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The Music Portal

Grooved side of the Voyager Golden Record launched along the Voyager probes to space, which feature music from around the world

Music is the arrangement of sound to create some combination of form, harmony, melody, rhythm, or otherwise expressive content. Music is generally agreed to be a cultural universal that is present in all human societies. Definitions of music vary widely in substance and approach. While scholars agree that music is defined by a small number of specific elements, there is no consensus as to what these necessary elements are. Music is often characterized as a highly versatile medium for expressing human creativity. Diverse activities are involved in the creation of music, and are often divided into categories of composition, improvisation, and performance. Music may be performed using a wide variety of musical instruments, including the human voice. It can also be composed, sequenced, or otherwise produced to be indirectly played mechanically or electronically, such as via a music box, barrel organ, or digital audio workstation software on a computer.

Music often plays a key role in social events and religious ceremony. The techniques of making music are often transmitted as part of a cultural tradition. Music is played in public and private contexts, highlighted at events such as festivals and concerts for various different types of ensembles. Music is used in the production of other media, such as in soundtracks to films, TV shows, operas, and video games.

Listening to music is a common means of entertainment. The culture surrounding music extends into areas of academic study, journalism, philosophy, psychology, and therapy. The music industry includes songwriters, performers, sound engineers, producers, tour organizers, distributors of instruments, accessories, and publishers of sheet music and recordings. Technology facilitating the recording and reproduction of music has historically included sheet music, microphones, phonographs, and tape machines, with playback of digital musics being a common use for MP3 players, CD players, and smartphones. (Full article...)

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Featured articles are displayed here, which represent some of the best content on English Wikipedia.
  • Image 1 First page from the autograph of the piano version of the Requiem, with title and dedication Max Reger's 1915 Requiem (or the Hebbel Requiem), Op. 144b, is a late Romantic setting of Friedrich Hebbel's poem "Requiem" for alto or baritone solo, chorus and orchestra. It is Reger's last completed work for chorus and orchestra, dedicated in the autograph as Dem Andenken der im Kriege 1914/15 gefallenen deutschen Helden (To the memory of the German heroes who fell in the 1914/15 War). Reger had composed Requiem settings before: his 1912 motet for male chorus, published as the final part of his Op. 83, uses the same poem, and in 1914 he set out to compose a choral work in memory of the victims of the Great War. The setting is of the Latin Requiem, the Catholic service for the dead, but the work remained a fragment and was eventually designated the Lateinisches Requiem (Latin Requiem), Op. 145a. (Full article...)

    First page from the autograph of the piano version of the Requiem, with title and dedication

    Max Reger's 1915 Requiem (or the Hebbel Requiem), Op. 144b, is a late Romantic setting of Friedrich Hebbel's poem "Requiem" for alto or baritone solo, chorus and orchestra. It is Reger's last completed work for chorus and orchestra, dedicated in the autograph as Dem Andenken der im Kriege 1914/15 gefallenen deutschen Helden (To the memory of the German heroes who fell in the 1914/15 War).

    Reger had composed Requiem settings before: his 1912 motet for male chorus, published as the final part of his Op. 83, uses the same poem, and in 1914 he set out to compose a choral work in memory of the victims of the Great War. The setting is of the Latin Requiem, the Catholic service for the dead, but the work remained a fragment and was eventually designated the Lateinisches Requiem (Latin Requiem), Op. 145a. (Full article...)
  • Image 2 Fôrça Bruta (Brazilian Portuguese: [ˈfoʁsɐ ˈbɾutɐ] ⓘ) is the seventh studio album by Brazilian singer-songwriter and guitarist Jorge Ben. It was recorded with the Trio Mocotó band and released by Philips Records in September 1970. Conceived at a time of political tension in dictatorial Brazil, its title comes from the Portuguese term meaning "brute force" and has been interpreted ironically due to the music's relatively relaxed style. The album introduced an acoustic samba-based music that is mellower, moodier, and less ornate than Ben's preceding work. Its largely unrehearsed, nighttime recording session found the singer improvising with Trio Mocotó's groove-oriented accompaniment while experimenting with unconventional rhythmic arrangements, musical techniques, and elements of soul, funk, and rock. Ben's lyrics generally explore themes of romantic passion, melancholy, and sensuality, with women figuring prominently in his songs. In a departure from the carefree sensibility of his past releases, they also feature elements of identity politics and postmodernism, such as irony and reimagining of established idioms. (Full article...)
    Fôrça Bruta (Brazilian Portuguese: [ˈfoʁsɐ ˈbɾutɐ] ⓘ) is the seventh studio album by Brazilian singer-songwriter and guitarist Jorge Ben. It was recorded with the Trio Mocotó band and released by Philips Records in September 1970. Conceived at a time of political tension in dictatorial Brazil, its title comes from the Portuguese term meaning "brute force" and has been interpreted ironically due to the music's relatively relaxed style.

