyoncé announced a hiatus from her music career in January 2010, heeding her mother's advice, "to live life, to be inspired by things again". During the break she and her father parted ways as business partners. Beyoncé's musical break lasted nine months and saw her visit multiple European cities, the Great Wall of China, the Egyptian pyramids, Australia, English music festivals and various museums and ballet performances. In 2011, documents obtained by WikiLeaks revealed that Beyoncé was one of many entertainers who performed for the family of Libyan ruler Muammar Gaddafi. Rolling Stone reported that the music industry was urging them to return the money they earned for the concerts; a spokesperson for Beyoncé later confirmed to The Huffington Post that she donated the money to the Clinton Bush Haiti Fund. Later that year she became the first solo female artist to headline the main Pyramid stage at the 2011 Glastonbury Festival in over twenty years, and was named the highest-paid performer in the world per minute.

Her fourth studio album 4 was released on June 28, 2011 in the US. 4 sold 310,000 copies in its first week and debuted atop the Billboard 200 chart, giving Beyoncé her fourth consecutive number-one album in the US. The album was preceded by two of its singles "Run the World (Girls)" and "Best Thing I Never Had", which both attained moderate success. The fourth single "Love on Top" was a commercial success in the US. 4 also produced four other singles; "Party", "Countdown", "I Care" and "End of Time". "Eat, Play, Love", a cover story written by Beyoncé for Essence that detailed her 2010 career break, won her a writing award from the New York Association of Black Journalists. In late 2011, she took the stage at New York's Roseland Ballroom for four nights of special performances: the 4 Intimate Nights with Beyoncé concerts saw the performance of her 4 album to a standing room only. On January 7, 2012, Beyoncé gave birth to her first child, a daughter, Blue Ivy Carter, at Lenox Hill Hospital in New York. Five months later, she performed for four nights at Revel Atlantic City's Ovation Hall to celebrate the resort's opening, her first performances since giving birth to Blue Ivy. In January 2013, Destiny's Child released Love Songs, a compilation album of the romance-themed songs from their previous albums and a newly recorded track, "Nuclear". Beyoncé performed the American national anthem singing along with a pre-recorded track at President Obama's second inauguration in Washington, D.C. The following month, Beyoncé performed at the Super Bowl XLVII halftime show, held at the Mercedes-Benz Superdome in New Orleans. The performance stands as the second most tweeted about moment in history at 268,000 tweets per minute. At the 55th Annual Grammy Awards, Beyoncé won for Best Traditional R&B Performance for "Love on Top". Her feature-length documentary film, Life Is But a Dream, first aired on HBO on February 16, 2013. The film, which she directed and produced herself, featured footage from her childhood, her as a mother and businesswoman, recording, rehearsing for live performances, and her return to the spotlight following Blue Ivy's birth. Its DVD release in November 2013 was accompanied by footage from the Revel Presents: Beyoncé Live concerts and a new song, "God Made You Beautiful". In February 2013, Beyoncé signed a global publishing agreement with Warner/Chappell Music, which would cover her future songwriting and then-upcoming studio album.

Beyoncé embarked on The Mrs. Carter Show World Tour on April 15 in Belgrade, Serbia; the tour included 132 dates that ran through to March 2014. It became the most successful tour of her career and one of the most-successful tours of all time. In May, Beyoncé's cover of Amy Winehouse's "Back to Black" with André 3000 on The Great Gatsby soundtrack was released. She was also honorary chair of the 2013 Met Gala. Beyoncé voiced Queen Tara in the 3D CGI animated film, Epic, released by 20th Century Fox on May 24, and recorded an original song for the film, "Rise Up", co-written with Sia. On December 13, 2013, Beyoncé unexpectedly released her eponymous fifth studio album on the iTunes Store without any prior announcement or promotion. The album debuted atop the Billboard 200 chart, giving Beyoncé her fifth consecutive number-one album in the US. This made her the first woman in the chart's history to have her first five studio albums debut at number one. Beyoncé received critical acclaim and commercial success, selling one million digital copies worldwide in six days; The New York Times noted the album's unconventional, unexpected release as significant. Musically an electro-R&B album, it concerns darker themes previously unexplored in her work, such as "bulimia, postnatal depression [and] the fears and insecurities of marriage and motherhood". The single "Drunk in Love", featuring Jay Z, peaked at number two on the Billboard Hot 100 chart. In April 2014, after much speculation in the weeks before, Beyoncé and Jay Z officially announced their On the Run Tour. It served as the couple's first co-headlining stadium tour together. On August 24, 2014, she received the Video Vanguard Award at the 2014 MTV Video Music Awards. Knowles also took home three competitive awards: Best Video with a Social Message and Best Cinematography for "Pretty Hurts", as well as best collaboration for "Drunk in Love". In November, Forbes reported that Beyoncé was the top-earning woman in music for the second year in a row—earning $115 million in the year, more than double her earnings in 2013. Beyoncé was reissued with new material in three forms: as an extended play, a box set, as well as a full platinum edition. At the 57th Annual Grammy Awards in February 2015, Beyoncé was nominated for six awards, ultimately winning three: Best R&B Performance and Best R&B Song for "Drunk in Love", and Best Surround Sound Album for Beyoncé. She was nominated for Album of the Year but the award was won by Beck for his Morning Phase album. In August, the cover of the September issue of Vogue magazine was unveiled online, Beyoncé as the cover star, becoming the first African-American artist and third African-American woman in general to cover the September issue. She headlined the 2015 Made in America festival in early September and also the Global Citizen Festival later that month. Beyoncé made an uncredited featured appearance on the track "Hymn for the Weekend" by British rock band Coldplay, on their seventh studio album A Head Full of Dreams (2015), which saw release in December. On January 7, 2016, Pepsi announced Beyoncé would perform alongside Coldplay at Super Bowl 50 in February. Knowles has previously performed at four Super Bowl shows throughout her career, serving as the main headliner of the 47th Super Bowl halftime show in 2013.

On February 6, 2016, one day before her performance at the Super Bowl, Beyoncé released a new single exclusively on music streaming service Tidal called "Formation". Beyoncé is believed to have first started a relationship with Jay Z after a collaboration on "'03 Bonnie & Clyde", which appeared on his seventh album The Blueprint 2: The Gift & The Curse (2002). Beyoncé appeared as Jay Z's girlfriend in the music video for the song, which would further fuel speculation of their relationship. On April 4, 2008, Beyoncé and Jay Z were married without publicity. As of April 2014, the couple have sold a combined 300 million records together. The couple are known for their private relationship, although they have appeared to become more relaxed in recent years. Beyoncé suffered a miscarriage in 2010 or 2011, describing it as "the saddest thing" she had ever endured. She returned to the studio and wrote music in order to cope with the loss. In April 2011, Beyoncé and Jay Z traveled to Paris in order to shoot the album cover for her 4, and unexpectedly became pregnant in Paris. In August, the couple attended the 2011 MTV Video Music Awards, at which Beyoncé performed "Love on Top" and started the performance saying "Tonight I want you to stand up on your feet, I want you to feel the love that's growing inside of me". At the end of the performance, she dropped her microphone, unbuttoned her blazer and rubbed her stomach, confirming her pregnancy she had alluded to earlier in the evening. Her appearance helped that year's MTV Video Music Awards become the most-watched broadcast in MTV history, pulling in 12.4 million viewers; the announcement was listed in Guinness World Records for "most tweets per second recorded for a single event" on Twitter, receiving 8,868 tweets per second and "Beyonce pregnant" was the most Googled term the week of August 29, 2011. On January 7, 2012, Beyoncé gave birth to a daughter, Blue Ivy Carter, at Lenox Hill Hospital in New York under heavy security. Two days later, Jay Z released "Glory", a song dedicated to their child, on his website Lifeandtimes.com. The song detailed the couple's pregnancy struggles, including a miscarriage Beyoncé suffered before becoming pregnant with Blue Ivy. Blue Ivy's cries are included at the end of the song, and she was officially credited as "B.I.C." on it. At two days old, she became the youngest person ever to appear on a Billboard chart when "Glory" debuted on the Hot R&B/Hip-Hop Songs chart.

Beyoncé and husband Jay Z are friends with President Barack Obama and First Lady Michelle Obama. She performed "America the Beautiful" at the 2009 presidential inauguration, as well as "At Last" during the first inaugural dance at the Neighborhood Ball two days later. Beyoncé and Jay Z held a fundraiser at the latter's 40/40 Club in Manhattan for Obama's 2012 presidential campaign which raised $4 million. Beyoncé uploaded pictures of her paper ballot on Tumblr, confirming she had voted in support for the Democratic Party and to encourage others to do so. She also performed the American national anthem at his second inauguration, singing along with a pre-recorded track. She publicly endorsed same sex marriage on March 26, 2013, after the Supreme Court debate on California's Proposition 8. In July 2013, Beyoncé and Jay-Z attended a rally in response to the acquittal of George Zimmerman for the shooting of Trayvon Martin. In an interview published by Vogue in April 2013, Beyoncé was asked if she considers herself a feminist, to which she said, "that word can be very extreme... But I guess I am a modern-day feminist. I do believe in equality". She would later align herself more publicly with the movement, sampling "We should all be feminists", a speech delivered by Nigerian author Chimamanda Ngozi Adichie at a TEDxEuston conference in April 2013, in her song "Flawless", released later that year. She has also contributed to the Ban Bossy campaign, which uses television and social media to encourage leadership in girls. In 2015 Beyoncé signed an open letter which the ONE Campaign had been collecting signatures for; the letter was addressed to Angela Merkel and Nkosazana Dlamini-Zuma, urging them to focus on women as they serve as the head of the G7 in Germany and the AU in South Africa respectively, which will start to set the priorities in development funding before a main UN summit in September 2015 that will establish new development goals for the generation. Following the death of Freddie Gray, Beyoncé and Jay-Z, among other notable figures, met with his family. After the imprisonment of protesters of Gray's death, Beyoncé and Jay-Z donated thousands of dollars to bail them out. Forbes magazine began reporting on Beyoncé's earnings in 2008, calculating that the $80 million earned between June 2007 to June 2008, for her music, tour, films and clothing line made her the world's best-paid music personality at the time, above Madonna and Celine Dion. They placed her fourth on the Celebrity 100 list in 2009 and ninth on the "Most Powerful Women in the World" list in 2010. The following year, Forbes placed her eighth on the "Best-Paid Celebrities Under 30" list, having earned $35 million in the past year for her clothing line and endorsement deals. In 2012, Forbes placed Beyoncé at number 16 on the Celebrity 100 list, twelve places lower than three years ago yet still having earned $40 million in the past year for her album 4, clothing line and endorsement deals. In the same year, Beyoncé and Jay Z placed at number one on the "World's Highest-Paid Celebrity Couples", for collectively earning $78 million. The couple made it into the previous year's Guinness World Records as the "highest-earning power couple" for collectively earning $122 million in 2009. For the years 2009 to 2011, Beyoncé earned an average of $70 million per year, and earned $40 million in 2012. In 2013, Beyoncé's endorsements of Pepsi and H&M made her and Jay Z the world's first billion dollar couple in the music industry. That year, Beyoncé was published as the fourth most-powerful celebrity in the Forbes rankings. MTV estimated that by the end of 2014, Beyoncé would become the highest-paid black musician in history; she succeeded to do so in April 2014. In June 2014, Beyoncé ranked at #1 on the Forbes Celebrity 100 list, earning an estimated $115 million throughout June 2013 – June 2014. This in turn was the first time she had topped the Celebrity 100 list as well as being her highest yearly earnings to date. As of May 2015, her net worth is estimated to be $250 million.

Beyoncé's vocal range spans four octaves. Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music". While another critic says she is a "Vocal acrobat, being able to sing long and complex melismas and vocal runs effortlessly, and in key. Her vocal abilities mean she is identified as the centerpiece of Destiny's Child. The Daily Mail calls Beyoncé's voice "versatile", capable of exploring power ballads, soul, rock belting, operatic flourishes, and hip hop. Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting". Rosen notes that the hip hop era highly influenced Beyoncé's strange rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars." Beyoncé's music is generally R&B, but she also incorporates pop, soul and funk into her songs. 4 demonstrated Beyoncé's exploration of 90s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyoncé recorded several Spanish songs for Irreemplazable (re-recordings of songs from B'Day for a Spanish-language audience), and the re-release of B'Day. To record these, Beyoncé was coached phonetically by American record producer Rudy Perez. She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts. Her early songs were personally driven and female-empowerment themed compositions like "Independent Women" and "Survivor", but after the start of her relationship with Jay Z she transitioned to more man-tending anthems such as "Cater 2 U". Beyoncé has also received co-producing credits for most of the records in which she has been involved, especially during her solo efforts. However, she does not formulate beats herself, but typically comes up with melodies and ideas during production, sharing them with producers. In 2001, she became the first African-American woman and second woman songwriter to win the Pop Songwriter of the Year award at the American Society of Composers, Authors, and Publishers Pop Music Awards. Beyoncé was the third woman to have writing credits on three number one songs ("Irreplaceable", "Grillz" and "Check on It") in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American songwriter Diane Warren at third with nine songwriting credits on number-one singles. (The latter wrote her 9/11-motivated song "I Was Here" for 4.) In May 2011, Billboard magazine listed Beyoncé at number 17 on their list of the "Top 20 Hot 100 Songwriters", for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list.

Beyoncé names Michael Jackson as her major musical influence. Aged five, Beyoncé attended her first ever concert where Jackson performed and she claims to have realised her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyoncé said, "if it wasn't for Michael Jackson, I would never ever have performed." She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did." She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child. Her other musical influences include Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker and Rachelle Ferrell. The feminism and female empowerment themes on Beyoncé's second solo album B'Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyoncé paid homage to Baker by performing "Déjà Vu" at the 2006 Fashion Rocks concert wearing Baker's trademark mini-hula skirt embellished with fake bananas. Beyoncé's third solo album I Am... Sasha Fierce was inspired by Jay Z and especially by Etta James, whose "boldness" inspired Beyoncé to explore other musical genres and styles. Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie with additional influences by The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince. Beyoncé has stated that she is personally inspired by US First Lady Michelle Obama, saying "She proves you can do it all" and she has described Oprah Winfrey as "the definition of inspiration and a strong woman". She has also discussed how Jay Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyoncé has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter "what I find in the work of Jean-Michel Basquiat, I search for in every day in music... he is lyrical and raw". In February 2013, Beyoncé said that Madonna inspired her to take control of her own career. She commented: "I think about Madonna and how she took all of the great things she achieved and started the label and developed other artists. But there are not enough of those women.".

In 2006, Beyoncé introduced her all-female tour band Suga Mama (also the name of a song in B'Day) which includes bassists, drummers, guitarists, horn players, keyboardists and percussionists. Her background singers, The Mamas, consist of Montina Cooper-Donnell, Crystal Collins and Tiffany Moniqué Riddick. They made their debut appearance at the 2006 BET Awards and re-appeared in the music videos for "Irreplaceable" and "Green Light". The band have supported Beyoncé in most subsequent live performances, including her 2007 concert tour The Beyoncé Experience, 2009–2010 I Am... World Tour and 2013–2014 The Mrs. Carter Show World Tour. Beyoncé has received praise for her stage presence and voice during live performances. Jarett Wieselman of the New York Post placed her at number one on her list of the Five Best Singer/Dancers. According to Barbara Ellen of The Guardian Beyoncé is the most in-charge female artist she's seen onstage, while Alice Jones of The Independent wrote she "takes her role as entertainer so seriously she's almost too good." The ex-President of Def Jam L.A. Reid has described Beyoncé as the greatest entertainer alive. Jim Farber of the Daily News and Stephanie Classen of Star Phoenix both praised her strong voice and her stage presence. Described as being "sexy, seductive and provocative" when performing on stage, Beyoncé has said that she originally created the alter ego "Sasha Fierce" to keep that stage persona separate from who she really is. She described Sasha as being "too aggressive, too strong, too sassy [and] too sexy", stating, "I'm not like her in real life at all." Sasha was conceived during the making of "Crazy in Love", and Beyoncé introduced her with the release of her 2008 album I Am... Sasha Fierce. In February 2010, she announced in an interview with Allure magazine that she was comfortable enough with herself to no longer need Sasha Fierce. However, Beyoncé announced in May 2012 that she would bring her back for her Revel Presents: Beyoncé Live shows later that month. Beyoncé has been described as a having a wide-ranging sex appeal, with music journalist Touré writing that since the release of Dangerously in Love, she has "become a crossover sex symbol". Offstage Beyoncé says that while she likes to dress sexily, her onstage dress "is absolutely for the stage." Due to her curves and the term's catchiness, in the 2000s, the media often used the term "Bootylicious" (a portmanteau of the words booty and delicious) to describe Beyoncé, the term popularized by Destiny's Child's single of the same name. In 2006, it was added to the Oxford English Dictionary.

