Due to its complexity, the teaching as well as the learning of Music History is a challenge. One of the main activities of our brain is to process structures, therefore I fixed the music history facts for my students by setting the same order for each style. Organized in three books, published in Romanian: Classical and Romantic Music, Early Music, and New Music, they are ordered chronologically and also systematically – by the same structure for different styles. I. Chronological structure The chapters are: Ancient Hebrew and Greek cultures; The transition from Ancient to Christian cultures; Medieval liturgical chants: Byzantine and Western; Transition of Western plainchant to polyphony; Musical Renaissance; Transition from Renaissance to Baroque; Musical Baroque; Transition from Baroque to Classical music; The Classical style in music; Transition from Classical to Romantic music; Musical Romanticism; Transition from Romantic to Modern music; The 20th century and contemporary music: art music, popular music, and jazz; Postmodernism. II. Descriptive structure The viewpoints of each musical style has the same structure: 1.Definition: content; artistic means; etymology; ideological background, literary and figurative arts, architecture parallels 2.Historical screening. 3. Composers (in correspondent chronological tables) 4.Musical psychology and sociology elements: 4.1.Composers, performers, listeners; 4.2. Women musicians; 4.3. Institutions 5.Sources: 5.1. Notations, 5.2. Music documents, 5.3. Treatises 6.General pedagogy and music pedagogy elements: 6.1. Pedagogical principles and the place of music in the general education, 6.2. Music learning - considering this point as very important, the education representing the projection of any activity to the future 7.Style markers. This point enlarges upon the content and language concepts of the definitions with point 1. They are: 7.0. General stylistic markers (age, regional, personal styles) 7.1.Content markers. It treats the specific subject matters – such as magical, liturgical, profane, general-abstract, illustrative, programmatic or infantile – of each style. 7.2. Musical language and performance: 7.2.1. Sonorous language: modal and tonal systems, diatonic, chromatic, enharmonic, microtonal, their expressive messages. 7.2.2. Rhythmical patterns. 7.2.3. Morphologies and syntaxes. 7.2.4. Settings: monophony, polyphony, accompanied monody, homophony, heterophony, textures. 7.2.5. Timbres: 7.2.5.1.Timbral typologies, 2. Tunings, 3. Specific instruments. 7.2.6. Performance: 7.2.6.1. General aspects, 2. Improvisation aspects 8.Music genres – descriptions and some landmarks (sometimes in the form of tables) 9.Composition: 9.1. Compositional principles: repetition, variation, gradation, contrast, the relationships to the text; 9.2. Compositional-stylistic conclusions 10.Further recommendations: 10.1. Editions, 10.2. Bibliography, 10.3. Recordings (audio and video), 10.4. Websites. An additional fourth volume contains 14 essays on highlights from each chapter of the main books described above, and original Romanian translations of some Latin medieval texts sets in art music (such as Dies irae, Stabat Mater a. o.).