    The album introduced an acoustic samba-based music that is mellower, moodier, and less ornate than Ben's preceding work. Its largely unrehearsed, nighttime recording session found the singer improvising with Trio Mocotó's groove-oriented accompaniment while experimenting with unconventional rhythmic arrangements, musical techniques, and elements of soul, funk, and rock. Ben's lyrics generally explore themes of romantic passion, melancholy, and sensuality, with women figuring prominently in his songs. In a departure from the carefree sensibility of his past releases, they also feature elements of identity politics and postmodernism, such as irony and reimagining of established idioms. (Full article...)
  • Image 3 Vaughan Williams c. 1920 Ralph Vaughan Williams OM (/ˌreɪf vɔːn ˈwɪljəmz/ ⓘ RAYF vawn WIL-yəmz; 12 October 1872 – 26 August 1958) was an English composer. His works include operas, ballets, chamber music, secular and religious vocal pieces and orchestral compositions including nine symphonies, written over sixty years. Strongly influenced by Tudor music and English folk-song, his output marked a decisive break in British music from its German-dominated style of the 19th century. Vaughan Williams was born to a well-to-do family with strong moral views and a progressive social outlook. Throughout his life he sought to be of service to his fellow citizens, and believed in making music as available as possible to everybody. He wrote many works for amateur and student performance. He was musically a late developer, not finding his true voice until his late thirties; his studies in 1907–1908 with the French composer Maurice Ravel helped him clarify the textures of his music and free it from Teutonic influences. (Full article...)
    Semi-profile of European man in early middle age, clean-shaven, with full head of dark hair
    Vaughan Williams c. 1920

    Ralph Vaughan Williams OM (/ˌreɪf vɔːn ˈwɪljəmz/ ⓘ RAYF vawn WIL-yəmz; 12 October 1872 – 26 August 1958) was an English composer. His works include operas, ballets, chamber music, secular and religious vocal pieces and orchestral compositions including nine symphonies, written over sixty years. Strongly influenced by Tudor music and English folk-song, his output marked a decisive break in British music from its German-dominated style of the 19th century.

    Vaughan Williams was born to a well-to-do family with strong moral views and a progressive social outlook. Throughout his life he sought to be of service to his fellow citizens, and believed in making music as available as possible to everybody. He wrote many works for amateur and student performance. He was musically a late developer, not finding his true voice until his late thirties; his studies in 1907–1908 with the French composer Maurice Ravel helped him clarify the textures of his music and free it from Teutonic influences. (Full article...)
  • Image 4 Cover of the anonymous play, The True Tragedy of Richard III (1594), which was "to be sold by William Barley, at his shop in Newgate Market" William Barley (1565?–1614) was an English bookseller and publisher. He completed an apprenticeship as a draper in 1587, but was soon working in the London book trade. As a freeman of the Drapers' Company, he was embroiled in a dispute between it and the Stationers' Company over the rights of drapers to function as publishers and booksellers. He found himself in legal tangles throughout his life. Barley's role in Elizabethan music publishing has proved to be a contentious issue among scholars. The assessments of him range from "a man of energy, determination, and ambition", to "somewhat remarkable", to "surely to some extent a rather nefarious figure". His contemporaries harshly criticised the quality of two of the first works of music that he published, but he was also influential in his field. (Full article...)
    Cover of the anonymous play, The True Tragedy of Richard III (1594), which was "to be sold by William Barley, at his shop in Newgate Market"


    William Barley (1565?–1614) was an English bookseller and publisher. He completed an apprenticeship as a draper in 1587, but was soon working in the London book trade. As a freeman of the Drapers' Company, he was embroiled in a dispute between it and the Stationers' Company over the rights of drapers to function as publishers and booksellers. He found himself in legal tangles throughout his life.