In September 2010, Beyoncé made her runway modelling debut at Tom Ford's Spring/Summer 2011 fashion show. She was named "World's Most Beautiful Woman" by People and the "Hottest Female Singer of All Time" by Complex in 2012. In January 2013, GQ placed her on its cover, featuring her atop its "100 Sexiest Women of the 21st Century" list. VH1 listed her at number 1 on its 100 Sexiest Artists list. Several wax figures of Beyoncé are found at Madame Tussauds Wax Museums in major cities around the world, including New York, Washington, D.C., Amsterdam, Bangkok, Hollywood and Sydney. According to Italian fashion designer Roberto Cavalli, Beyoncé uses different fashion styles to work with her music while performing. Her mother co-wrote a book, published in 2002, titled Destiny's Style an account of how fashion had an impact on the trio's success. The B'Day Anthology Video Album showed many instances of fashion-oriented footage, depicting classic to contemporary wardrobe styles. In 2007, Beyoncé was featured on the cover of the Sports Illustrated Swimsuit Issue, becoming the second African American woman after Tyra Banks, and People magazine recognized Beyoncé as the best-dressed celebrity. The Bey Hive is the name given to Beyoncé's fan base. Fans were previously titled "The Beyontourage", (a portmanteau of Beyoncé and entourage). The name Bey Hive derives from the word beehive, purposely misspelled to resemble her first name, and was penned by fans after petitions on the online social networking service Twitter and online news reports during competitions. In 2006, the animal rights organization People for the Ethical Treatment of Animals (PETA), criticized Beyoncé for wearing and using fur in her clothing line House of Deréon. In 2011, she appeared on the cover of French fashion magazine L'Officiel, in blackface and tribal makeup that drew criticism from the media. A statement released from a spokesperson for the magazine said that Beyoncé's look was "far from the glamorous Sasha Fierce" and that it was "a return to her African roots". Beyoncé's lighter skin color and costuming has drawn criticism from some in the African-American community. Emmett Price, a professor of music at Northeastern University, wrote in 2007, that he thinks race plays a role in many of these criticisms, saying white celebrities who dress similarly do not attract as many comments. In 2008, L'Oréal was accused of whitening her skin in their Feria hair color advertisements, responding that "it is categorically untrue", and in 2013, Beyoncé herself criticized H&M for their proposed "retouching" of promotional images of her, and according to Vogue requested that only "natural pictures be used".

In The New Yorker music critic Jody Rosen described Beyoncé as "the most important and compelling popular musician of the twenty-first century..... the result, the logical end point, of a century-plus of pop." When The Guardian named her Artist of the Decade, Llewyn-Smith wrote, "Why Beyoncé? [...] Because she made not one but two of the decade's greatest singles, with Crazy in Love and Single Ladies (Put a Ring on It), not to mention her hits with Destiny's Child; and this was the decade when singles – particularly R&B singles – regained their status as pop's favourite medium. [...] [She] and not any superannuated rock star was arguably the greatest live performer of the past 10 years." In 2013, Beyoncé made the Time 100 list, Baz Luhrmann writing "no one has that voice, no one moves the way she moves, no one can hold an audience the way she does... When Beyoncé does an album, when Beyoncé sings a song, when Beyoncé does anything, it's an event, and it's broadly influential. Right now, she is the heir-apparent diva of the USA — the reigning national voice." In 2014, Beyoncé was listed again on the Time 100 and also featured on the cover of the issue. Beyoncé's work has influenced numerous artists including Adele, Ariana Grande, Lady Gaga, Bridgit Mendler, Rihanna, Kelly Rowland, Sam Smith, Meghan Trainor, Nicole Scherzinger, Rita Ora, Zendaya, Cheryl Cole, JoJo, Alexis Jordan, Jessica Sanchez, and Azealia Banks. American indie rock band White Rabbits also cited her an inspiration for their third album Milk Famous (2012), friend Gwyneth Paltrow studied Beyoncé at her live concerts while learning to become a musical performer for the 2010 film Country Strong. Nicki Minaj has stated that seeing Beyoncé's Pepsi commercial influenced her decision to appear in the company's 2012 global campaign. Her debut single, "Crazy in Love" was named VH1's "Greatest Song of the 2000s", NME's "Best Track of the 00s" and "Pop Song of the Century", considered by Rolling Stone to be one of the 500 greatest songs of all time, earned two Grammy Awards and is one of the best-selling singles of all time at around 8 million copies. The music video for "Single Ladies (Put a Ring on It)", which achieved fame for its intricate choreography and its deployment of jazz hands, was credited by the Toronto Star as having started the "first major dance craze of both the new millennium and the Internet", triggering a number of parodies of the dance choreography and a legion of amateur imitators on YouTube. In 2013, Drake released a single titled "Girls Love Beyoncé", which featured an interpolation from Destiny Child's "Say My Name" and discussed his relationship with women. In January 2012, research scientist Bryan Lessard named Scaptia beyonceae, a species of horse fly found in Northern Queensland, Australia after Beyoncé due to the fly's unique golden hairs on its abdomen. In July 2014, a Beyoncé exhibit was introduced into the "Legends of Rock" section of the Rock and Roll Hall of Fame. The black leotard from the "Single Ladies" video and her outfit from the Super Bowl half time performance are among several pieces housed at the museum.

Beyoncé has received numerous awards. As a solo artist she has sold over 15 million albums in the US, and over 118 million records worldwide (a further 60 million additionally with Destiny's Child), making her one of the best-selling music artists of all time. The Recording Industry Association of America (RIAA) listed Beyoncé as the top certified artist of the 2000s, with a total of 64 certifications. Her songs "Crazy in Love", "Single Ladies (Put a Ring on It)", "Halo", and "Irreplaceable" are some of the best-selling singles of all time worldwide. In 2009, The Observer named her the Artist of the Decade and Billboard named her the Top Female Artist and Top Radio Songs Artist of the Decade. In 2010, Billboard named her in their "Top 50 R&B/Hip-Hop Artists of the Past 25 Years" list at number 15. In 2012 VH1 ranked her third on their list of the "100 Greatest Women in Music". Beyoncé was the first female artist to be honored with the International Artist Award at the American Music Awards. She has also received the Legend Award at the 2008 World Music Awards and the Billboard Millennium Award at the 2011 Billboard Music Awards. Beyoncé has won 20 Grammy Awards, both as a solo artist and member of Destiny's Child, making her the second most honored female artist by the Grammys, behind Alison Krauss and the most nominated woman in Grammy Award history with 52 nominations. "Single Ladies (Put a Ring on It)" won Song of the Year in 2010 while "Say My Name" and "Crazy in Love" had previously won Best R&B Song. Dangerously in Love, B'Day and I Am... Sasha Fierce have all won Best Contemporary R&B Album. Beyoncé set the record for the most Grammy awards won by a female artist in one night in 2010 when she won six awards, breaking the tie she previously held with Alicia Keys, Norah Jones, Alison Krauss, and Amy Winehouse, with Adele equaling this in 2012. Following her role in Dreamgirls she was nominated for Best Original Song for "Listen" and Best Actress at the Golden Globe Awards, and Outstanding Actress in a Motion Picture at the NAACP Image Awards. Beyoncé won two awards at the Broadcast Film Critics Association Awards 2006; Best Song for "Listen" and Best Original Soundtrack for Dreamgirls: Music from the Motion Picture.

Beyoncé has worked with Pepsi since 2002, and in 2004 appeared in a Gladiator-themed commercial with Britney Spears, Pink, and Enrique Iglesias. In 2012, Beyoncé signed a $50 million deal to endorse Pepsi. The Center for Science in the Public Interest (CSPINET) wrote Beyoncé an open letter asking her to reconsider the deal because of the unhealthiness of the product and to donate the proceeds to a medical organisation. Nevertheless, NetBase found that Beyoncé's campaign was the most talked about endorsement in April 2013, with a 70 per cent positive audience response to the commercial and print ads. Beyoncé has worked with Tommy Hilfiger for the fragrances True Star (singing a cover version of "Wishing on a Star") and True Star Gold; she also promoted Emporio Armani's Diamonds fragrance in 2007. Beyoncé launched her first official fragrance, Heat in 2010. The commercial, which featured the 1956 song "Fever", was shown after the water shed in the United Kingdom as it begins with an image of Beyoncé appearing to lie naked in a room. In February 2011, Beyoncé launched her second fragrance, Heat Rush. Beyoncé's third fragrance, Pulse, was launched in September 2011. In 2013, The Mrs. Carter Show Limited Edition version of Heat was released. The six editions of Heat are the world's best-selling celebrity fragrance line, with sales of over $400 million. The release of a video-game Starpower: Beyoncé was cancelled after Beyoncé pulled out of a $100 million with GateFive who alleged the cancellation meant the sacking of 70 staff and millions of pounds lost in development. It was settled out of court by her lawyers in June 2013 who said that they had cancelled because GateFive had lost its financial backers. Beyoncé also has had deals with American Express, Nintendo DS and L'Oréal since the age of 18. In October 2014, it was announced that Beyoncé with her management company Parkwood Entertainment would be partnering with London-based fashion retailer Topshop, in a new 50/50 split subsidiary business named Parkwood Topshop Athletic Ltd. The new division was created for Topshop to break into the activewear market, with an athletic, street wear brand being produced. "Creating a partnership with Beyoncé, one of the most hard-working and talented people in the world, who spends many hours of her life dancing, rehearsing and training is a unique opportunity to develop this category" stated Sir Philip Green on the partnership. The company and collection is set to launch and hit stores in the fall of 2015.

On March 30, 2015, it was announced that Beyoncé is a co-owner, with various other music artists, in the music streaming service Tidal. The service specialises in lossless audio and high definition music videos. Beyoncé's husband Jay Z acquired the parent company of Tidal, Aspiro, in the first quarter of 2015. Including Beyoncé and Jay-Z, sixteen artist stakeholders (such as Kanye West, Rihanna, Madonna, Chris Martin, Nicki Minaj and more) co-own Tidal, with the majority owning a 3% equity stake. The idea of having an all artist owned streaming service was created by those involved to adapt to the increased demand for streaming within the current music industry, and to rival other streaming services such as Spotify, which have been criticised for their low payout of royalties. "The challenge is to get everyone to respect music again, to recognize its value", stated Jay-Z on the release of Tidal. Beyoncé and her mother introduced House of Deréon, a contemporary women's fashion line, in 2005. The concept is inspired by three generations of women in their family, the name paying tribute to Beyoncé's grandmother, Agnèz Deréon, a respected seamstress. According to Tina, the overall style of the line best reflects her and Beyoncé's taste and style. Beyoncé and her mother founded their family's company Beyond Productions, which provides the licensing and brand management for House of Deréon, and its junior collection, Deréon. House of Deréon pieces were exhibited in Destiny's Child's shows and tours, during their Destiny Fulfilled era. The collection features sportswear, denim offerings with fur, outerwear and accessories that include handbags and footwear, and are available at department and specialty stores across the US and Canada. In 2005, Beyoncé teamed up with House of Brands, a shoe company, to produce a range of footwear for House of Deréon. In January 2008, Starwave Mobile launched Beyoncé Fashion Diva, a "high-style" mobile game with a social networking component, featuring the House of Deréon collection. In July 2009, Beyoncé and her mother launched a new junior apparel label, Sasha Fierce for Deréon, for back-to-school selling. The collection included sportswear, outerwear, handbags, footwear, eyewear, lingerie and jewelry. It was available at department stores including Macy's and Dillard's, and specialty stores Jimmy Jazz and Against All Odds. On May 27, 2010, Beyoncé teamed up with clothing store C&A to launch Deréon by Beyoncé at their stores in Brazil. The collection included tailored blazers with padded shoulders, little black dresses, embroidered tops and shirts and bandage dresses.

In October 2014, Beyoncé signed a deal to launch an activewear line of clothing with British fashion retailer Topshop. The 50-50 venture is called Parkwood Topshop Athletic Ltd and is scheduled to launch its first dance, fitness and sports ranges in autumn 2015. The line will launch in April 2016. After Hurricane Katrina in 2005, Beyoncé and Rowland founded the Survivor Foundation to provide transitional housing for victims in the Houston area, to which Beyoncé contributed an initial $250,000. The foundation has since expanded to work with other charities in the city, and also provided relief following Hurricane Ike three years later. Beyoncé participated in George Clooney and Wyclef Jean's Hope for Haiti Now: A Global Benefit for Earthquake Relief telethon and was named the official face of the limited edition CFDA "Fashion For Haiti" T-shirt, made by Theory which raised a total of $1 million. On March 5, 2010, Beyoncé and her mother Tina opened the Beyoncé Cosmetology Center at the Brooklyn Phoenix House, offering a seven-month cosmetology training course for men and women. In April 2011, Beyoncé joined forces with US First Lady Michelle Obama and the National Association of Broadcasters Education Foundation, to help boost the latter's campaign against child obesity by reworking her single "Get Me Bodied". Following the death of Osama bin Laden, Beyoncé released her cover of the Lee Greenwood song "God Bless the USA", as a charity single to help raise funds for the New York Police and Fire Widows' and Children's Benefit Fund. In December, Beyoncé along with a variety of other celebrities teamed up and produced a video campaign for "Demand A Plan", a bipartisan effort by a group of 950 US mayors and others designed to influence the federal government into rethinking its gun control laws, following the Sandy Hook Elementary School shooting. Beyoncé became an ambassador for the 2012 World Humanitarian Day campaign donating her song "I Was Here" and its music video, shot in the UN, to the campaign. In 2013, it was announced that Beyoncé would work with Salma Hayek and Frida Giannini on a Gucci "Chime for Change" campaign that aims to spread female empowerment. The campaign, which aired on February 28, was set to her new music. A concert for the cause took place on June 1, 2013 in London and included other acts like Ellie Goulding, Florence and the Machine, and Rita Ora. In advance of the concert, she appeared in a campaign video released on 15 May 2013, where she, along with Cameron Diaz, John Legend and Kylie Minogue, described inspiration from their mothers, while a number of other artists celebrated personal inspiration from other women, leading to a call for submission of photos of women of viewers' inspiration from which a selection was shown at the concert. Beyoncé said about her mother Tina Knowles that her gift was "finding the best qualities in every human being." With help of the crowdfunding platform Catapult, visitors of the concert could choose between several projects promoting education of women and girls. Beyoncé is also taking part in "Miss a Meal", a food-donation campaign, and supporting Goodwill charity through online charity auctions at Charitybuzz that support job creation throughout Europe and the U.S.

Frédéric François Chopin (/ˈʃoʊpæn/; French pronunciation: ​[fʁe.de.ʁik fʁɑ̃.swa ʃɔ.pɛ̃]; 22 February or 1 March 1810 – 17 October 1849), born Fryderyk Franciszek Chopin,[n 1] was a Polish and French (by citizenship and birth of father) composer and a virtuoso pianist of the Romantic era, who wrote primarily for the solo piano. He gained and has maintained renown worldwide as one of the leading musicians of his era, whose "poetic genius was based on a professional technique that was without equal in his generation." Chopin was born in what was then the Duchy of Warsaw, and grew up in Warsaw, which after 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his earlier works in Warsaw before leaving Poland at the age of 20, less than a month before the outbreak of the November 1830 Uprising. At the age of 21 he settled in Paris. Thereafter, during the last 18 years of his life, he gave only some 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and teaching piano, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many of his musical contemporaries, including Robert Schumann. In 1835 he obtained French citizenship. After a failed engagement to Maria Wodzińska, from 1837 to 1847 he maintained an often troubled relationship with the French writer George Sand. A brief and unhappy visit to Majorca with Sand in 1838–39 was one of his most productive periods of composition. In his last years, he was financially supported by his admirer Jane Stirling, who also arranged for him to visit Scotland in 1848. Through most of his life, Chopin suffered from poor health. He died in Paris in 1849, probably of tuberculosis. All of Chopin's compositions include the piano. Most are for solo piano, though he also wrote two piano concertos, a few chamber pieces, and some songs to Polish lyrics. His keyboard style is highly individual and often technically demanding; his own performances were noted for their nuance and sensitivity. Chopin invented the concept of instrumental ballade. His major piano works also include mazurkas, waltzes, nocturnes, polonaises, études, impromptus, scherzos, preludes and sonatas, some published only after his death. Influences on his compositional style include Polish folk music, the classical tradition of J. S. Bach, Mozart and Schubert, the music of all of whom he admired, as well as the Paris salons where he was a frequent guest. His innovations in style, musical form, and harmony, and his association of music with nationalism, were influential throughout and after the late Romantic period.