    Barley's role in Elizabethan music publishing has proved to be a contentious issue among scholars. The assessments of him range from "a man of energy, determination, and ambition", to "somewhat remarkable", to "surely to some extent a rather nefarious figure". His contemporaries harshly criticised the quality of two of the first works of music that he published, but he was also influential in his field. (Full article...)
  • Image 5 Gustav Holst, c. 1921 photograph by Herbert Lambert Gustav Theodore Holst (born Gustavus Theodore von Holst; 21 September 1874 – 25 May 1934) was an English composer, arranger and teacher. Best known for his orchestral suite The Planets, he composed many other works across a range of genres, although none achieved comparable success. His distinctive compositional style was the product of many influences, Richard Wagner and Richard Strauss being most crucial early in his development. The subsequent inspiration of the English folksong revival of the early 20th century, and the example of such rising modern composers as Maurice Ravel, led Holst to develop and refine an individual style. There were professional musicians in the previous three generations of Holst's family, and it was clear from his early years that he would follow the same calling. He hoped to become a pianist, but was prevented by neuritis in his right arm. Despite his father's reservations, he pursued a career as a composer, studying at the Royal College of Music under Charles Villiers Stanford. Unable to support himself by his compositions, he played the trombone professionally and later became a teacher—a great one, according to his colleague Ralph Vaughan Williams. Among other teaching activities he built up a strong tradition of performance at Morley College, where he served as musical director from 1907 until 1924, and pioneered music education for women at St Paul's Girls' School, where he taught from 1905 until his death in 1934. He was the founder of a series of Whitsun music festivals, which ran from 1916 for the remainder of his life. (Full article...)
    middle-aged man in head and shoulder shot looking at camera
    Gustav Holst, c. 1921 photograph by Herbert Lambert

    Gustav Theodore Holst (born Gustavus Theodore von Holst; 21 September 1874 – 25 May 1934) was an English composer, arranger and teacher. Best known for his orchestral suite The Planets, he composed many other works across a range of genres, although none achieved comparable success. His distinctive compositional style was the product of many influences, Richard Wagner and Richard Strauss being most crucial early in his development. The subsequent inspiration of the English folksong revival of the early 20th century, and the example of such rising modern composers as Maurice Ravel, led Holst to develop and refine an individual style.

    There were professional musicians in the previous three generations of Holst's family, and it was clear from his early years that he would follow the same calling. He hoped to become a pianist, but was prevented by neuritis in his right arm. Despite his father's reservations, he pursued a career as a composer, studying at the Royal College of Music under Charles Villiers Stanford. Unable to support himself by his compositions, he played the trombone professionally and later became a teacher—a great one, according to his colleague Ralph Vaughan Williams. Among other teaching activities he built up a strong tradition of performance at Morley College, where he served as musical director from 1907 until 1924, and pioneered music education for women at St Paul's Girls' School, where he taught from 1905 until his death in 1934. He was the founder of a series of Whitsun music festivals, which ran from 1916 for the remainder of his life. (Full article...)
  • Image 6 Good Girl Gone Bad: Reloaded is the reissue of Barbadian singer Rihanna's third studio album Good Girl Gone Bad (2007). It was first released digitally in selected countries on June 2, 2008, by Def Jam Recordings and SRP Records. Launched to mark the first anniversary of the original album, Good Girl Gone Bad: Reloaded features three newly recorded songs and a DVD showing exclusive behind-the-scenes footage of Rihanna's worldwide tour, the Good Girl Gone Bad Tour (2007–2009). For the new material, she worked with past collaborators Ne-Yo, Stargate, and C. "Tricky" Stewart, as well as Brian Kennedy, Mark Endert, Mike Elizondo, Mark "Spike" Stent and Maroon 5. Good Girl Gone Bad: Reloaded received generally positive reviews from music critics, who praised the sound and production of the newly added material. However, other critics felt that the album was not worthy of re-release with only three new songs. Among other awards and achievements, the reissue's songs earned two Grammy nominations at the 2009 ceremony; "Disturbia" was nominated for Best Dance Recording, while "If I Never See Your Face Again" received a nomination for Best Pop Collaboration with Vocals. (Full article...)
    Good Girl Gone Bad: Reloaded is the reissue of Barbadian singer Rihanna's third studio album Good Girl Gone Bad (2007). It was first released digitally in selected countries on June 2, 2008, by Def Jam Recordings and SRP Records. Launched to mark the first anniversary of the original album, Good Girl Gone Bad: Reloaded features three newly recorded songs and a DVD showing exclusive behind-the-scenes footage of Rihanna's worldwide tour, the Good Girl Gone Bad Tour (2007–2009). For the new material, she worked with past collaborators Ne-Yo, Stargate, and C. "Tricky" Stewart, as well as Brian Kennedy, Mark Endert, Mike Elizondo, Mark "Spike" Stent and Maroon 5.