In his native Poland, in France, where he composed most of his works, and beyond, Chopin's music, his status as one of music's earliest superstars, his association (if only indirect) with political insurrection, his love life and his early death have made him, in the public consciousness, a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying degrees of historical accuracy. Fryderyk Chopin was born in Żelazowa Wola, 46 kilometres (29 miles) west of Warsaw, in what was then the Duchy of Warsaw, a Polish state established by Napoleon. The parish baptismal record gives his birthday as 22 February 1810, and cites his given names in the Latin form Fridericus Franciscus (in Polish, he was Fryderyk Franciszek). However, the composer and his family used the birthdate 1 March,[n 2] which is now generally accepted as the correct date. Fryderyk's father, Nicolas Chopin, was a Frenchman from Lorraine who had emigrated to Poland in 1787 at the age of sixteen. Nicolas tutored children of the Polish aristocracy, and in 1806 married Justyna Krzyżanowska, a poor relative of the Skarbeks, one of the families for whom he worked. Fryderyk was baptized on Easter Sunday, 23 April 1810, in the same church where his parents had married, in Brochów. His eighteen-year-old godfather, for whom he was named, was Fryderyk Skarbek, a pupil of Nicolas Chopin. Fryderyk was the couple's second child and only son; he had an elder sister, Ludwika (1807–55), and two younger sisters, Izabela (1811–81) and Emilia (1812–27). Nicolas was devoted to his adopted homeland, and insisted on the use of the Polish language in the household. In October 1810, six months after Fryderyk's birth, the family moved to Warsaw, where his father acquired a post teaching French at the Warsaw Lyceum, then housed in the Saxon Palace. Fryderyk lived with his family in the Palace grounds. The father played the flute and violin; the mother played the piano and gave lessons to boys in the boarding house that the Chopins kept. Chopin was of slight build, and even in early childhood was prone to illnesses.

Fryderyk may have had some piano instruction from his mother, but his first professional music tutor, from 1816 to 1821, was the Czech pianist Wojciech Żywny. His elder sister Ludwika also took lessons from Żywny, and occasionally played duets with her brother. It quickly became apparent that he was a child prodigy. By the age of seven Fryderyk had begun giving public concerts, and in 1817 he composed two polonaises, in G minor and B-flat major. His next work, a polonaise in A-flat major of 1821, dedicated to Żywny, is his earliest surviving musical manuscript. In 1817 the Saxon Palace was requisitioned by Warsaw's Russian governor for military use, and the Warsaw Lyceum was reestablished in the Kazimierz Palace (today the rectorate of Warsaw University). Fryderyk and his family moved to a building, which still survives, adjacent to the Kazimierz Palace. During this period, Fryderyk was sometimes invited to the Belweder Palace as playmate to the son of the ruler of Russian Poland, Grand Duke Constantine; he played the piano for the Duke and composed a march for him. Julian Ursyn Niemcewicz, in his dramatic eclogue, "Nasze Przebiegi" ("Our Discourses", 1818), attested to "little Chopin's" popularity. From September 1823 to 1826 Chopin attended the Warsaw Lyceum, where he received organ lessons from the Czech musician Wilhelm Würfel during his first year. In the autumn of 1826 he began a three-year course under the Silesian composer Józef Elsner at the Warsaw Conservatory, studying music theory, figured bass and composition.[n 3] Throughout this period he continued to compose and to give recitals in concerts and salons in Warsaw. He was engaged by the inventors of a mechanical organ, the "eolomelodicon", and on this instrument in May 1825 he performed his own improvisation and part of a concerto by Moscheles. The success of this concert led to an invitation to give a similar recital on the instrument before Tsar Alexander I, who was visiting Warsaw; the Tsar presented him with a diamond ring. At a subsequent eolomelodicon concert on 10 June 1825, Chopin performed his Rondo Op. 1. This was the first of his works to be commercially published and earned him his first mention in the foreign press, when the Leipzig Allgemeine Musikalische Zeitung praised his "wealth of musical ideas".

During 1824–28 Chopin spent his vacations away from Warsaw, at a number of locales.[n 4] In 1824 and 1825, at Szafarnia, he was a guest of Dominik Dziewanowski, the father of a schoolmate. Here for the first time he encountered Polish rural folk music. His letters home from Szafarnia (to which he gave the title "The Szafarnia Courier"), written in a very modern and lively Polish, amused his family with their spoofing of the Warsaw newspapers and demonstrated the youngster's literary gift. In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7] Four boarders at his parents' apartments became Chopin's intimates: Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana; the latter two would become part of his Paris milieu. He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight." His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius." In September 1828 Chopin, while still a student, visited Berlin with a family friend, zoologist Feliks Jarocki, enjoying operas directed by Gaspare Spontini and attending concerts by Carl Friedrich Zelter, Felix Mendelssohn and other celebrities. On an 1829 return trip to Berlin, he was a guest of Prince Antoni Radziwiłł, governor of the Grand Duchy of Posen—himself an accomplished composer and aspiring cellist. For the prince and his pianist daughter Wanda, he composed his Introduction and Polonaise brillante in C major for cello and piano, Op. 3.

Back in Warsaw that year, Chopin heard Niccolò Paganini play the violin, and composed a set of variations, Souvenir de Paganini. It may have been this experience which encouraged him to commence writing his first Études, (1829–32), exploring the capacities of his own instrument. On 11 August, three weeks after completing his studies at the Warsaw Conservatory, he made his debut in Vienna. He gave two piano concerts and received many favourable reviews—in addition to some commenting (in Chopin's own words) that he was "too delicate for those accustomed to the piano-bashing of local artists". In one of these concerts, he premiered his Variations on Là ci darem la mano, Op. 2 (variations on an aria from Mozart's opera Don Giovanni) for piano and orchestra. He returned to Warsaw in September 1829, where he premiered his Piano Concerto No. 2 in F minor, Op. 21 on 17 March 1830. Chopin's successes as a composer and performer opened the door to western Europe for him, and on 2 November 1830, he set out, in the words of Zdzisław Jachimecki, "into the wide world, with no very clearly defined aim, forever." With Woyciechowski, he headed for Austria, intending to go on to Italy. Later that month, in Warsaw, the November 1830 Uprising broke out, and Woyciechowski returned to Poland to enlist. Chopin, now alone in Vienna, was nostalgic for his homeland, and wrote to a friend, "I curse the moment of my departure." When in September 1831 he learned, while travelling from Vienna to Paris, that the uprising had been crushed, he expressed his anguish in the pages of his private journal: "Oh God! ... You are there, and yet you do not take vengeance!" Jachimecki ascribes to these events the composer's maturing "into an inspired national bard who intuited the past, present and future of his native Poland." Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration. In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport. However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French. Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.

In Paris, Chopin encountered artists and other distinguished figures, and found many opportunities to exercise his talents and achieve celebrity. During his years in Paris he was to become acquainted with, among many others, Hector Berlioz, Franz Liszt, Ferdinand Hiller, Heinrich Heine, Eugène Delacroix, and Alfred de Vigny. Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs. Two Polish friends in Paris were also to play important roles in Chopin's life there. His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist". At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. 2 Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." On 26 February 1832 Chopin gave a debut Paris concert at the Salle Pleyel which drew universal admiration. The critic François-Joseph Fétis wrote in the Revue et gazette musicale: "Here is a young man who ... taking no model, has found, if not a complete renewal of piano music, ... an abundance of original ideas of a kind to be found nowhere else ..." After this concert, Chopin realized that his essentially intimate keyboard technique was not optimal for large concert spaces. Later that year he was introduced to the wealthy Rothschild banking family, whose patronage also opened doors for him to other private salons (social gatherings of the aristocracy and artistic and literary elite). By the end of 1832 Chopin had established himself among the Parisian musical elite, and had earned the respect of his peers such as Hiller, Liszt, and Berlioz. He no longer depended financially upon his father, and in the winter of 1832 he began earning a handsome income from publishing his works and teaching piano to affluent students from all over Europe. This freed him from the strains of public concert-giving, which he disliked.

Chopin seldom performed publicly in Paris. In later years he generally gave a single annual concert at the Salle Pleyel, a venue that seated three hundred. He played more frequently at salons, but preferred playing at his own Paris apartment for small groups of friends. The musicologist Arthur Hedley has observed that "As a pianist Chopin was unique in acquiring a reputation of the highest order on the basis of a minimum of public appearances—few more than thirty in the course of his lifetime." The list of musicians who took part in some of his concerts provides an indication of the richness of Parisian artistic life during this period. Examples include a concert on 23 March 1833, in which Chopin, Liszt and Hiller performed (on pianos) a concerto by J.S. Bach for three keyboards; and, on 3 March 1838, a concert in which Chopin, his pupil Adolphe Gutmann, Charles-Valentin Alkan, and Alkan's teacher Joseph Zimmermann performed Alkan's arrangement, for eight hands, of two movements from Beethoven's 7th symphony. Chopin was also involved in the composition of Liszt's Hexameron; he wrote the sixth (and final) variation on Bellini's theme. Chopin's music soon found success with publishers, and in 1833 he contracted with Maurice Schlesinger, who arranged for it to be published not only in France but, through his family connections, also in Germany and England. In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn. In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them. On his way back to Paris, he met old friends from Warsaw, the Wodzińskis. He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven. This meeting prompted him to stay for two weeks in Dresden, when he had previously intended to return to Paris via Leipzig. The sixteen-year-old girl's portrait of the composer is considered, along with Delacroix's, as among Chopin's best likenesses. In October he finally reached Leipzig, where he met Schumann, Clara Wieck and Felix Mendelssohn, who organised for him a performance of his own oratorio St. Paul, and who considered him "a perfect musician". In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle. Chopin went on to Leipzig, where he presented Schumann with his G minor Ballade. At the end of 1836 he sent Maria an album in which his sister Ludwika had inscribed seven of his songs, and his 1835 Nocturne in C-sharp minor, Op. 27, No. 1. The anodyne thanks he received from Maria proved to be the last letter he was to have from her.

Although it is not known exactly when Chopin first met Liszt after arriving in Paris, on 12 December 1831 he mentioned in a letter to his friend Woyciechowski that "I have met Rossini, Cherubini, Baillot, etc.—also Kalkbrenner. You would not believe how curious I was about Herz, Liszt, Hiller, etc." Liszt was in attendance at Chopin's Parisian debut on 26 February 1832 at the Salle Pleyel, which led him to remark: "The most vigorous applause seemed not to suffice to our enthusiasm in the presence of this talented musician, who revealed a new phase of poetic sentiment combined with such happy innovation in the form of his art." The two became friends, and for many years lived in close proximity in Paris, Chopin at 38 Rue de la Chaussée-d'Antin, and Liszt at the Hôtel de France on the Rue Lafitte, a few blocks away. They performed together on seven occasions between 1833 and 1841. The first, on 2 April 1833, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet. Later joint appearances included a benefit concert for the Benevolent Association of Polish Ladies in Paris. Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on 25 and 26 April 1841. Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship. Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success. Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.

In 1836, at a party hosted by Marie d'Agoult, Chopin met the French author George Sand (born [Amantine] Aurore [Lucile] Dupin). Short (under five feet, or 152 cm), dark, big-eyed and a cigar smoker, she initially repelled Chopin, who remarked, "What an unattractive person la Sand is. Is she really a woman?" However, by early 1837 Maria Wodzińska's mother had made it clear to Chopin in correspondence that a marriage with her daughter was unlikely to proceed. It is thought that she was influenced by his poor health and possibly also by rumours about his associations with women such as d'Agoult and Sand. Chopin finally placed the letters from Maria and her mother in a package on which he wrote, in Polish, "My tragedy". Sand, in a letter to Grzymała of June 1838, admitted strong feelings for the composer and debated whether to abandon a current affair in order to begin a relationship with Chopin; she asked Grzymała to assess Chopin's relationship with Maria Wodzińska, without realising that the affair, at least from Maria's side, was over. In June 1837 Chopin visited London incognito in the company of the piano manufacturer Camille Pleyel where he played at a musical soirée at the house of English piano maker James Broadwood. On his return to Paris, his association with Sand began in earnest, and by the end of June 1838 they had become lovers. Sand, who was six years older than the composer, and who had had a series of lovers, wrote at this time: "I must say I was confused and amazed at the effect this little creature had on me ... I have still not recovered from my astonishment, and if I were a proud person I should be feeling humiliated at having been carried away ..." The two spent a miserable winter on Majorca (8 November 1838 to 13 February 1839), where, together with Sand's two children, they had journeyed in the hope of improving the health of Chopin and that of Sand's 15-year-old son Maurice, and also to escape the threats of Sand's former lover Félicien Mallefille. After discovering that the couple were not married, the deeply traditional Catholic people of Majorca became inhospitable, making accommodation difficult to find. This compelled the group to take lodgings in a former Carthusian monastery in Valldemossa, which gave little shelter from the cold winter weather.

On 3 December, Chopin complained about his bad health and the incompetence of the doctors in Majorca: "Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die." He also had problems having his Pleyel piano sent to him. It finally arrived from Paris in December. Chopin wrote to Pleyel in January 1839: "I am sending you my Preludes [(Op. 28)]. I finished them on your little piano, which arrived in the best possible condition in spite of the sea, the bad weather and the Palma customs." Chopin was also able to undertake work on his Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39. Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to Sand's rented accommodation at the rue Pigalle. He frequently visited Sand in the evenings, but both retained some independence. In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings. At the funeral of the tenor Adolphe Nourrit in Paris in 1839, Chopin made a rare appearance at the organ, playing a transcription of Franz Schubert's lied Die Gestirne. On 26 July 1840 Chopin and Sand were present at the dress rehearsal of Berlioz's Grande symphonie funèbre et triomphale, composed to commemorate the tenth anniversary of the July Revolution. Chopin was reportedly unimpressed with the composition. During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his Polonaise in A-flat major, Op. 53. Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition. Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:

From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy. Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again. Chopin's output as a composer throughout this period declined in quantity year by year. Whereas in 1841 he had written a dozen works, only six were written in 1842 and six shorter pieces in 1843. In 1844 he wrote only the Op. 58 sonata. 1845 saw the completion of three mazurkas (Op. 59). Although these works were more refined than many of his earlier compositions, Zamoyski opines that "his powers of concentration were failing and his inspiration was beset by anguish, both emotional and intellectual."

Chopin's public popularity as a virtuoso began to wane, as did the number of his pupils, and this, together with the political strife and instability of the time, caused him to struggle financially. In February 1848, with the cellist Auguste Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. Chopin's life was covered in a BBC TV documentary Chopin – The Women Behind The Music (2010), and in a 2010 documentary realised by Angelo Bozzolini and Roberto Prosseda for Italian television. Chopin's life and his relations with George Sand have been fictionalized in numerous films. The 1945 biographical film A Song to Remember earned Cornel Wilde an Academy Award nomination as Best Actor for his portrayal of the composer. Other film treatments have included: La valse de l'adieu (France, 1928) by Henry Roussel, with Pierre Blanchar as Chopin; Impromptu (1991), starring Hugh Grant as Chopin; La note bleue (1991); and Chopin: Desire for Love (2002). Possibly the first venture into fictional treatments of Chopin's life was a fanciful operatic version of some of its events. Chopin was written by Giacomo Orefice and produced in Milan in 1901. All the music is derived from that of Chopin. Chopin has figured extensively in Polish literature, both in serious critical studies of his life and music and in fictional treatments. The earliest manifestation was probably an 1830 sonnet on Chopin by Leon Ulrich. French writers on Chopin (apart from Sand) have included Marcel Proust and André Gide; and he has also featured in works of Gottfried Benn and Boris Pasternak. There are numerous biographies of Chopin in English (see bibliography for some of these). Numerous recordings of Chopin's works are available. On the occasion of the composer's bicentenary, the critics of The New York Times recommended performances by the following contemporary pianists (among many others): Martha Argerich, Vladimir Ashkenazy, Emanuel Ax, Evgeny Kissin, Murray Perahia, Maurizio Pollini and Krystian Zimerman. The Warsaw Chopin Society organizes the Grand prix du disque de F. Chopin for notable Chopin recordings, held every five years. The British Library notes that "Chopin's works have been recorded by all the great pianists of the recording era." The earliest recording was an 1895 performance by Paul Pabst of the Nocturne in E major Op. 62 No. 2. The British Library site makes available a number of historic recordings, including some by Alfred Cortot, Ignaz Friedman, Vladimir Horowitz, Benno Moiseiwitsch, Paderewski, Arthur Rubinstein, Xaver Scharwenka and many others. A select discography of recordings of Chopin works by pianists representing the various pedagogic traditions stemming from Chopin is given by Methuen-Campbell in his work tracing the lineage and character of those traditions.