    Good Girl Gone Bad: Reloaded received generally positive reviews from music critics, who praised the sound and production of the newly added material. However, other critics felt that the album was not worthy of re-release with only three new songs. Among other awards and achievements, the reissue's songs earned two Grammy nominations at the 2009 ceremony; "Disturbia" was nominated for Best Dance Recording, while "If I Never See Your Face Again" received a nomination for Best Pop Collaboration with Vocals. (Full article...)
  • Image 7 The Way I See It is the third album by American R&B singer, songwriter, and producer Raphael Saadiq. It was released on September 16, 2008, by Columbia Records – his first for the label. Prior to signing with Columbia, Saadiq had independently released his 2004 album Ray Ray, recorded with the songwriting and production duo Jake and the Phatman. He developed a creative partnership with their colleague, audio engineer Charles Brungardt, who shared Saadiq's fascination with historic recording techniques and equipment. In 2008, the singer returned from a vacation that had inspired him to pursue classic soul music and recorded The Way I See It primarily at his North Hollywood studio with Brungardt. Saadiq and Brungardt disregarded their previous experience in recording production while making The Way I See It. Instead, they experimented with older recording techniques in an attempt to recreate the Motown music aesthetic of the 1960s, producing a traditional soul album that emphasizes upbeat hooks and draws on the Motown Sound and Philadelphia soul styles. Saadiq, whose lyrics mostly deal with romantic subject matter, described it as a series of love songs about music and remaining faithful to it despite trends. The album's title reflects his singular vision for the music, while the packaging is fashioned after the musical eras that inspired Saadiq, evoking dramatic and colorful LP covers by artists such as the Temptations and Ray Charles. (Full article...)
    The Way I See It is the third album by American R&B singer, songwriter, and producer Raphael Saadiq. It was released on September 16, 2008, by Columbia Records – his first for the label. Prior to signing with Columbia, Saadiq had independently released his 2004 album Ray Ray, recorded with the songwriting and production duo Jake and the Phatman. He developed a creative partnership with their colleague, audio engineer Charles Brungardt, who shared Saadiq's fascination with historic recording techniques and equipment. In 2008, the singer returned from a vacation that had inspired him to pursue classic soul music and recorded The Way I See It primarily at his North Hollywood studio with Brungardt.

    Saadiq and Brungardt disregarded their previous experience in recording production while making The Way I See It. Instead, they experimented with older recording techniques in an attempt to recreate the Motown music aesthetic of the 1960s, producing a traditional soul album that emphasizes upbeat hooks and draws on the Motown Sound and Philadelphia soul styles. Saadiq, whose lyrics mostly deal with romantic subject matter, described it as a series of love songs about music and remaining faithful to it despite trends. The album's title reflects his singular vision for the music, while the packaging is fashioned after the musical eras that inspired Saadiq, evoking dramatic and colorful LP covers by artists such as the Temptations and Ray Charles. (Full article...)
  • Image 8 "Irreplaceable" is a song by American singer and songwriter Beyoncé for her second studio album, B'Day (2006). The song was written by Shaffer "Ne-Yo" Smith, Tor Erik Hermansen, Mikkel S. Eriksen, Espen Lind, Amund Bjørklund, and Beyoncé; and produced by Stargate and Beyoncé. "Irreplaceable" was originally a country record; it was re-arranged as a mid-tempo ballad with pop and R&B influences by modifying the vocal arrangements and instrumentation. During the production and recording sessions, Beyoncé and Ne-Yo wanted to create a record which people of either gender could relate to. The song's lyrics are about the breakdown of a relationship with an unfaithful man and the song contains a message about female empowerment. Following the moderate chart performances of "Déjà Vu" and "Ring the Alarm", "Irreplaceable" was released internationally on October 23, 2006, as the album's second single, and the third in the United States on December 5, 2006. The single was released through Columbia Records. Pitchfork Media and Rolling Stone placed it on their lists of Best Songs of the 2000s. "Irreplaceable" won several awards, including Best R&B/Soul Single at the 2007 Soul Train Music Awards. It was nominated for the Record of the Year award at the 50th Grammy Awards. (Full article...)
    "Irreplaceable" is a song by American singer and songwriter Beyoncé for her second studio album, B'Day (2006). The song was written by Shaffer "Ne-Yo" Smith, Tor Erik Hermansen, Mikkel S. Eriksen, Espen Lind, Amund Bjørklund, and Beyoncé; and produced by Stargate and Beyoncé. "Irreplaceable" was originally a country record; it was re-arranged as a mid-tempo ballad with pop and R&B influences by modifying the vocal arrangements and instrumentation. During the production and recording sessions, Beyoncé and Ne-Yo wanted to create a record which people of either gender could relate to. The song's lyrics are about the breakdown of a relationship with an unfaithful man and the song contains a message about female empowerment.