Chopin's music remains very popular and is regularly performed, recorded and broadcast worldwide. The world's oldest monographic music competition, the International Chopin Piano Competition, founded in 1927, is held every five years in Warsaw. The Fryderyk Chopin Institute of Poland lists on its website over eighty societies world-wide devoted to the composer and his music. The Institute site also lists nearly 1,500 performances of Chopin works on YouTube as of January 2014. Chopin's music was used in the 1909 ballet Chopiniana, choreographed by Michel Fokine and orchestrated by Alexander Glazunov. Sergei Diaghilev commissioned additional orchestrations—from Stravinsky, Anatoly Lyadov, Sergei Taneyev and Nikolai Tcherepnin—for later productions, which used the title Les Sylphides. In April, during the Revolution of 1848 in Paris, he left for London, where he performed at several concerts and at numerous receptions in great houses. This tour was suggested to him by his Scottish pupil Jane Stirling and her elder sister. Stirling also made all the logistical arrangements and provided much of the necessary funding. In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. In late summer he was invited by Jane Stirling to visit Scotland, where he stayed at Calder House near Edinburgh and at Johnstone Castle in Renfrewshire, both owned by members of Stirling's family. She clearly had a notion of going beyond mere friendship, and Chopin was obliged to make it clear to her that this could not be so. He wrote at this time to Grzymała "My Scottish ladies are kind, but such bores", and responding to a rumour about his involvement, answered that he was "closer to the grave than the nuptial bed." He gave a public concert in Glasgow on 27 September, and another in Edinburgh, at the Hopetoun Rooms on Queen Street (now Erskine House) on 4 October. In late October 1848, while staying at 10 Warriston Crescent in Edinburgh with the Polish physician Adam Łyszczyński, he wrote out his last will and testament—"a kind of disposition to be made of my stuff in the future, if I should drop dead somewhere", he wrote to Grzymała.

Chopin made his last public appearance on a concert platform at London's Guildhall on 16 November 1848, when, in a final patriotic gesture, he played for the benefit of Polish refugees. By this time he was very seriously ill, weighing under 99 pounds (i.e. less than 45 kg), and his doctors were aware that his sickness was at a terminal stage. At the end of November, Chopin returned to Paris. He passed the winter in unremitting illness, but gave occasional lessons and was visited by friends, including Delacroix and Franchomme. Occasionally he played, or accompanied the singing of Delfina Potocka, for his friends. During the summer of 1849, his friends found him an apartment in Chaillot, out of the centre of the city, for which the rent was secretly subsidised by an admirer, Princess Obreskoff. Here in June 1849 he was visited by Jenny Lind. With his health further deteriorating, Chopin desired to have a family member with him. In June 1849 his sister Ludwika came to Paris with her husband and daughter, and in September, supported by a loan from Jane Stirling, he took an apartment at Place Vendôme 12. After 15 October, when his condition took a marked turn for the worse, only a handful of his closest friends remained with him, although Viardot remarked sardonically that "all the grand Parisian ladies considered it de rigueur to faint in his room." Some of his friends provided music at his request; among them, Potocka sang and Franchomme played the cello. Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross. He also bequeathed his unfinished notes on a piano tuition method, Projet de méthode, to Alkan for completion. On 17 October, after midnight, the physician leaned over him and asked whether he was suffering greatly. "No longer", he replied. He died a few minutes before two o'clock in the morning. Those present at the deathbed appear to have included his sister Ludwika, Princess Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand. Chopin's disease and the cause of his death have since been a matter of discussion. His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease. Other possibilities have been advanced including cystic fibrosis, cirrhosis and alpha 1-antitrypsin deficiency. However, the attribution of tuberculosis as principal cause of death has not been disproved. Permission for DNA testing, which could put the matter to rest, has been denied by the Polish government.

The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October. Entrance was restricted to ticket holders as many people were expected to attend. Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded. Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No. 4 in E minor and No. 6 in B minor were also played. The organist at the funeral was Louis Lefébure-Wély. The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the Funeral March from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation. Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them. Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music. Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. He was also influenced by Hummel's development of virtuoso, yet Mozartian, piano technique. He cited Bach and Mozart as the two most important composers in shaping his musical outlook. Chopin's early works are in the style of the "brilliant" keyboard pieces of his era as exemplified by the works of Ignaz Moscheles, Friedrich Kalkbrenner, and others. Less direct in the earlier period are the influences of Polish folk music and of Italian opera. Much of what became his typical style of ornamentation (for example, his fioriture) is taken from singing. His melodic lines were increasingly reminiscent of the modes and features of the music of his native country, such as drones.

Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. He was the first to write ballades and scherzi as individual concert pieces. He essentially established a new genre with his own set of free-standing preludes (Op. 28, published 1839). He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837). Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents. Some of Chopin's well-known pieces have acquired descriptive titles, such as the Revolutionary Étude (Op. 10, No. 12), and the Minute Waltz (Op. 64, No. 1). However, with the exception of his Funeral March, the composer never named an instrumental work beyond genre and number, leaving all potential extramusical associations to the listener; the names by which many of his pieces are known were invented by others. There is no evidence to suggest that the Revolutionary Étude was written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The Funeral March, the third movement of his Sonata No. 2 (Op. 35), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it. The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.

Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska. Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. His works soon began to appear in popular 19th-century piano anthologies. The first collected edition was by Breitkopf & Härtel (1878–1902). Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources. Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ... formally longwinded and extremely conservative". After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit. J. Barrie Jones suggests that "amongst the works that Chopin intended for concert use, the four ballades and four scherzos stand supreme", and adds that "the Barcarolle Op. 60 stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody." Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last comes." Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda. The mazurkas often show more folk features than many of his other works, sometimes including modal scales and harmonies and the use of drone basses. However, some also show unusual sophistication, for example Op. 63 No. 3, which includes a canon at one beat's distance, a great rarity in music.

Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Zywny and Elsner). As with the traditional polonaise, Chopin's works are in triple time and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique. The 21 nocturnes are more structured, and of greater emotional depth, than those of Field (whom Chopin met in 1833). Many of the Chopin nocturnes have middle sections marked by agitated expression (and often making very difficult demands on the performer) which heightens their dramatic character. Chopin's études are largely in straightforward ternary form. He used them to teach his own technique of piano playing—for instance playing double thirds (Op. 25, No. 6), playing in octaves (Op. 25, No. 10), and playing repeated notes (Op. 10, No. 7). The preludes, many of which are very brief (some consisting of simple statements and developments of a single theme or figure), were described by Schumann as "the beginnings of studies". Inspired by J.S. Bach's The Well-Tempered Clavier, Chopin's preludes move up the circle of fifths (rather than Bach's chromatic scale sequence) to create a prelude in each major and minor tonality. The preludes were perhaps not intended to be played as a group, and may even have been used by him and later pianists as generic preludes to others of his pieces, or even to music by other composers, as Kenneth Hamilton suggests: he has noted a recording by Ferruccio Busoni of 1922, in which the Prelude Op. 28 No. 7 is followed by the Étude Op. 10 No. 5. The two mature piano sonatas (No. 2, Op. 35, written in 1839 and No. 3, Op. 58, written in 1844) are in four movements. In Op. 35, Chopin was able to combine within a formal large musical structure many elements of his virtuosic piano technique—"a kind of dialogue between the public pianism of the brilliant style and the German sonata principle". The last movement, a brief (75-bar) perpetuum mobile in which the hands play in unmodified octave unison throughout, was found shocking and unmusical by contemporaries, including Schumann. The Op. 58 sonata is closer to the German tradition, including many passages of complex counterpoint, "worthy of Brahms" according to the music historians Kornel Michałowski and Jim Samson.

Chopin's harmonic innovations may have arisen partly from his keyboard improvisation technique. Temperley says that in his works "novel harmonic effects frequently result from the combination of ordinary appoggiaturas or passing notes with melodic figures of accompaniment", and cadences are delayed by the use of chords outside the home key (neapolitan sixths and diminished sevenths), or by sudden shifts to remote keys. Chord progressions sometimes anticipate the shifting tonality of later composers such as Claude Debussy, as does Chopin's use of modal harmony. In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.

Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers." Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice." Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. He took infinite pains to teach his pupils this legato, cantabile style of playing. His most severe criticism was 'He—or she—does not know how to join two notes together.' He also demanded the strictest adherence to rhythm. He hated all lingering and dragging, misplaced rubatos, as well as exaggerated ritardandos ... and it is precisely in this respect that people make such terrible errors in playing his works." With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."

Some modern commentators have argued against exaggerating Chopin's primacy as a "nationalist" or "patriotic" composer. George Golos refers to earlier "nationalist" composers in Central Europe, including Poland's Michał Kleofas Ogiński and Franciszek Lessel, who utilised polonaise and mazurka forms. Barbara Milewski suggests that Chopin's experience of Polish music came more from "urbanised" Warsaw versions than from folk music, and that attempts (by Jachimecki and others) to demonstrate genuine folk music in his works are without basis. Richard Taruskin impugns Schumann's attitude toward Chopin's works as patronizing and comments that Chopin "felt his Polish patriotism deeply and sincerely" but consciously modelled his works on the tradition of Bach, Beethoven, Schubert and Field. A reconciliation of these views is suggested by William Atwood: "Undoubtedly [Chopin's] use of traditional musical forms like the polonaise and mazurka roused nationalistic sentiments and a sense of cohesiveness amongst those Poles scattered across Europe and the New World ... While some sought solace in [them], others found them a source of strength in their continuing struggle for freedom. Although Chopin's music undoubtedly came to him intuitively rather than through any conscious patriotic design, it served all the same to symbolize the will of the Polish people ..." Jones comments that "Chopin's unique position as a composer, despite the fact that virtually everything he wrote was for the piano, has rarely been questioned." He also notes that Chopin was fortunate to arrive in Paris in 1831—"the artistic environment, the publishers who were willing to print his music, the wealthy and aristocratic who paid what Chopin asked for their lessons"—and these factors, as well as his musical genius, also fuelled his contemporary and later reputation. While his illness and his love-affairs conform to some of the stereotypes of romanticism, the rarity of his public recitals (as opposed to performances at fashionable Paris soirées) led Arthur Hutchings to suggest that "his lack of Byronic flamboyance [and] his aristocratic reclusiveness make him exceptional" among his romantic contemporaries, such as Liszt and Henri Herz. Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.

Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Louis Moreau Gottschalk, Édouard Wolff (1816–1880) and Pierre Zimmermann. Debussy dedicated his own 1915 piano Études to the memory of Chopin; he frequently played Chopin's music during his studies at the Paris Conservatoire, and undertook the editing of Chopin's piano music for the publisher Jacques Durand. The exact nature of relations between Tibet and the Ming dynasty of China (1368–1644) is unclear. Analysis of the relationship is further complicated by modern political conflicts and the application of Westphalian sovereignty to a time when the concept did not exist. Some Mainland Chinese scholars, such as Wang Jiawei and Nyima Gyaincain, assert that the Ming dynasty had unquestioned sovereignty over Tibet, pointing to the Ming court's issuing of various titles to Tibetan leaders, Tibetans' full acceptance of these titles, and a renewal process for successors of these titles that involved traveling to the Ming capital. Scholars within China also argue that Tibet has been an integral part of China since the 13th century and that it was thus a part of the Ming Empire. But most scholars outside China, such as Turrell V. Wylie, Melvin C. Goldstein, and Helmut Hoffman, say that the relationship was one of suzerainty, that Ming titles were only nominal, that Tibet remained an independent region outside Ming control, and that it simply paid tribute until the Jiajing Emperor (1521–1566), who ceased relations with Tibet. Some scholars note that Tibetan leaders during the Ming frequently engaged in civil war and conducted their own foreign diplomacy with neighboring states such as Nepal. Some scholars underscore the commercial aspect of the Ming-Tibetan relationship, noting the Ming dynasty's shortage of horses for warfare and thus the importance of the horse trade with Tibet. Others argue that the significant religious nature of the relationship of the Ming court with Tibetan lamas is underrepresented in modern scholarship. In hopes of reviving the unique relationship of the earlier Mongol leader Kublai Khan (r. 1260–1294) and his spiritual superior Drogön Chögyal Phagpa (1235–1280) of the Sakya school of Tibetan Buddhism, the Yongle Emperor (r. 1402–1424) made a concerted effort to build a secular and religious alliance with Deshin Shekpa (1384–1415), the Karmapa of the Karma Kagyu school. However, the Yongle Emperor's attempts were unsuccessful.

The Ming initiated sporadic armed intervention in Tibet during the 14th century, but did not garrison permanent troops there. At times the Tibetans also used armed resistance against Ming forays. The Wanli Emperor (r. 1572–1620) made attempts to reestablish Sino-Tibetan relations after the Mongol-Tibetan alliance initiated in 1578, which affected the foreign policy of the subsequent Qing dynasty (1644–1912) of China in their support for the Dalai Lama of the Gelug school. By the late 16th century, the Mongols were successful armed protectors of the Gelug Dalai Lama, after increasing their presence in the Amdo region. This culminated in Güshi Khan's (1582–1655) conquest of Tibet from 1637–1642 and the establishment of the Ganden Phodrang regime by the 5th Dalai Lama with his help. Tibet was once a strong power contemporaneous with Tang China (618–907). Until the Tibetan Empire's collapse in the 9th century, it was the Tang's major rival in dominating Inner Asia. The Yarlung rulers of Tibet also signed various peace treaties with the Tang, culminating in a treaty in 821 that fixed the borders between Tibet and China. During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (960–1279). The Song were far more concerned with countering northern enemy states of the Khitan-ruled Liao dynasty (907–1125) and Jurchen-ruled Jin dynasty (1115–1234). In 1207, the Mongol ruler Genghis Khan (r. 1206–1227) conquered and subjugated the ethnic Tangut state of the Western Xia (1038–1227). In the same year, he established diplomatic relations with Tibet by sending envoys there. The conquest of the Western Xia alarmed Tibetan rulers, who decided to pay tribute to the Mongols. However, when they ceased to pay tribute after Genghis Khan's death, his successor Ögedei Khan (r. 1229–1241) launched an invasion into Tibet. The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. With Sakya Pandita's submission to Godan in 1247, Tibet was officially incorporated into the Mongol Empire during the regency of Töregene Khatun (1241–1246). Michael C. van Walt van Praag writes that Godan granted Sakya Pandita temporal authority over a still politically fragmented Tibet, stating that "this investiture had little real impact" but it was significant in that it established the unique "Priest-Patron" relationship between the Mongols and the Sakya lamas.

Starting in 1236, the Mongol prince Kublai, who later ruled as Khagan from 1260–1294, was granted a large appanage in North China by his superior, Ögedei Khan. Karma Pakshi, 2nd Karmapa Lama (1203–1283)—the head lama of the Karma Kagyu lineage of Tibetan Buddhism—rejected Kublai's invitation, so instead Kublai invited Drogön Chögyal Phagpa (1235–1280), successor and nephew of Sakya Pandita, who came to his court in 1253. Kublai instituted a unique relationship with the Phagpa lama, which recognized Kublai as a superior sovereign in political affairs and the Phagpa lama as the senior instructor to Kublai in religious affairs. Kublai also made Drogön Chögyal Phagpa the director of the government agency known as the Bureau of Buddhist and Tibetan Affairs and the ruling priest-king of Tibet, which comprised thirteen different states ruled by myriarchies. Kublai Khan did not conquer the Song dynasty in South China until 1279, so Tibet was a component of the early Mongol Empire before it was combined into one of its descendant empires with the whole of China under the Yuan dynasty (1271–1368). Van Praag writes that this conquest "marked the end of independent China," which was then incorporated into the Yuan dynasty that ruled China, Tibet, Mongolia, Korea, parts of Siberia and Upper Burma. Morris Rossabi, a professor of Asian history at Queens College, City University of New York, writes that "Khubilai wished to be perceived both as the legitimate Khan of Khans of the Mongols and as the Emperor of China. Though he had, by the early 1260s, become closely identified with China, he still, for a time, claimed universal rule", and yet "despite his successes in China and Korea, Khubilai was unable to have himself accepted as the Great Khan". Thus, with such limited acceptance of his position as Great Khan, Kublai Khan increasingly became identified with China and sought support as Emperor of China. In 1358, the Sakya viceregal regime installed by the Mongols in Tibet was overthrown in a rebellion by the Phagmodru myriarch Tai Situ Changchub Gyaltsen (1302–1364). The Mongol Yuan court was forced to accept him as the new viceroy, and Changchub Gyaltsen and his successors, the Phagmodrupa Dynasty, gained de facto rule over Tibet.