    Following the moderate chart performances of "Déjà Vu" and "Ring the Alarm", "Irreplaceable" was released internationally on October 23, 2006, as the album's second single, and the third in the United States on December 5, 2006. The single was released through Columbia Records. Pitchfork Media and Rolling Stone placed it on their lists of Best Songs of the 2000s. "Irreplaceable" won several awards, including Best R&B/Soul Single at the 2007 Soul Train Music Awards. It was nominated for the Record of the Year award at the 50th Grammy Awards. (Full article...)
  • Image 9 "Breakdown" is a song recorded by American singer Mariah Carey for her sixth studio album, Butterfly (1997). In the lyrics, she describes the aftermath of a partner ending their love for the other and the trouble of hiding the pain it caused. The track features rapping by Krayzie Bone and Wish Bone, members of the group Bone Thugs-n-Harmony. Before they wrote and performed their raps, Carey composed the music with Stevie J and penned her lyrics. The latter pair produced "Breakdown" with Sean "Puffy" Combs. An R&B, hip hop, and hip hop soul song, "Breakdown" features keyboards, synthesized drums, and background vocals prominently. Columbia Records released it to American rhythmic contemporary radio stations in January 1998 as the third single from Butterfly. Critics judged "Breakdown" in relation to Carey's previous work and considered the collaboration with Bone-Thugs-n-Harmony successful. Some perceived it to be about the recent separation from her husband Tommy Mottola, which she denied. Carey publicly criticized Columbia for a perceived longstanding anti-R&B bias against her music after it did not release the song to retail outlets in the United States. "Breakdown" was thus initially ineligible to appear on the Billboard Hot 100 chart. It was later issued as a double A-side with "My All" and reached number four on Hot R&B Singles. "Breakdown" experienced consistent airplay on American urban contemporary radio stations and it became Carey's longest-running title on Hot R&B Airplay until 2005. Elsewhere, "Breakdown" peaked at number four in New Zealand and number thirty-eight in Australia. (Full article...)
    "Breakdown" is a song recorded by American singer Mariah Carey for her sixth studio album, Butterfly (1997). In the lyrics, she describes the aftermath of a partner ending their love for the other and the trouble of hiding the pain it caused. The track features rapping by Krayzie Bone and Wish Bone, members of the group Bone Thugs-n-Harmony. Before they wrote and performed their raps, Carey composed the music with Stevie J and penned her lyrics. The latter pair produced "Breakdown" with Sean "Puffy" Combs. An R&B, hip hop, and hip hop soul song, "Breakdown" features keyboards, synthesized drums, and background vocals prominently. Columbia Records released it to American rhythmic contemporary radio stations in January 1998 as the third single from Butterfly.