In 1368, a Han Chinese revolt known as the Red Turban Rebellion toppled the Mongol Yuan dynasty in China. Zhu Yuanzhang then established the Ming dynasty, ruling as the Hongwu Emperor (r. 1368–1398). It is not clear how much the early Ming court understood the civil war going on in Tibet between rival religious sects, but the first emperor was anxious to avoid the same trouble that Tibet had caused for the Tang dynasty. Instead of recognizing the Phagmodru ruler, the Hongwu Emperor sided with the Karmapa of the nearer Kham region and southeastern Tibet, sending envoys out in the winter of 1372–1373 to ask the Yuan officeholders to renew their titles for the new Ming court. As evident in his imperial edicts, the Hongwu Emperor was well aware of the Buddhist link between Tibet and China and wanted to foster it. Rolpe Dorje, 4th Karmapa Lama (1340–1383) rejected the Hongwu Emperor's invitation, although he did send some disciples as envoys to the court in Nanjing. The Hongwu Emperor also entrusted his guru Zongluo, one of many Buddhist monks at court, to head a religious mission into Tibet in 1378–1382 in order to obtain Buddhist texts. However, the early Ming government enacted a law, later rescinded, which forbade Han Chinese to learn the tenets of Tibetan Buddhism. There is little detailed evidence of Chinese—especially lay Chinese—studying Tibetan Buddhism until the Republican era (1912–1949). Despite these missions on behalf of the Hongwu Emperor, Morris Rossabi writes that the Yongle Emperor (r. 1402–1424) "was the first Ming ruler actively to seek an extension of relations with Tibet." According to the official Twenty-Four Histories, the History of Ming compiled in 1739 by the subsequent Qing dynasty (1644–1912), the Ming dynasty established the "É-Lì-Sī Army-Civilian Marshal Office" (Chinese: 俄力思軍民元帥府) in western Tibet and installed the "Ü-Tsang Itinerant High Commandery" and "Amdo-Kham Itinerant High Commandery" to administer Kham. The Mingshi states that administrative offices were set up under these high commanderies, including one Itinerant Commandery, three Pacification Commissioner's Offices, six Expedition Commissioner's Offices, four Wanhu offices (myriarchies, in command of 10,000 households each) and seventeen Qianhu offices (chiliarchies, each in command of 1,000 households).

The Ming court appointed three Princes of Dharma (法王) and five Princes (王), and granted many other titles, such as Grand State Tutors (大國師) and State Tutors (國師), to the important schools of Tibetan Buddhism, including the Karma Kagyu, Sakya, and Gelug. According to Wang Jiawei and Nyima Gyaincain, leading officials of these organs were all appointed by the central government and were subject to the rule of law. Yet Van Praag describes the distinct and long-lasting Tibetan law code established by the Phagmodru ruler Tai Situ Changchub Gyaltsen as one of many reforms to revive old Imperial Tibetan traditions. The late Turrell V. Wylie, a former professor of the University of Washington, and Li Tieh-tseng argue that the reliability of the heavily censored History of Ming as a credible source on Sino-Tibetan relations is questionable, in the light of modern scholarship. Other historians also assert that these Ming titles were nominal and did not actually confer the authority that the earlier Yuan titles had. Van Praag writes that the "numerous economically motivated Tibetan missions to the Ming Court are referred to as 'tributary missions' in the Ming Shih." Van Praag writes that these "tributary missions" were simply prompted by China's need for horses from Tibet, since a viable horse market in Mongol lands was closed as a result of incessant conflict. Morris Rossabi also writes that "Tibet, which had extensive contacts with China during the Yuan, scarcely had diplomatic relations with the Ming." Historians disagree on what the relationship was between the Ming court and Tibet and whether or not Ming China had sovereignty over Tibet. Van Praag writes that Chinese court historians viewed Tibet as an independent foreign tributary and had little interest in Tibet besides a lama-patron relationship. The historian Tsepon W. D. Shakabpa supports van Praag's position. However, Wang Jiawei and Nyima Gyaincain state that these assertions by van Praag and Shakabpa are "fallacies". Wang and Nyima argue that the Ming emperor sent edicts to Tibet twice in the second year of the Ming dynasty, and demonstrated that he viewed Tibet as a significant region to pacify by urging various Tibetan tribes to submit to the authority of the Ming court. They note that at the same time, the Mongol Prince Punala, who had inherited his position as ruler of areas of Tibet, went to Nanjing in 1371 to pay tribute and show his allegiance to the Ming court, bringing with him the seal of authority issued by the Yuan court. They also state that since successors of lamas granted the title of "prince" had to travel to the Ming court to renew this title, and since lamas called themselves princes, the Ming court therefore had "full sovereignty over Tibet." They state that the Ming dynasty, by issuing imperial edicts to invite ex-Yuan officials to the court for official positions in the early years of its founding, won submission from ex-Yuan religious and administrative leaders in the Tibetan areas, and thereby incorporated Tibetan areas into the rule of the Ming court. Thus, they conclude, the Ming court won the power to rule Tibetan areas formerly under the rule of the Yuan dynasty.

Journalist and author Thomas Laird, in his book The Story of Tibet: Conversations with the Dalai Lama, writes that Wang and Nyima present the government viewpoint of the People's Republic of China in their Historical Status of China's Tibet, and fail to realize that China was "absorbed into a larger, non-Chinese political unit" during the Mongol Yuan dynasty, which Wang and Nyima paint as a characteristic Chinese dynasty succeeded by the Ming. Laird asserts that the ruling Mongol khans never administered Tibet as part of China and instead ruled them as separate territories, comparing the Mongols with the British who colonized India and New Zealand, yet stating this does not make India part of New Zealand as a consequence. Of later Mongol and Tibetan accounts interpreting the Mongol conquest of Tibet, Laird asserts that "they, like all non-Chinese historical narratives, never portray the Mongol subjugation of Tibet as a Chinese one." The Columbia Encyclopedia distinguishes between the Yuan dynasty and the other Mongol Empire khanates of Ilkhanate, Chagatai Khanate and the Golden Horde. It describes the Yuan dynasty as "A Mongol dynasty of China that ruled from 1271 to 1368, and a division of the great empire conquered by the Mongols. Founded by Kublai Khan, who adopted the Chinese dynastic name of Yüan in 1271." The Encyclopedia Americana describes the Yuan dynasty as "the line of Mongol rulers in China" and adds that the Mongols "proclaimed a Chinese-style Yüan dynasty at Khanbaliq (Beijing)." The Metropolitan Museum of Art writes that the Mongol rulers of the Yuan dynasty "adopted Chinese political and cultural models; ruling from their capitals in Dadu, they assumed the role of Chinese emperors," although Tibetologist Thomas Laird dismissed the Yuan dynasty as a non-Chinese polity and plays down its Chinese characteristics. The Metropolitan Museum of Art also noted that in spite of the gradual assimilation of Yuan monarchs, the Mongol rulers largely ignored the literati and imposed harsh policies discriminating against southern Chinese. In his Kublai Khan: His Life and Times, Rossabi explains that Kublai "created government institutions that either resembled or were the same as the traditional Chinese ones", and he "wished to signal to the Chinese that he intended to adopt the trappings and style of a Chinese ruler". Nevertheless, the ethno-geographic caste hierarchy favoring the Mongols and other ethnicities were accorded higher status than the Han Chinese majority. Although Han Chinese who were recruited as advisers were often actually more influential than high officials, their status was not as well defined. Kublai also abolished the imperial examinations of China's civil service legacy, which was not reinstated until Ayurbarwada Buyantu Khan's reign (1311–1320). Rossabi writes that Kublai recognized that in order to rule China, "he had to employ Chinese advisors and officials, yet he could not rely totally on Chinese advisers because he had to maintain a delicate balancing act between ruling the sedentary civilization of China and preserving the cultural identity and values of the Mongols." And "in governing China, he was concerned with the interests of his Chinese subjects, but also with exploiting the resources of the empire for his own aggrandizement. His motivations and objectives alternated from one to the other throughout his reign," according to Rossabi. Van Praag writes in The Status of Tibet that the Tibetans and Mongols, on the other hand, upheld a dual system of rule and an interdependent relationship that legitimated the succession of Mongol khans as universal Buddhist rulers, or chakravartin. Van Praag writes that "Tibet remained a unique part of the Empire and was never fully integrated into it," citing examples such as a licensed border market that existed between China and Tibet during the Yuan.

The official position of the Ministry of Foreign Affairs of the People's Republic of China is that the Ming implemented a policy of managing Tibet according to conventions and customs, granting titles and setting up administrative organs over Tibet. The State Council Information Office of the People's Republic states that the Ming dynasty's Ü-Tsang Commanding Office governed most areas of Tibet. It also states that while the Ming abolished the policy council set up by the Mongol Yuan to manage local affairs in Tibet and the Mongol system of Imperial Tutors to govern religious affairs, the Ming adopted a policy of bestowing titles upon religious leaders who had submitted to the Ming dynasty. For example, an edict of the Hongwu Emperor in 1373 appointed the Tibetan leader Choskunskyabs as the General of the Ngari Military and Civil Wanhu Office, stating: Chen Qingying, Professor of History and Director of the History Studies Institute under the China Tibetology Research Center in Beijing, writes that the Ming court conferred new official positions on ex-Yuan Tibetan leaders of the Phachu Kargyu and granted them lower-ranking positions. Of the county (zong or dzong) leaders of Neiwo Zong and Renbam Zong, Chen states that when "the Emperor learned the actual situation of the Phachu Kargyu, the Ming court then appointed the main Zong leaders to be senior officers of the Senior Command of Dbus and Gtsang." The official posts that the Ming court established in Tibet, such as senior and junior commanders, offices of Qianhu (in charge of 1,000 households), and offices of Wanhu (in charge of 10,000 households), were all hereditary positions according to Chen, but he asserts that "the succession of some important posts still had to be approved by the emperor," while old imperial mandates had to be returned to the Ming court for renewal. According to Tibetologist John Powers, Tibetan sources counter this narrative of titles granted by the Chinese to Tibetans with various titles which the Tibetans gave to the Chinese emperors and their officials. Tribute missions from Tibetan monasteries to the Chinese court brought back not only titles, but large, commercially valuable gifts which could subsequently be sold. The Ming emperors sent invitations to ruling lamas, but the lamas sent subordinates rather than coming themselves, and no Tibetan ruler ever explicitly accepted the role of being a vassal of the Ming. Hans Bielenstein writes that as far back as the Han dynasty (202 BCE–220 CE), the Han Chinese government "maintained the fiction" that the foreign officials administering the various "Dependent States" and oasis city-states of the Western Regions (composed of the Tarim Basin and oasis of Turpan) were true Han representatives due to the Han government's conferral of Chinese seals and seal cords to them.

Wang and Nyima state that after the official title "Education Minister" was granted to Tai Situ Changchub Gyaltsen (1302–1364) by the Yuan court, this title appeared frequently with his name in various Tibetan texts, while his Tibetan title "Degsi" (sic properly sde-srid or desi) is seldom mentioned. Wang and Nyima take this to mean that "even in the later period of the Yuan dynasty, the Yuan imperial court and the Phagmodrupa Dynasty maintained a Central-local government relation." The Tai Situpa is even supposed to have written in his will: "In the past I received loving care from the emperor in the east. If the emperor continues to care for us, please follow his edicts and the imperial envoy should be well received." However, Lok-Ham Chan, a professor of history at the University of Washington, writes that Changchub Gyaltsen's aims were to recreate the old Tibetan Kingdom that existed during the Chinese Tang dynasty, to build "nationalist sentiment" amongst Tibetans, and to "remove all traces of Mongol suzerainty." Georges Dreyfus, a professor of religion at Williams College, writes that it was Changchub Gyaltsen who adopted the old administrative system of Songtsän Gampo (c. 605–649)—the first leader of the Tibetan Empire to establish Tibet as a strong power—by reinstating its legal code of punishments and administrative units. For example, instead of the 13 governorships established by the Mongol Sakya viceroy, Changchub Gyaltsen divided Central Tibet into districts (dzong) with district heads (dzong dpon) who had to conform to old rituals and wear clothing styles of old Imperial Tibet. Van Praag asserts that Changchub Gyaltsen's ambitions were to "restore to Tibet the glories of its Imperial Age" by reinstating secular administration, promoting "national culture and traditions," and installing a law code that survived into the 20th century. According to Chen, the Ming officer of Hezhou (modern day Linxia) informed the Hongwu Emperor that the general situation in Dbus and Gtsang "was under control," and so he suggested to the emperor that he offer the second Phagmodru ruler, Jamyang Shakya Gyaltsen, an official title. According to the Records of the Founding Emperor, the Hongwu Emperor issued an edict granting the title "Initiation State Master" to Sagya Gyaincain, while the latter sent envoys to the Ming court to hand over his jade seal of authority along with tribute of colored silk and satin, statues of the Buddha, Buddhist scriptures, and sarira.

Dreyfus writes that after the Phagmodrupa lost its centralizing power over Tibet in 1434, several attempts by other families to establish hegemonies failed over the next two centuries until 1642 with the 5th Dalai Lama's effective hegemony over Tibet. The Ming dynasty granted titles to lamas of schools such as the Karmapa Kargyu, but the latter had previously declined Mongol invitations to receive titles. When the Ming Yongle Emperor invited Je Tsongkhapa (1357–1419), founder of the Gelug school, to come to the Ming court and pay tribute, the latter declined. Wang and Nyima write that this was due to old age and physical weakness, and also because of efforts being made to build three major monasteries. Chen Qingying states that Tsongkhapa wrote a letter to decline the Emperor's invitation, and in this reply, Tsongkhapa wrote: A. Tom Grunfeld says that Tsongkhapa claimed ill health in his refusal to appear at the Ming court, while Rossabi adds that Tsongkhapa cited the "length and arduousness of the journey" to China as another reason not to make an appearance. This first request by the Ming was made in 1407, but the Ming court sent another embassy in 1413, this one led by the eunuch Hou Xian (候顯; fl. 1403–1427), which was again refused by Tsongkhapa. Rossabi writes that Tsongkhapa did not want to entirely alienate the Ming court, so he sent his disciple Chosrje Shākya Yeshes to Nanjing in 1414 on his behalf, and upon his arrival in 1415 the Yongle Emperor bestowed upon him the title of "State Teacher"—the same title earlier awarded the Phagmodrupa ruler of Tibet. The Xuande Emperor (r. 1425–1435) even granted this disciple Chosrje Shākya Yeshes the title of a "King" (王). This title does not appear to have held any practical meaning, or to have given its holder any power, at Tsongkhapa's Ganden Monastery. Wylie notes that this—like the Karma Kargyu—cannot be seen as a reappointment of Mongol Yuan offices, since the Gelug school was created after the fall of the Yuan dynasty. Dawa Norbu argues that modern Chinese Communist historians tend to be in favor of the view that the Ming simply reappointed old Yuan dynasty officials in Tibet and perpetuated their rule of Tibet in this manner. Norbu writes that, although this would have been true for the eastern Tibetan regions of Amdo and Kham's "tribute-cum-trade" relations with the Ming, it was untrue if applied to the western Tibetan regions of Ü-Tsang and Ngari. After the Phagmodrupa Changchub Gyaltsen, these were ruled by "three successive nationalistic regimes," which Norbu writes "Communist historians prefer to ignore."