    Critics judged "Breakdown" in relation to Carey's previous work and considered the collaboration with Bone-Thugs-n-Harmony successful. Some perceived it to be about the recent separation from her husband Tommy Mottola, which she denied. Carey publicly criticized Columbia for a perceived longstanding anti-R&B bias against her music after it did not release the song to retail outlets in the United States. "Breakdown" was thus initially ineligible to appear on the Billboard Hot 100 chart. It was later issued as a double A-side with "My All" and reached number four on Hot R&B Singles. "Breakdown" experienced consistent airplay on American urban contemporary radio stations and it became Carey's longest-running title on Hot R&B Airplay until 2005. Elsewhere, "Breakdown" peaked at number four in New Zealand and number thirty-eight in Australia. (Full article...)
  • Image 10 Hannah Montana is an American teen sitcom created by Michael Poryes, Rich Correll, and Barry O'Brien that aired on Disney Channel for four seasons between March 2006 and January 2011. The series centers on Miley Stewart (played by Miley Cyrus), a teenage girl living a double life as famous pop singer Hannah Montana, an alter ego she adopted so she could maintain her anonymity and live a normal life as a typical teenager. Episodes deal with Miley's everyday struggles to cope with the social and personal issues of adolescence while maintaining the added complexities of her secret identity, which she sustains by wearing a blonde wig. Miley has strong relationships with her brother Jackson (Jason Earles) and father Robby Ray (Billy Ray Cyrus), as well as her best friends Lilly Truscott (Emily Osment) and Oliver Oken (Mitchel Musso), who become aware of her secret. Overarching themes include a focus on family and friendships as well as the importance of music and discovering one's identity. The Walt Disney Company commissioned the series after the success of Disney Channel's previous music-based franchises, such as the made-for-television film High School Musical (2006). Hannah Montana was produced by It's a Laugh Productions in association with Poryes's production company, and premiered on Disney Channel on March 24, 2006. A concert film, Hannah Montana & Miley Cyrus: Best of Both Worlds Concert, in which Miley Cyrus performs as Hannah Montana and herself, was released in 2008. The following year, the feature film Hannah Montana: The Movie was released. The series concluded on January 16, 2011, as a result of Cyrus's growing popularity and music career, and her desire to move into more mature acting roles. (Full article...)
    Hannah Montana is an American teen sitcom created by Michael Poryes, Rich Correll, and Barry O'Brien that aired on Disney Channel for four seasons between March 2006 and January 2011. The series centers on Miley Stewart (played by Miley Cyrus), a teenage girl living a double life as famous pop singer Hannah Montana, an alter ego she adopted so she could maintain her anonymity and live a normal life as a typical teenager. Episodes deal with Miley's everyday struggles to cope with the social and personal issues of adolescence while maintaining the added complexities of her secret identity, which she sustains by wearing a blonde wig. Miley has strong relationships with her brother Jackson (Jason Earles) and father Robby Ray (Billy Ray Cyrus), as well as her best friends Lilly Truscott (Emily Osment) and Oliver Oken (Mitchel Musso), who become aware of her secret. Overarching themes include a focus on family and friendships as well as the importance of music and discovering one's identity.

    The Walt Disney Company commissioned the series after the success of Disney Channel's previous music-based franchises, such as the made-for-television film High School Musical (2006). Hannah Montana was produced by It's a Laugh Productions in association with Poryes's production company, and premiered on Disney Channel on March 24, 2006. A concert film, Hannah Montana & Miley Cyrus: Best of Both Worlds Concert, in which Miley Cyrus performs as Hannah Montana and herself, was released in 2008. The following year, the feature film Hannah Montana: The Movie was released. The series concluded on January 16, 2011, as a result of Cyrus's growing popularity and music career, and her desire to move into more mature acting roles. (Full article...)
  • Image 11 Alicia is the seventh studio album by American singer-songwriter and pianist Alicia Keys. It was primarily recorded at Oven Studios and Jungle City Studios, both in New York, after her 2016 album Here and her judgeship on the singing competition series The Voice, before being released by RCA Records on September 18, 2020. Written and produced largely by Keys, the album also features songwriting and production contributions from Swizz Beatz, Ryan Tedder, Johnny McDaid, Ed Sheeran, and The-Dream, among others. Keys collaborated with more artists on the recording than in her previous albums, enlisting vocalists such as Sampha, Tierra Whack, Diamond Platnumz, Snoh Aalegra, and Jill Scott for certain tracks. Alicia's mostly low-tempo and melodically subtle music reconciles the experimental direction of Here with her earlier work's bass drum-driven R&B and piano-based balladry. Throughout, individual songs incorporate sounds from a wide range of other genres, including orchestral pop, progressive soul, funk, ambient, country, and Caribbean music. Thematically, they explore identity as a multifaceted concept, sociopolitical concerns, and forms of love within the framework of impressionistic lyrics, personal narratives, and self-knowledge. Keys has described the album as therapeutic and reflective of greater introspection in herself, expressing ideas and feelings of hope, frustration, despair, ambivalence, and equanimity shared in her memoir More Myself (2020), which was written during Alicia's recording. (Full article...)
    Alicia is the seventh studio album by American singer-songwriter and pianist Alicia Keys. It was primarily recorded at Oven Studios and Jungle City Studios, both in New York, after her 2016 album Here and her judgeship on the singing competition series The Voice, before being released by RCA Records on September 18, 2020. Written and produced largely by Keys, the album also features songwriting and production contributions from Swizz Beatz, Ryan Tedder, Johnny McDaid, Ed Sheeran, and The-Dream, among others. Keys collaborated with more artists on the recording than in her previous albums, enlisting vocalists such as Sampha, Tierra Whack, Diamond Platnumz, Snoh Aalegra, and Jill Scott for certain tracks.

    Alicia's mostly low-tempo and melodically subtle music reconciles the experimental direction of Here with her earlier work's bass drum-driven R&B and piano-based balladry. Throughout, individual songs incorporate sounds from a wide range of other genres, including orchestral pop, progressive soul, funk, ambient, country, and Caribbean music. Thematically, they explore identity as a multifaceted concept, sociopolitical concerns, and forms of love within the framework of impressionistic lyrics, personal narratives, and self-knowledge. Keys has described the album as therapeutic and reflective of greater introspection in herself, expressing ideas and feelings of hope, frustration, despair, ambivalence, and equanimity shared in her memoir More Myself (2020), which was written during Alicia's recording. (Full article...)
  • Image 12 Red is the fourth studio album by the American singer-songwriter Taylor Swift, released on October 22, 2012, by Big Machine Records. Swift designated Red as a breakup album that portrays the complex and conflicting feelings ensuing from lost love. Hoping to convey those sentiments through music, Swift engaged new producers to experiment with styles beyond the country pop sound of her past albums. The ensemble included Dann Huff, Max Martin, Shellback, Jeff Bhasker, Dan Wilson, Jacknife Lee, Butch Walker, alongside her long-time collaborator Nathan Chapman. Red incorporates styles of pop, country, and rock, using acoustic instruments alongside electronic synths and drum machines. Initial reviews mostly praised Swift's songwriting for its emotional exploration and engagement but were divided on the production, with critics deeming it inconsistent and questioning her identity as a country artist. (Full article...)
    Red is the fourth studio album by the American singer-songwriter Taylor Swift, released on October 22, 2012, by Big Machine Records. Swift designated Red as a breakup album that portrays the complex and conflicting feelings ensuing from lost love.

    Hoping to convey those sentiments through music, Swift engaged new producers to experiment with styles beyond the country pop sound of her past albums. The ensemble included Dann Huff, Max Martin, Shellback, Jeff Bhasker, Dan Wilson, Jacknife Lee, Butch Walker, alongside her long-time collaborator Nathan Chapman. Red incorporates styles of pop, country, and rock, using acoustic instruments alongside electronic synths and drum machines. Initial reviews mostly praised Swift's songwriting for its emotional exploration and engagement but were divided on the production, with critics deeming it inconsistent and questioning her identity as a country artist. (Full article...)
  • Image 13 Messiaen in 1986 Olivier Eugène Prosper Charles Messiaen (UK: /ˈmɛsiæ̃/, US: /mɛˈsjæ̃, meɪˈsjæ̃, mɛˈsjɒ̃/; French: [ɔlivje øʒɛn pʁɔspɛʁ ʃaʁl mɛsjɑ̃]; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist. One of the major composers of the 20th century, he was also an outstanding teacher of composition and musical analysis. Messiaen entered the Paris Conservatoire at age 11 and studied with Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post he held for 61 years, until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his Quatuor pour la fin du temps (Quartet for the End of Time) for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. Soon after his release in 1941, Messiaen was appointed professor of harmony at the Paris Conservatoire. In 1966, he was appointed professor of composition there, and he held both positions until retiring in 1978. His many distinguished pupils included Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Jacques Hétu, Tristan Murail, Karlheinz Stockhausen, György Kurtág, and Yvonne Loriod, who became his second wife. (Full article...)

    Messiaen in 1986

    Olivier Eugène Prosper Charles Messiaen (UK: /ˈmɛsiæ̃/, US: /mɛˈsjæ̃, meɪˈsjæ̃, mɛˈsjɒ̃/; French: [ɔlivje øʒɛn pʁɔspɛʁ ʃaʁl mɛsjɑ̃]; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist. One of the major composers of the 20th century, he was also an outstanding teacher of composition and musical analysis.