Laird writes that the Ming appointed titles to eastern Tibetan princes, and that "these alliances with eastern Tibetan principalities are the evidence China now produces for its assertion that the Ming ruled Tibet," despite the fact that the Ming did not send an army to replace the Mongols after they left Tibet. Yiu Yung-chin states that the furthest western extent of the Ming dynasty's territory was Gansu, Sichuan, and Yunnan while "the Ming did not possess Tibet." Shih-Shan Henry Tsai writes that the Yongle Emperor sent his eunuch Yang Sanbao into Tibet in 1413 to gain the allegiance of various Tibetan princes, while the Yongle Emperor paid a small fortune in return gifts for tributes in order to maintain the loyalty of neighboring vassal states such as Nepal and Tibet. However, Van Praag states that Tibetan rulers upheld their own separate relations with the kingdoms of Nepal and Kashmir, and at times "engaged in armed confrontation with them." Even though the Gelug exchanged gifts with and sent missions to the Ming court up until the 1430s, the Gelug was not mentioned in the Mingshi or the Mingshi Lu. On this, historian Li Tieh-tseng says of Tsongkhapa's refusal of Ming invitations to visit the Yongle Emperor's court: Wylie asserts that this type of censorship of the History of Ming distorts the true picture of the history of Sino-Tibetan relations, while the Ming court granted titles to various lamas regardless of their sectarian affiliations in an ongoing civil war in Tibet between competing Buddhist factions. Wylie argues that Ming titles of "King" granted indiscriminately to various Tibetan lamas or even their disciples should not be viewed as reappointments to earlier Yuan dynasty offices, since the viceregal Sakya regime established by the Mongols in Tibet was overthrown by the Phagmodru myriarchy before the Ming existed. Helmut Hoffman states that the Ming upheld the facade of rule over Tibet through periodic missions of "tribute emissaries" to the Ming court and by granting nominal titles to ruling lamas, but did not actually interfere in Tibetan governance. Melvyn C. Goldstein writes that the Ming had no real administrative authority over Tibet, as the various titles given to Tibetan leaders did not confer authority as the earlier Mongol Yuan titles had. He asserts that "by conferring titles on Tibetans already in power, the Ming emperors merely recognized political reality." Hugh Edward Richardson writes that the Ming dynasty exercised no authority over the succession of Tibetan ruling families, the Phagmodru (1354–1435), Rinpungpa (1435–1565), and Tsangpa (1565–1642).

In his usurpation of the throne from the Jianwen Emperor (r. 1398–1402), the Yongle Emperor was aided by the Buddhist monk Yao Guangxiao, and like his father, the Hongwu Emperor, the Yongle Emperor was "well-disposed towards Buddhism", claims Rossabi. On March 10, 1403, the Yongle Emperor invited Deshin Shekpa, 5th Karmapa Lama (1384–1415), to his court, even though the fourth Karmapa had rejected the invitation of the Hongwu Emperor. A Tibetan translation in the 16th century preserves the letter of the Yongle Emperor, which the Association for Asian Studies notes is polite and complimentary towards the Karmapa. The letter of invitation reads, In order to seek out the Karmapa, the Yongle Emperor dispatched his eunuch Hou Xian and the Buddhist monk Zhi Guang (d. 1435) to Tibet. Traveling to Lhasa either through Qinghai or via the Silk Road to Khotan, Hou Xian and Zhi Guang did not return to Nanjing until 1407. During his travels beginning in 1403, Deshin Shekpa was induced by further exhortations by the Ming court to visit Nanjing by April 10, 1407. Norbu writes that the Yongle Emperor, following the tradition of Mongol emperors and their reverence for the Sakya lamas, showed an enormous amount of deference towards Deshin Shekpa. The Yongle Emperor came out of the palace in Nanjing to greet the Karmapa and did not require him to kowtow like a tributary vassal. According to Karma Thinley, the emperor gave the Karmapa the place of honor at his left, and on a higher throne than his own. Rossabi and others describe a similar arrangement made by Kublai Khan and the Sakya Phagpa lama, writing that Kublai would "sit on a lower platform than the Tibetan cleric" when receiving religious instructions from him. Throughout the following month, the Yongle Emperor and his court showered the Karmapa with presents. At Linggu Temple in Nanjing, he presided over the religious ceremonies for the Yongle Emperor's deceased parents, while twenty-two days of his stay were marked by religious miracles that were recorded in five languages on a gigantic scroll that bore the Emperor's seal. During his stay in Nanjing, Deshin Shekpa was bestowed the title "Great Treasure Prince of Dharma" by the Yongle Emperor. Elliot Sperling asserts that the Yongle Emperor, in bestowing Deshin Shekpa with the title of "King" and praising his mystical abilities and miracles, was trying to build an alliance with the Karmapa as the Mongols had with the Sakya lamas, but Deshin Shekpa rejected the Yongle Emperor's offer. In fact, this was the same title that Kublai Khan had offered the Sakya Phagpa lama, but Deshin Shekpa persuaded the Yongle Emperor to grant the title to religious leaders of other Tibetan Buddhist sects.

Tibetan sources say Deshin Shekpa also persuaded the Yongle Emperor not to impose his military might on Tibet as the Mongols had previously done. Thinley writes that before the Karmapa returned to Tibet, the Yongle Emperor began planning to send a military force into Tibet to forcibly give the Karmapa authority over all the Tibetan Buddhist schools but Deshin Shekpa dissuaded him. However, Hok-Lam Chan states that "there is little evidence that this was ever the emperor's intention" and that evidence indicates that Deshin Skekpa was invited strictly for religious purposes. Marsha Weidner states that Deshin Shekpa's miracles "testified to the power of both the emperor and his guru and served as a legitimizing tool for the emperor's problematic succession to the throne," referring to the Yongle Emperor's conflict with the previous Jianwen Emperor. Tsai writes that Deshin Shekpa aided the legitimacy of the Yongle Emperor's rule by providing him with portents and omens which demonstrated Heaven's favor of the Yongle Emperor on the Ming throne. With the example of the Ming court's relationship with the fifth Karmapa and other Tibetan leaders, Norbu states that Chinese Communist historians have failed to realize the significance of the religious aspect of the Ming-Tibetan relationship. He writes that the meetings of lamas with the Emperor of China were exchanges of tribute between "the patron and the priest" and were not merely instances of a political subordinate paying tribute to a superior. He also notes that the items of tribute were Buddhist artifacts which symbolized "the religious nature of the relationship." Josef Kolmaš writes that the Ming dynasty did not exercise any direct political control over Tibet, content with their tribute relations that were "almost entirely of a religious character." Patricia Ann Berger writes that the Yongle Emperor's courting and granting of titles to lamas was his attempt to "resurrect the relationship between China and Tibet established earlier by the Yuan dynastic founder Khubilai Khan and his guru Phagpa." She also writes that the later Qing emperors and their Mongol associates viewed the Yongle Emperor's relationship with Tibet as "part of a chain of reincarnation that saw this Han Chinese emperor as yet another emanation of Manjusri." The Information Office of the State Council of the PRC preserves an edict of the Zhengtong Emperor (r. 1435–1449) addressed to the Karmapa in 1445, written after the latter's agent had brought holy relics to the Ming court. Zhengtong had the following message delivered to the Great Treasure Prince of Dharma, the Karmapa:

Despite this glowing message by the Emperor, Chan writes that a year later in 1446, the Ming court cut off all relations with the Karmapa hierarchs. Until then, the court was unaware that Deshin Shekpa had died in 1415. The Ming court had believed that the representatives of the Karma Kagyu who continued to visit the Ming capital were sent by the Karmapa. Tsai writes that shortly after the visit by Deshin Shekpa, the Yongle Emperor ordered the construction of a road and of trading posts in the upper reaches of the Yangzi and Mekong Rivers in order to facilitate trade with Tibet in tea, horses, and salt. The trade route passed through Sichuan and crossed Shangri-La County in Yunnan. Wang and Nyima assert that this "tribute-related trade" of the Ming exchanging Chinese tea for Tibetan horses—while granting Tibetan envoys and Tibetan merchants explicit permission to trade with Han Chinese merchants—"furthered the rule of the Ming dynasty court over Tibet". Rossabi and Sperling note that this trade in Tibetan horses for Chinese tea existed long before the Ming. Peter C. Perdue says that Wang Anshi (1021–1086), realizing that China could not produce enough militarily capable steeds, had also aimed to obtain horses from Inner Asia in exchange for Chinese tea. The Chinese needed horses not only for cavalry but also as draft animals for the army's supply wagons. The Tibetans required Chinese tea not only as a common beverage but also as a religious ceremonial supplement. The Ming government imposed a monopoly on tea production and attempted to regulate this trade with state-supervised markets, but these collapsed in 1449 due to military failures and internal ecological and commercial pressures on the tea-producing regions. Van Praag states that the Ming court established diplomatic delegations with Tibet merely to secure urgently needed horses. Wang and Nyima argue that these were not diplomatic delegations at all, that Tibetan areas were ruled by the Ming since Tibetan leaders were granted positions as Ming officials, that horses were collected from Tibet as a mandatory "corvée" tax, and therefore Tibetans were "undertaking domestic affairs, not foreign diplomacy". Sperling writes that the Ming simultaneously bought horses in the Kham region while fighting Tibetan tribes in Amdo and receiving Tibetan embassies in Nanjing. He also argues that the embassies of Tibetan lamas visiting the Ming court were for the most part efforts to promote commercial transactions between the lamas' large, wealthy entourage and Ming Chinese merchants and officials. Kolmaš writes that while the Ming maintained a laissez-faire policy towards Tibet and limited the numbers of the Tibetan retinues, the Tibetans sought to maintain a tributary relationship with the Ming because imperial patronage provided them with wealth and power. Laird writes that Tibetans eagerly sought Ming court invitations since the gifts the Tibetans received for bringing tribute were much greater in value than the latter. As for the Yongle Emperor's gifts to his Tibetan and Nepalese vassals such as silver wares, Buddha relics, utensils for Buddhist temples and religious ceremonies, and gowns and robes for monks, Tsai writes "in his effort to draw neighboring states to the Ming orbit so that he could bask in glory, the Yongle Emperor was quite willing to pay a small price". The Information Office of the State Council of the PRC lists the Tibetan tribute items as oxen, horses, camels, sheep, fur products, medical herbs, Tibetan incenses, thangkas (painted scrolls), and handicrafts; while the Ming awarded Tibetan tribute-bearers an equal value of gold, silver, satin and brocade, bolts of cloth, grains, and tea leaves. Silk workshops during the Ming also catered specifically to the Tibetan market with silk clothes and furnishings featuring Tibetan Buddhist iconography.

While the Ming dynasty traded horses with Tibet, it upheld a policy of outlawing border markets in the north, which Laird sees as an effort to punish the Mongols for their raids and to "drive them from the frontiers of China." However, after Altan Khan (1507–1582)—leader of the Tümed Mongols who overthrew the Oirat Mongol confederation's hegemony over the steppes—made peace with the Ming dynasty in 1571, he persuaded the Ming to reopen their border markets in 1573. This provided the Chinese with a new supply of horses that the Mongols had in excess; it was also a relief to the Ming, since they were unable to stop the Mongols from periodic raiding. Laird says that despite the fact that later Mongols believed Altan forced the Ming to view him as an equal, Chinese historians argue that he was simply a loyal Chinese citizen. By 1578, Altan Khan formed a formidable Mongol-Tibetan alliance with the Gelug that the Ming viewed from afar without intervention. Patricia Ebrey writes that Tibet, like Joseon Korea and other neighboring states to the Ming, settled for its tributary status while there were no troops or governors of Ming China stationed in its territory. Laird writes that "after the Mongol troops left Tibet, no Ming troops replaced them." Wang and Nyima state that, despite the fact that the Ming refrained from sending troops to subdue Tibet and refrained from garrisoning Ming troops there, these measures were unnecessary so long as the Ming court upheld close ties with Tibetan vassals and their forces. However, there were instances in the 14th century when the Hongwu Emperor did use military force to quell unrest in Tibet. John D. Langlois writes that there was unrest in Tibet and western Sichuan, which the Marquis Mu Ying (沐英) was commissioned to quell in November 1378 after he established a Taozhou garrison in Gansu. Langlois notes that by October 1379, Mu Ying had allegedly captured 30,000 Tibetan prisoners and 200,000 domesticated animals. Yet invasion went both ways; the Ming general Qu Neng, under the command of Lan Yu, was ordered to repel a Tibetan assault into Sichuan in 1390. Discussions of strategy in the mid Ming dynasty focused primarily on recovery of the Ordos region, which the Mongols used as a rallying base to stage raids into Ming China. Norbu states that the Ming dynasty, preoccupied with the Mongol threat to the north, could not spare additional armed forces to enforce or back up their claim of sovereignty over Tibet; instead, they relied on "Confucian instruments of tribute relations" of heaping unlimited number of titles and gifts on Tibetan lamas through acts of diplomacy. Sperling states that the delicate relationship between the Ming and Tibet was "the last time a united China had to deal with an independent Tibet," that there was a potential for armed conflict at their borders, and that the ultimate goal of Ming foreign policy with Tibet was not subjugation but "avoidance of any kind of Tibetan threat." P. Christiaan Klieger argues that the Ming court's patronage of high Tibetan lamas "was designed to help stabilize border regions and protect trade routes."

Historians Luciano Petech and Sato Hisashi argue that the Ming upheld a "divide-and-rule" policy towards a weak and politically fragmented Tibet after the Sakya regime had fallen. Chan writes that this was perhaps the calculated strategy of the Yongle Emperor, as exclusive patronage to one Tibetan sect would have given it too much regional power. Sperling finds no textual evidence in either Chinese or Tibetan sources to support this thesis of Petech and Hisashi. Norbu asserts that their thesis is largely based on the list of Ming titles conferred on Tibetan lamas rather than "comparative analysis of developments in China and Tibet." Rossabi states that this theory "attributes too much influence to the Chinese," pointing out that Tibet was already politically divided when the Ming dynasty began. Rossabi also discounts the "divide-and-rule" theory on the grounds of the Yongle Emperor's failed attempt to build a strong relationship with the fifth Karmapa—one which he hoped would parallel Kublai Khan's earlier relationship with the Sakya Phagpa lama. Instead, the Yongle Emperor followed the Karmapa's advice of giving patronage to many different Tibetan lamas. The Association for Asian Studies states that there is no known written evidence to suggest that later leaders of the Gelug—Gendün Drup (1391–1474) and Gendün Gyatso (1475–1571)—had any contacts with Ming China. These two religious leaders were preoccupied with an overriding concern for dealing with the powerful secular Rinpungpa princes, who were patrons and protectors of the Karma Kargyu lamas. The Rinpungpa leaders were relatives of the Phagmodrupa, yet their authority shifted over time from simple governors to rulers in their own right over large areas of Ü-Tsang. The prince of Rinbung occupied Lhasa in 1498 and excluded the Gelug from attending New Years ceremonies and prayers, the most important event in the Gelug. While the task of New Years prayers in Lhasa was granted to the Karmapa and others, Gendün Gyatso traveled in exile looking for allies. However, it was not until 1518 that the secular Phagmodru ruler captured Lhasa from the Rinbung, and thereafter the Gelug was given rights to conduct the New Years prayer. When the Drikung Kagyu abbot of Drigung Monastery threatened Lhasa in 1537, Gendün Gyatso was forced to abandon the Drepung Monastery, although he eventually returned.

The Zhengde Emperor (r. 1505–1521), who enjoyed the company of lamas at court despite protests from the censorate, had heard tales of a "living Buddha" which he desired to host at the Ming capital; this was none other than the Rinpung-supported Mikyö Dorje, 8th Karmapa Lama then occupying Lhasa. Zhengde's top advisors made every attempt to dissuade him from inviting this lama to court, arguing that Tibetan Buddhism was wildly heterodox and unorthodox. Despite protests by the Grand Secretary Liang Chu, in 1515 the Zhengde Emperor sent his eunuch official Liu Yun of the Palace Chancellery on a mission to invite this Karmapa to Beijing. Liu commanded a fleet of hundreds of ships requisitioned along the Yangtze, consuming 2,835 g (100 oz) of silver a day in food expenses while stationed for a year in Chengdu of Sichuan. After procurring necessary gifts for the mission, he departed with a cavalry force of about 1,000 troops. When the request was delivered, the Karmapa lama refused to leave Tibet despite the Ming force brought to coerce him. The Karmapa launched a surprise ambush on Liu Yun's camp, seizing all the goods and valuables while killing or wounding half of Liu Yun's entire escort. After this fiasco, Liu fled for his life, but only returned to Chengdu several years later to find that the Zhengde Emperor had died. Elliot Sperling, a specialist of Indian studies and the director of the Tibetan Studies program at Indiana University’s Department of Central Eurasia Studies, writes that "the idea that Tibet became part of China in the 13th century is a very recent construction." He writes that Chinese writers of the early 20th century were of the view that Tibet was not annexed by China until the Manchu Qing dynasty invasion during the 18th century. He also states that Chinese writers of the early 20th century described Tibet as a feudal dependency of China, not an integral part of it. Sperling states that this is because "Tibet was ruled as such, within the empires of the Mongols and the Manchus" and also that "China's intervening Ming dynasty ... had no control over Tibet." He writes that the Ming relationship with Tibet is problematic for China’s insistence of its unbroken sovereignty over Tibet since the 13th century. As for the Tibetan view that Tibet was never subject to the rule of the Yuan or Qing emperors of China, Sperling also discounts this by stating that Tibet was "subject to rules, laws and decisions made by the Yuan and Qing rulers" and that even Tibetans described themselves as subjects of these emperors.

Josef Kolmaš, a sinologist, Tibetologist, and Professor of Oriental Studies at the Academy of Sciences of the Czech Republic, writes that it was during the Qing dynasty "that developments took place on the basis of which Tibet came to be considered an organic part of China, both practically and theoretically subject to the Chinese central government." Yet he states that this was a radical change in regards to all previous eras of Sino-Tibetan relations. P. Christiaan Klieger, an anthropologist and scholar of the California Academy of Sciences in San Francisco, writes that the vice royalty of the Sakya regime installed by the Mongols established a patron and priest relationship between Tibetans and Mongol converts to Tibetan Buddhism. According to him, the Tibetan lamas and Mongol khans upheld a "mutual role of religious prelate and secular patron," respectively. He adds that "Although agreements were made between Tibetan leaders and Mongol khans, Ming and Qing emperors, it was the Republic of China and its Communist successors that assumed the former imperial tributaries and subject states as integral parts of the Chinese nation-state." China Daily, a CCP-controlled news organization since 1981, states in a 2008 article that although there were dynastic changes after Tibet was incorporated into the territory of Yuan dynasty's China in the 13th century, "Tibet has remained under the jurisdiction of the central government of China." It also states that the Ming dynasty "inherited the right to rule Tibet" from the Yuan dynasty, and repeats the claims in the Mingshi about the Ming establishing two itinerant high commands over Tibet. China Daily states that the Ming handled Tibet's civil administration, appointed all leading officials of these administrative organs, and punished Tibetans who broke the law. The party-controlled People's Daily, the state-controlled Xinhua News Agency, and the state-controlled national television network China Central Television posted the same article that China Daily had, the only difference being their headlines and some additional text. During the reign of the Jiajing Emperor (r. 1521–1567), the native Chinese ideology of Daoism was fully sponsored at the Ming court, while Tibetan Vajrayana and even Chinese Buddhism were ignored or suppressed. Even the History of Ming states that the Tibetan lamas discontinued their trips to Ming China and its court at this point. Grand Secretary Yang Tinghe under Jiajing was determined to break the eunuch influence at court which typified the Zhengde era, an example being the costly escort of the eunuch Liu Yun as described above in his failed mission to Tibet. The court eunuchs were in favor of expanding and building new commercial ties with foreign countries such as Portugal, which Zhengde deemed permissible since he had an affinity for foreign and exotic people.

With the death of Zhengde and ascension of Jiajing, the politics at court shifted in favor of the Neo-Confucian establishment which not only rejected the Portuguese embassy of Fernão Pires de Andrade (d. 1523), but had a predisposed animosity towards Tibetan Buddhism and lamas. Evelyn S. Rawski, a professor in the Department of History of the University of Pittsburgh, writes that the Ming's unique relationship with Tibetan prelates essentially ended with Jiajing's reign while Ming influence in the Amdo region was supplanted by the Mongols. Meanwhile, the Tumed Mongols began moving into the Kokonor region (modern Qinghai), raiding the Ming Chinese frontier and even as far as the suburbs of Beijing under Altan Khan (1507–1582). Klieger writes that Altan Khan's presence in the west effectively reduced Ming influence and contact with Tibet. After Altan Khan made peace with the Ming dynasty in 1571, he invited the third hierarch of the Gelug—Sönam Gyatso (1543–1588)—to meet him in Amdo (modern Qinghai) in 1578, where he accidentally bestowed him and his two predecessors with the title of Dalai Lama—"Ocean Teacher". The full title was "Dalai Lama Vajradhara", "Vajradhara" meaning "Holder of the Thunderbolt" in Sanskrit. Victoria Huckenpahler notes that Vajradhara is considered by Buddhists to be the primordial Buddha of limitless and all-pervasive beneficial qualities, a being that "represents the ultimate aspect of enlightenment." Goldstein writes that Sönam Gyatso also enhanced Altan Khan's standing by granting him the title "king of religion, majestic purity". Rawski writes that the Dalai Lama officially recognized Altan Khan as the "Protector of the Faith". Laird writes that Altan Khan abolished the native Mongol practices of shamanism and blood sacrifice, while the Mongol princes and subjects were coerced by Altan to convert to Gelug Buddhism—or face execution if they persisted in their shamanistic ways. Committed to their religious leader, Mongol princes began requesting the Dalai Lama to bestow titles on them, which demonstrated "the unique fusion of religious and political power" wielded by the Dalai Lama, as Laird writes. Kolmaš states that the spiritual and secular Mongol-Tibetan alliance of the 13th century was renewed by this alliance constructed by Altan Khan and Sönam Gyatso. Van Praag writes that this restored the original Mongol patronage of a Tibetan lama and "to this day, Mongolians are among the most devout followers of the Gelugpa and the Dalai Lama." Angela F. Howard writes that this unique relationship not only provided the Dalai Lama and Panchen Lama with religious and political authority in Tibet, but that Altan Khan gained "enormous power among the entire Mongol population."

Rawski writes that Altan Khan's conversion to the Gelug "can be interpreted as an attempt to expand his authority in his conflict with his nominal superior, Tümen Khan." To further cement the Mongol-Tibetan alliance, the great-grandson of Altan Khan—the 4th Dalai Lama (1589–1616)—was made the fourth Dalai Lama. In 1642, the 5th Dalai Lama (1617–1682) became the first to wield effective political control over Tibet. Sonam Gyatso, after being granted the grandiose title by Altan Khan, departed for Tibet. Before he left, he sent a letter and gifts to the Ming Chinese official Zhang Juzheng (1525–1582), which arrived on March 12, 1579. Sometime in August or September of that year, Sonam Gyatso's representative stationed with Altan Khan received a return letter and gift from the Wanli Emperor (r. 1572–1620), who also conferred upon Sonam Gyatso a title; this was the first official contact between a Dalai Lama and a government of China. However, Laird states that when Wanli invited him to Beijing, the Dalai Lama declined the offer due to a prior commitment, even though he was only 400 km (250 mi) from Beijing. Laird adds that "the power of the Ming emperor did not reach very far at the time." Although not recorded in any official Chinese records, Sonam Gyatso's biography states that Wanli again conferred titles on Sonam Gyatso in 1588, and invited him to Beijing for a second time, but Sonam Gyatso was unable to visit China as he died the same year in Mongolia working with Altan Khan's son to further the spread of Buddhism. Of the third Dalai Lama, China Daily states that the "Ming dynasty showed him special favor by allowing him to pay tribute." China Daily then says that Sonam Gyatso was granted the title Dorjichang or Vajradhara Dalai Lama in 1587 [sic!], but China Daily does not mention who granted him the title. Without mentioning the role of the Mongols, China Daily states that it was the successive Qing dynasty which established the title of Dalai Lama and his power in Tibet: "In 1653, the Qing emperor granted an honorific title to the fifth Dalai Lama and then did the same for the fifth Panchen Lama in 1713, officially establishing the titles of the Dalai Lama and the Panchen Erdeni, and their political and religious status in Tibet."

Chen states that the fourth Dalai Lama Yonten Gyatso was granted the title "Master of Vajradhara" and an official seal by the Wanli Emperor in 1616. This was noted in the Biography of the Fourth Dalai Lama, which stated that one Soinam Lozui delivered the seal of the Emperor to the Dalai Lama. The Wanli Emperor had invited Yonten Gyatso to Beijing in 1616, but just like his predecessor he died before being able to make the journey. Kolmaš writes that, as the Mongol presence in Tibet increased, culminating in the conquest of Tibet by a Mongol leader in 1642, the Ming emperors "viewed with apparent unconcern these developments in Tibet." He adds that the Ming court's lack of concern for Tibet was one of the reasons why the Mongols pounced on the chance to reclaim their old vassal of Tibet and "fill once more the political vacuum in that country." On the mass Mongol conversion to Tibetan Buddhism under Altan Khan, Laird writes that "the Chinese watched these developments with interest, though few Chinese ever became devout Tibetan Buddhists." In 1565, the powerful Rinbung princes were overthrown by one of their own ministers, Karma Tseten who styled himself as the Tsangpa, "the one of Tsang", and established his base of power at Shigatse. The second successor of this first Tsang king, Karma Phuntsok Namgyal, took control of the whole of Central Tibet (Ü-Tsang), reigning from 1611–1621. Despite this, the leaders of Lhasa still claimed their allegiance to the Phagmodru as well as the Gelug, while the Ü-Tsang king allied with the Karmapa. Tensions rose between the nationalistic Ü-Tsang ruler and the Mongols who safeguarded their Mongol Dalai Lama in Lhasa. The fourth Dalai Lama refused to give an audience to the Ü-Tsang king, which sparked a conflict as the latter began assaulting Gelug monasteries. Chen writes of the speculation over the fourth Dalai Lama's mysterious death and the plot of the Ü-Tsang king to have him murdered for "cursing" him with illness, although Chen writes that the murder was most likely the result of a feudal power struggle. In 1618, only two years after Yonten Gyatso died, the Gelug and the Karma Kargyu went to war, the Karma Kargyu supported by the secular Ü-Tsang king. The Ü-Tsang ruler had a large number of Gelugpa lamas killed, occupied their monasteries at Drepung and Sera, and outlawed any attempts to find another Dalai Lama. In 1621, the Ü-Tsang king died and was succeeded by his young son Karma Tenkyong, an event which stymied the war effort as the latter accepted the six-year-old Lozang Gyatso as the new Dalai Lama. Despite the new Dalai Lama's diplomatic efforts to maintain friendly relations with the new Ü-Tsang ruler, Sonam Rapten (1595–1657), the Dalai Lama's chief steward and treasurer at Drepung, made efforts to overthrow the Ü-Tsang king, which led to another conflict. In 1633, the Gelugpas and several thousand Mongol adherents defeated the Ü-Tsang king's troops near Lhasa before a peaceful negotiation was settled. Goldstein writes that in this the "Mongols were again playing a significant role in Tibetan affairs, this time as the military arm of the Dalai Lama."

When an ally of the Ü-Tsang ruler threatened destruction of the Gelugpas again, the fifth Dalai Lama Lozang Gyatso pleaded for help from the Mongol prince Güshi Khan (1582–1655), leader of the Khoshut (Qoshot) tribe of the Oirat Mongols, who was then on a pilgrimage to Lhasa. Güshi Khan accepted his role as protector, and from 1637–1640 he not only defeated the Gelugpas' enemies in the Amdo and Kham regions, but also resettled his entire tribe into Amdo. Sonam Chöpel urged Güshi Khan to assault the Ü-Tsang king's homebase of Shigatse, which Güshi Khan agreed upon, enlisting the aid of Gelug monks and supporters. In 1642, after a year's siege of Shigatse, the Ü-Tsang forces surrendered. Güshi Khan then captured and summarily executed Karma Tenkyong, the ruler of Ü-Tsang, King of Tibet. Soon after the victory in Ü-Tsang, Güshi Khan organized a welcoming ceremony for Lozang Gyatso once he arrived a day's ride from Shigatse, presenting his conquest of Tibet as a gift to the Dalai Lama. In a second ceremony held within the main hall of the Shigatse fortress, Güshi Khan enthroned the Dalai Lama as the ruler of Tibet, but conferred the actual governing authority to the regent Sonam Chöpel. Although Güshi Khan had granted the Dalai Lama "supreme authority" as Goldstein writes, the title of 'King of Tibet' was conferred upon Güshi Khan, spending his summers in pastures north of Lhasa and occupying Lhasa each winter. Van Praag writes that at this point Güshi Khan maintained control over the armed forces, but accepted his inferior status towards the Dalai Lama. Rawski writes that the Dalai Lama shared power with his regent and Güshi Khan during his early secular and religious reign. However, Rawski states that he eventually "expanded his own authority by presenting himself as Avalokiteśvara through the performance of rituals," by building the Potala Palace and other structures on traditional religious sites, and by emphasizing lineage reincarnation through written biographies. Goldstein states that the government of Güshi Khan and the Dalai Lama persecuted the Karma Kagyu sect, confiscated their wealth and property, and even converted their monasteries into Gelug monasteries. Rawski writes that this Mongol patronage allowed the Gelugpas to dominate the rival religious sects in Tibet.

Meanwhile, the Chinese Ming dynasty fell to the rebellion of Li Zicheng (1606–1645) in 1644, yet his short-lived Shun dynasty was crushed by the Manchu invasion and the Han Chinese general Wu Sangui (1612–1678). China Daily states that when the following Qing dynasty replaced the Ming dynasty, it merely "strengthened administration of Tibet." However, Kolmaš states that the Dalai Lama was very observant of what was going on in China and accepted a Manchu invitation in 1640 to send envoys to their capital at Mukden in 1642, before the Ming collapsed. Dawa Norbu, William Rockhill, and George N. Patterson write that when the Shunzhi Emperor (r. 1644–1661) of the subsequent Qing dynasty invited the fifth Dalai Lama Lozang Gyatso to Beijing in 1652, Shunzhi treated the Dalai Lama as an independent sovereign of Tibet. Patterson writes that this was an effort of Shunzhi to secure an alliance with Tibet that would ultimately lead to the establishment of Manchu rule over Mongolia. In this meeting with the Qing emperor, Goldstein asserts that the Dalai Lama was not someone to be trifled with due to his alliance with Mongol tribes, some of which were declared enemies of the Qing. Van Praag states that Tibet and the Dalai Lama's power was recognized by the "Manchu Emperor, the Mongolian Khans and Princes, and the rulers of Ladakh, Nepal, India, Bhutan, and Sikkim." When the Dzungar Mongols attempted to spread their territory from what is now Xinjiang into Tibet, the Kangxi Emperor (r. 1661–1722) responded to Tibetan pleas for aid with his own expedition to Tibet, occupying Lhasa in 1720. By 1751, during the reign of the Qianlong Emperor (r. 1735–1796), a protectorate and permanent Qing dynasty garrison was established in Tibet. As of 1751, Albert Kolb writes that "Chinese claims to suzerainty over Tibet date from this time." The iPod is a line of portable media players and multi-purpose pocket computers designed and marketed by Apple Inc. The first line was released on October 23, 2001, about 8½ months after iTunes (Macintosh version) was released. The most recent iPod redesigns were announced on July 15, 2015. There are three current versions of the iPod: the ultra-compact iPod Shuffle, the compact iPod Nano and the touchscreen iPod Touch.

Like other digital music players, iPods can serve as external data storage devices. Storage capacity varies by model, ranging from 2 GB for the iPod Shuffle to 128 GB for the iPod Touch (previously 160 GB for the iPod Classic, which is now discontinued). Apple's iTunes software (and other alternative software) can be used to transfer music, photos, videos, games, contact information, e-mail settings, Web bookmarks, and calendars, to the devices supporting these features from computers using certain versions of Apple Macintosh and Microsoft Windows operating systems. Before the release of iOS 5, the iPod branding was used for the media player included with the iPhone and iPad, a combination of the Music and Videos apps on the iPod Touch. As of iOS 5, separate apps named "Music" and "Videos" are standardized across all iOS-powered products. While the iPhone and iPad have essentially the same media player capabilities as the iPod line, they are generally treated as separate products. During the middle of 2010, iPhone sales overtook those of the iPod. In mid-2015, a new model of the iPod Touch was announced by Apple, and was officially released on the Apple store on July 15, 2015. The sixth generation iPod Touch includes a wide variety of spec improvements such as the upgraded A8 processor and higher-quality screen. The core is over 5 times faster than previous models and is built to be roughly on par with the iPhone 5S. It is available in 5 different colors: Space grey, pink, gold, silver and Product (red). Though the iPod was released in 2001, its price and Mac-only compatibility caused sales to be relatively slow until 2004. The iPod line came from Apple's "digital hub" category, when the company began creating software for the growing market of personal digital devices. Digital cameras, camcorders and organizers had well-established mainstream markets, but the company found existing digital music players "big and clunky or small and useless" with user interfaces that were "unbelievably awful," so Apple decided to develop its own. As ordered by CEO Steve Jobs, Apple's hardware engineering chief Jon Rubinstein assembled a team of engineers to design the iPod line, including hardware engineers Tony Fadell and Michael Dhuey, and design engineer Sir Jonathan Ive. Rubinstein had already discovered the Toshiba disk drive when meeting with an Apple supplier in Japan, and purchased the rights to it for Apple, and had also already worked out how the screen, battery, and other key elements would work. The aesthetic was inspired by the 1958 Braun T3 transistor radio designed by Dieter Rams, while the wheel based user interface was prompted by Bang & Olufsen's BeoCom 6000 telephone. The product ("the Walkman of the twenty-first century" ) was developed in less than one year and unveiled on October 23, 2001. Jobs announced it as a Mac-compatible product with a 5 GB hard drive that put "1,000 songs in your pocket."