    Messiaen entered the Paris Conservatoire at age 11 and studied with Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post he held for 61 years, until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his Quatuor pour la fin du temps (Quartet for the End of Time) for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. Soon after his release in 1941, Messiaen was appointed professor of harmony at the Paris Conservatoire. In 1966, he was appointed professor of composition there, and he held both positions until retiring in 1978. His many distinguished pupils included Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Jacques Hétu, Tristan Murail, Karlheinz Stockhausen, György Kurtág, and Yvonne Loriod, who became his second wife. (Full article...)
  • Image 14 Year Zero is the fifth studio album by the American industrial rock band Nine Inch Nails, released by Interscope Records on April 17, 2007. Conceived while touring in support of the band's previous album, With Teeth (2005), the album was recorded in late 2006. It was produced by Trent Reznor and Atticus Ross, and was the band's first studio album since 1994's The Downward Spiral that was not co-produced by long-time collaborator Alan Moulder. It was the band's last album for Interscope, following Reznor's departure the same year due to a dispute regarding overseas pricing. In contrast to the introspective style of songwriting featured on the band's previous work, the record is a concept album that criticizes contemporary policies of the United States government by presenting a dystopian vision of the year 2022. It was part of a larger Year Zero project, which included a remix album, an alternate reality game of the same name, as well as a conceived television or film adaptation. The game expanded upon the album's storyline, using websites, pre-recorded phone messages, murals, among other media in promotion of the project. The album was promoted by two singles: "Survivalism" and "Capital G". (Full article...)
    Year Zero is the fifth studio album by the American industrial rock band Nine Inch Nails, released by Interscope Records on April 17, 2007. Conceived while touring in support of the band's previous album, With Teeth (2005), the album was recorded in late 2006. It was produced by Trent Reznor and Atticus Ross, and was the band's first studio album since 1994's The Downward Spiral that was not co-produced by long-time collaborator Alan Moulder. It was the band's last album for Interscope, following Reznor's departure the same year due to a dispute regarding overseas pricing.

    In contrast to the introspective style of songwriting featured on the band's previous work, the record is a concept album that criticizes contemporary policies of the United States government by presenting a dystopian vision of the year 2022. It was part of a larger Year Zero project, which included a remix album, an alternate reality game of the same name, as well as a conceived television or film adaptation. The game expanded upon the album's storyline, using websites, pre-recorded phone messages, murals, among other media in promotion of the project. The album was promoted by two singles: "Survivalism" and "Capital G". (Full article...)
  • Image 15 "City of Blinding Lights" is a song by Irish rock band U2. It is the fifth track on their eleventh studio album, How to Dismantle an Atomic Bomb (2004), and was released as the album's fourth single on 6 June 2005. It was produced by Flood, with additional production by Chris Thomas and Jacknife Lee. The song reached number one in Spain, and peaked in the top ten in Canada, Ireland, the United Kingdom, and several other countries. The music video was shot at the General Motors Place in Vancouver, British Columbia, Canada. The earliest incarnation of the song was developed during sessions for the band's 1997 album, Pop. The lyrics were written by the band's lead vocalist Bono, taking partial inspiration from his recollection of his first trip to London, and from the band's experience playing in New York City in the aftermath of the September 11 attacks during their Elevation Tour in 2001. Other lyrics refer to Bono's relationship with his wife Ali. The song's underlying theme reflects lost innocence and was inspired by an image Bono saw of himself from the early 1980s. The sound has been compared to the tone of U2's 1984 album, The Unforgettable Fire and their 1987 single "Where the Streets Have No Name". (Full article...)
    "City of Blinding Lights" is a song by Irish rock band U2. It is the fifth track on their eleventh studio album, How to Dismantle an Atomic Bomb (2004), and was released as the album's fourth single on 6 June 2005. It was produced by Flood, with additional production by Chris Thomas and Jacknife Lee. The song reached number one in Spain, and peaked in the top ten in Canada, Ireland, the United Kingdom, and several other countries. The music video was shot at the General Motors Place in Vancouver, British Columbia, Canada.

    The earliest incarnation of the song was developed during sessions for the band's 1997 album, Pop. The lyrics were written by the band's lead vocalist Bono, taking partial inspiration from his recollection of his first trip to London, and from the band's experience playing in New York City in the aftermath of the September 11 attacks during their Elevation Tour in 2001. Other lyrics refer to Bono's relationship with his wife Ali. The song's underlying theme reflects lost innocence and was inspired by an image Bono saw of himself from the early 1980s. The sound has been compared to the tone of U2's 1984 album, The Unforgettable Fire and their 1987 single "Where the Streets Have No Name". (Full article...)
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