Apple did not develop the iPod software entirely in-house, instead using PortalPlayer's reference platform based on two ARM cores. The platform had rudimentary software running on a commercial microkernel embedded operating system. PortalPlayer had previously been working on an IBM-branded MP3 player with Bluetooth headphones. Apple contracted another company, Pixo, to help design and implement the user interface under the direct supervision of Steve Jobs. As development progressed, Apple continued to refine the software's look and feel. Starting with the iPod Mini, the Chicago font was replaced with Espy Sans. Later iPods switched fonts again to Podium Sans—a font similar to Apple's corporate font, Myriad. iPods with color displays then adopted some Mac OS X themes like Aqua progress bars, and brushed metal meant to evoke a combination lock. In 2007, Apple modified the iPod interface again with the introduction of the sixth-generation iPod Classic and third-generation iPod Nano by changing the font to Helvetica and, in most cases, splitting the screen in half by displaying the menus on the left and album artwork, photos, or videos on the right (whichever was appropriate for the selected item). In 2006 Apple presented a special edition for iPod 5G of Irish rock band U2. Like its predecessor, this iPod has engraved the signatures of the four members of the band on its back, but this one was the first time the company changed the colour of the metal (not silver but black). This iPod was only available with 30GB of storage capacity. The special edition entitled purchasers to an exclusive video with 33 minutes of interviews and performance by U2, downloadable from the iTunes Store. In September 2007, during a lawsuit with patent holding company Burst.com, Apple drew attention to a patent for a similar device that was developed in 1979. Kane Kramer applied for a UK patent for his design of a "plastic music box" in 1981, which he called the IXI. He was unable to secure funding to renew the US$120,000 worldwide patent, so it lapsed and Kramer never profited from his idea. The name iPod was proposed by Vinnie Chieco, a freelance copywriter, who (with others) was called by Apple to figure out how to introduce the new player to the public. After Chieco saw a prototype, he thought of the movie 2001: A Space Odyssey and the phrase "Open the pod bay door, Hal!", which refers to the white EVA Pods of the Discovery One spaceship. Chieco saw an analogy to the relationship between the spaceship and the smaller independent pods in the relationship between a personal computer and the music player. Apple researched the trademark and found that it was already in use. Joseph N. Grasso of New Jersey had originally listed an "iPod" trademark with the U.S. Patent and Trademark Office (USPTO) in July 2000 for Internet kiosks. The first iPod kiosks had been demonstrated to the public in New Jersey in March 1998, and commercial use began in January 2000, but had apparently been discontinued by 2001. The trademark was registered by the USPTO in November 2003, and Grasso assigned it to Apple Computer, Inc. in 2005.

In mid-2015, several new color schemes for all of the current iPod models were spotted in the latest version of iTunes, 12.2. Belgian website Belgium iPhone originally found the images when plugging in an iPod for the first time, and subsequent leaked photos were found by Pierre Dandumont. The third-generation iPod had a weak bass response, as shown in audio tests. The combination of the undersized DC-blocking capacitors and the typical low-impedance of most consumer headphones form a high-pass filter, which attenuates the low-frequency bass output. Similar capacitors were used in the fourth-generation iPods. The problem is reduced when using high-impedance headphones and is completely masked when driving high-impedance (line level) loads, such as an external headphone amplifier. The first-generation iPod Shuffle uses a dual-transistor output stage, rather than a single capacitor-coupled output, and does not exhibit reduced bass response for any load. For all iPods released in 2006 and earlier, some equalizer (EQ) sound settings would distort the bass sound far too easily, even on undemanding songs. This would happen for EQ settings like R&B, Rock, Acoustic, and Bass Booster, because the equalizer amplified the digital audio level beyond the software's limit, causing distortion (clipping) on bass instruments. From the fifth-generation iPod on, Apple introduced a user-configurable volume limit in response to concerns about hearing loss. Users report that in the sixth-generation iPod, the maximum volume output level is limited to 100 dB in EU markets. Apple previously had to remove iPods from shelves in France for exceeding this legal limit. However, users that have bought a new sixth-generation iPod in late 2013 have reported a new option that allowed them to disable the EU volume limit. It has been said that these new iPods came with an updated software that allowed this change. Older sixth-generation iPods, however, are unable to update to this software version. Originally, a FireWire connection to the host computer was used to update songs or recharge the battery. The battery could also be charged with a power adapter that was included with the first four generations. The third generation began including a 30-pin dock connector, allowing for FireWire or USB connectivity. This provided better compatibility with non-Apple machines, as most of them did not have FireWire ports at the time. Eventually Apple began shipping iPods with USB cables instead of FireWire, although the latter was available separately. As of the first-generation iPod Nano and the fifth-generation iPod Classic, Apple discontinued using FireWire for data transfer (while still allowing for use of FireWire to charge the device) in an attempt to reduce cost and form factor. As of the second-generation iPod Touch and the fourth-generation iPod Nano, FireWire charging ability has been removed. The second-, third-, and fourth-generation iPod Shuffle uses a single 3.5 mm minijack phone connector which acts as both a headphone jack and a data port for the dock.

The dock connector also allowed the iPod to connect to accessories, which often supplement the iPod's music, video, and photo playback. Apple sells a few accessories, such as the now-discontinued iPod Hi-Fi, but most are manufactured by third parties such as Belkin and Griffin. Some peripherals use their own interface, while others use the iPod's own screen. Because the dock connector is a proprietary interface, the implementation of the interface requires paying royalties to Apple. Apple introduced a new 8-pin dock connector, named Lightning, on September 12, 2012 with their announcement of the iPhone 5, the fifth generation iPod Touch, and the seventh generation iPod Nano, which all feature it. The new connector replaces the older 30-pin dock connector used by older iPods, iPhones, and iPads. Apple Lightning cables have pins on both sides of the plug so it can be inserted with either side facing up. Many accessories have been made for the iPod line. A large number are made by third party companies, although many, such as the iPod Hi-Fi, are made by Apple. Some accessories add extra features that other music players have, such as sound recorders, FM radio tuners, wired remote controls, and audio/visual cables for TV connections. Other accessories offer unique features like the Nike+iPod pedometer and the iPod Camera Connector. Other notable accessories include external speakers, wireless remote controls, protective case, screen films, and wireless earphones. Among the first accessory manufacturers were Griffin Technology, Belkin, JBL, Bose, Monster Cable, and SendStation. BMW released the first iPod automobile interface, allowing drivers of newer BMW vehicles to control an iPod using either the built-in steering wheel controls or the radio head-unit buttons. Apple announced in 2005 that similar systems would be available for other vehicle brands, including Mercedes-Benz, Volvo, Nissan, Toyota, Alfa Romeo, Ferrari, Acura, Audi, Honda, Renault, Infiniti and Volkswagen. Scion offers standard iPod connectivity on all their cars. Some independent stereo manufacturers including JVC, Pioneer, Kenwood, Alpine, Sony, and Harman Kardon also have iPod-specific integration solutions. Alternative connection methods include adapter kits (that use the cassette deck or the CD changer port), audio input jacks, and FM transmitters such as the iTrip—although personal FM transmitters are illegal in some countries. Many car manufacturers have added audio input jacks as standard. Beginning in mid-2007, four major airlines, United, Continental, Delta, and Emirates, reached agreements to install iPod seat connections. The free service will allow passengers to power and charge an iPod, and view video and music libraries on individual seat-back displays. Originally KLM and Air France were reported to be part of the deal with Apple, but they later released statements explaining that they were only contemplating the possibility of incorporating such systems.

The iPod line can play several audio file formats including MP3, AAC/M4A, Protected AAC, AIFF, WAV, Audible audiobook, and Apple Lossless. The iPod photo introduced the ability to display JPEG, BMP, GIF, TIFF, and PNG image file formats. Fifth and sixth generation iPod Classics, as well as third generation iPod Nanos, can additionally play MPEG-4 (H.264/MPEG-4 AVC) and QuickTime video formats, with restrictions on video dimensions, encoding techniques and data-rates. Originally, iPod software only worked with Mac OS; iPod software for Microsoft Windows was launched with the second generation model. Unlike most other media players, Apple does not support Microsoft's WMA audio format—but a converter for WMA files without Digital Rights Management (DRM) is provided with the Windows version of iTunes. MIDI files also cannot be played, but can be converted to audio files using the "Advanced" menu in iTunes. Alternative open-source audio formats, such as Ogg Vorbis and FLAC, are not supported without installing custom firmware onto an iPod (e.g., Rockbox). During installation, an iPod is associated with one host computer. Each time an iPod connects to its host computer, iTunes can synchronize entire music libraries or music playlists either automatically or manually. Song ratings can be set on an iPod and synchronized later to the iTunes library, and vice versa. A user can access, play, and add music on a second computer if an iPod is set to manual and not automatic sync, but anything added or edited will be reversed upon connecting and syncing with the main computer and its library. If a user wishes to automatically sync music with another computer, an iPod's library will be entirely wiped and replaced with the other computer's library. iPods with color displays use anti-aliased graphics and text, with sliding animations. All iPods (except the 3rd-generation iPod Shuffle, the 6th & 7th generation iPod Nano, and iPod Touch) have five buttons and the later generations have the buttons integrated into the click wheel – an innovation that gives an uncluttered, minimalist interface. The buttons perform basic functions such as menu, play, pause, next track, and previous track. Other operations, such as scrolling through menu items and controlling the volume, are performed by using the click wheel in a rotational manner. The 3rd-generation iPod Shuffle does not have any controls on the actual player; instead it has a small control on the earphone cable, with volume-up and -down buttons and a single button for play and pause, next track, etc. The iPod Touch has no click-wheel; instead it uses a 3.5" touch screen along with a home button, sleep/wake button and (on the second and third generations of the iPod Touch) volume-up and -down buttons. The user interface for the iPod Touch is identical to that of the iPhone. Differences include a lack of a phone application. Both devices use iOS.

The iTunes Store (introduced April 29, 2003) is an online media store run by Apple and accessed through iTunes. The store became the market leader soon after its launch and Apple announced the sale of videos through the store on October 12, 2005. Full-length movies became available on September 12, 2006. At the time the store was introduced, purchased audio files used the AAC format with added encryption, based on the FairPlay DRM system. Up to five authorized computers and an unlimited number of iPods could play the files. Burning the files with iTunes as an audio CD, then re-importing would create music files without the DRM. The DRM could also be removed using third-party software. However, in a deal with Apple, EMI began selling DRM-free, higher-quality songs on the iTunes Stores, in a category called "iTunes Plus." While individual songs were made available at a cost of US$1.29, 30¢ more than the cost of a regular DRM song, entire albums were available for the same price, US$9.99, as DRM encoded albums. On October 17, 2007, Apple lowered the cost of individual iTunes Plus songs to US$0.99 per song, the same as DRM encoded tracks. On January 6, 2009, Apple announced that DRM has been removed from 80% of the music catalog, and that it would be removed from all music by April 2009. iPods cannot play music files from competing music stores that use rival-DRM technologies like Microsoft's protected WMA or RealNetworks' Helix DRM. Example stores include Napster and MSN Music. RealNetworks claims that Apple is creating problems for itself by using FairPlay to lock users into using the iTunes Store. Steve Jobs stated that Apple makes little profit from song sales, although Apple uses the store to promote iPod sales. However, iPods can also play music files from online stores that do not use DRM, such as eMusic or Amie Street. Universal Music Group decided not to renew their contract with the iTunes Store on July 3, 2007. Universal will now supply iTunes in an 'at will' capacity. Apple debuted the iTunes Wi-Fi Music Store on September 5, 2007, in its Media Event entitled "The Beat Goes On...". This service allows users to access the Music Store from either an iPhone or an iPod Touch and download songs directly to the device that can be synced to the user's iTunes Library over a WiFi connection, or, in the case of an iPhone, the telephone network.

Video games are playable on various versions of iPods. The original iPod had the game Brick (originally invented by Apple's co-founder Steve Wozniak) included as an easter egg hidden feature; later firmware versions added it as a menu option. Later revisions of the iPod added three more games: Parachute, Solitaire, and Music Quiz. In September 2006, the iTunes Store began to offer additional games for purchase with the launch of iTunes 7, compatible with the fifth generation iPod with iPod software 1.2 or later. Those games were: Bejeweled, Cubis 2, Mahjong, Mini Golf, Pac-Man, Tetris, Texas Hold 'Em, Vortex, Asphalt 4: Elite Racing and Zuma. Additional games have since been added. These games work on the 6th and 5th generation iPod Classic and the 5th and 4th generation iPod Nano. With third parties like Namco, Square Enix, Electronic Arts, Sega, and Hudson Soft all making games for the iPod, Apple's MP3 player has taken steps towards entering the video game handheld console market. Even video game magazines like GamePro and EGM have reviewed and rated most of their games as of late. The games are in the form of .ipg files, which are actually .zip archives in disguise[citation needed]. When unzipped, they reveal executable files along with common audio and image files, leading to the possibility of third party games. Apple has not publicly released a software development kit (SDK) for iPod-specific development. Apps produced with the iPhone SDK are compatible only with the iOS on the iPod Touch and iPhone, which cannot run clickwheel-based games. Unlike many other MP3 players, simply copying audio or video files to the drive with a typical file management application will not allow an iPod to properly access them. The user must use software that has been specifically designed to transfer media files to iPods, so that the files are playable and viewable. Usually iTunes is used to transfer media to an iPod, though several alternative third-party applications are available on a number of different platforms. iTunes 7 and above can transfer purchased media of the iTunes Store from an iPod to a computer, provided that computer containing the DRM protected media is authorized to play it. Media files are stored on an iPod in a hidden folder, along with a proprietary database file. The hidden content can be accessed on the host operating system by enabling hidden files to be shown. The media files can then be recovered manually by copying the files or folders off the iPod. Many third-party applications also allow easy copying of media files off of an iPod.

In 2005, Apple faced two lawsuits claiming patent infringement by the iPod line and its associated technologies: Advanced Audio Devices claimed the iPod line breached its patent on a "music jukebox", while a Hong Kong-based IP portfolio company called Pat-rights filed a suit claiming that Apple's FairPlay technology breached a patent issued to inventor Ho Keung Tse. The latter case also includes the online music stores of Sony, RealNetworks, Napster, and Musicmatch as defendants. Apple's application to the United States Patent and Trademark Office for a patent on "rotational user inputs", as used on the iPod interface, received a third "non-final rejection" (NFR) in August 2005. Also in August 2005, Creative Technology, one of Apple's main rivals in the MP3 player market, announced that it held a patent on part of the music selection interface used by the iPod line, which Creative Technology dubbed the "Zen Patent", granted on August 9, 2005. On May 15, 2006, Creative filed another suit against Apple with the United States District Court for the Northern District of California. Creative also asked the United States International Trade Commission to investigate whether Apple was breaching U.S. trade laws by importing iPods into the United States. On August 24, 2006, Apple and Creative announced a broad settlement to end their legal disputes. Apple will pay Creative US$100 million for a paid-up license, to use Creative's awarded patent in all Apple products. As part of the agreement, Apple will recoup part of its payment, if Creative is successful in licensing the patent. Creative then announced its intention to produce iPod accessories by joining the Made for iPod program. Since October 2004, the iPod line has dominated digital music player sales in the United States, with over 90% of the market for hard drive-based players and over 70% of the market for all types of players. During the year from January 2004 to January 2005, the high rate of sales caused its U.S. market share to increase from 31% to 65% and in July 2005, this market share was measured at 74%. In January 2007 the iPod market share reached 72.7% according to Bloomberg Online. On January 8, 2004, Hewlett-Packard (HP) announced that they would sell HP-branded iPods under a license agreement from Apple. Several new retail channels were used—including Wal-Mart—and these iPods eventually made up 5% of all iPod sales. In July 2005, HP stopped selling iPods due to unfavorable terms and conditions imposed by Apple.