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The Music Portal

Grooved side of theVoyager Golden Record launched aboard theVoyager probes to space, which features music from around the world

Music is the arrangement ofsound to create some combination ofform,harmony,melody,rhythm, or otherwiseexpressive content. Music is generally agreed to be acultural 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 ofspecific elements, there is no consensus as to what these necessary elements are. Music is often characterized as a highly versatile medium for expressing humancreativity. Diverse activities are involved in the creation of music, and are often divided into categories ofcomposition,improvisation, andperformance. Music may be performed using a wide variety ofmusical instruments, including thehuman voice. It can also be composed, sequenced, or otherwise produced to be indirectly played mechanically or electronically, such as via amusic box,barrel organ, ordigital audio workstation software on a computer.

Music often plays a key role in social events andreligious ceremonies. 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 asfestivals and concerts for various different types of ensembles. Music is used in the production of other media, such as insoundtracks to films, TV shows,operas, and video games.

Listening to music is a common means ofentertainment. The culture surrounding music extends into areas ofacademic study,journalism,philosophy,psychology, andtherapy. Themusic industry includes songwriters, performers,sound engineers, producers, tour organizers, distributors of instruments, accessories, and publishers ofsheet music andrecordings. Technology facilitating therecording and reproduction of music has historically includedsheet music,microphones,phonographs, andtape machines, with playback ofdigital music being a common use forMP3 players,CD players, andsmartphones. (Full article...)

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  • Image 1 The composer (c. 1940–1945) The Symphony No. 8, JS 190, was the final major compositional project of the Finnish composer Jean Sibelius, occupying him intermittently from the mid-1920s until around 1938, though he never published it. During this time Sibelius was at the peak of his fame, a national figure in his native Finland and a composer of international stature. A fair copy of at least the first movement was made, but how much of the Eighth Symphony was completed is unknown. Sibelius repeatedly refused to release it for performance, though he continued to assert that he was working on it even after he had, according to later reports from his family, burned the score and associated material, probably in 1945. Much of Sibelius's reputation, during his lifetime and subsequently, derived from his work as a symphonist. His Seventh Symphony of 1924 has been widely recognised as a landmark in the development of symphonic form, and at the time there was no reason to suppose that the flow of innovative orchestral works would not continue. However, after the symphonic poem Tapiola, completed in 1926, his output was confined to relatively minor pieces and revisions to earlier works. During the 1930s the Eighth Symphony's premiere was promised to Serge Koussevitzky and the Boston Symphony Orchestra on several occasions, but as each scheduled date approached Sibelius demurred, claiming that the work was not ready for performance. Similar promises made to the British conductor Basil Cameron and to the Finnish Georg Schnéevoigt likewise proved illusory. It is thought that Sibelius's perfectionism and exalted reputation prevented him ever completing the symphony to his satisfaction; he wanted it to be even better than his Seventh. (Full article...)
    Image 1

    The composer (c. 1940–1945)

    The
    Symphony No. 8,JS 190, was the final major compositional project of the Finnish composerJean Sibelius, occupying him intermittently from the mid-1920s until around 1938, though he never published it. During this time Sibelius was at the peak of his fame, a national figure in his native Finland and a composer of international stature. A fair copy of at least the first movement was made, but how much of the Eighth Symphony was completed is unknown. Sibelius repeatedly refused to release it for performance, though he continued to assert that he was working on it even after he had, according to later reports from his family, burned the score and associated material, probably in 1945.

    Much of Sibelius's reputation, during his lifetime and subsequently, derived from his work as asymphonist. HisSeventh Symphony of 1924 has been widely recognised as a landmark in the development of symphonic form, and at the time there was no reason to suppose that the flow of innovative orchestral works would not continue. However, after the symphonic poemTapiola, completed in 1926, his output was confined to relatively minor pieces and revisions to earlier works. During the 1930s the Eighth Symphony's premiere was promised toSerge Koussevitzky and theBoston Symphony Orchestra on several occasions, but as each scheduled date approached Sibelius demurred, claiming that the work was not ready for performance. Similar promises made to the British conductorBasil Cameron and to the FinnishGeorg Schnéevoigt likewise proved illusory. It is thought that Sibelius's perfectionism and exalted reputation prevented him ever completing the symphony to his satisfaction; he wanted it to be even better than his Seventh. (Full article...)
  • Image 2 "Alejandro" is a song by American singer Lady Gaga from her third extended play (EP), The Fame Monster (2009)—the reissue of her debut studio album, The Fame (2008). It was released as the third single from The Fame Monster on April 20, 2010. Interscope Records intended "Dance in the Dark" to be the EP's third single after "Alejandro" initially received limited airplay, but Gaga insisted on the latter. Written and co-produced by Gaga alongside Moroccan-Swedish producer RedOne, "Alejandro" was inspired by Gaga's fear of men and is about her bidding farewell to her Latino lovers named Alejandro, Roberto and Fernando. Musically, it is a synth-pop song with Europop and Latin pop beats, and opens with a sample from the main melody of Vittorio Monti's "Csárdás". Upon its release, "Alejandro" received generally mixed reviews from music critics; some praised the song's catchiness and production while others criticized it as unoriginal, mainly due to the influence from the Swedish pop groups ABBA and Ace of Base. Retrospective reviewers ranked the song as one of Gaga's best singles. Commercially, "Alejandro" was a global success, topping the record charts in Croatia, Finland, Greece, Hungary, Mexico, Poland, Russia and Venezuela. It was a Top 5 hit single in Australia, Brazil, Canada, Denmark, France, Germany, Italy, Spain and the United States. In a 2017 journal, which studied structural patterns in melodies of earworm songs, the American Psychological Association (APA) called "Alejandro" one of the world's catchiest. (Full article...)
    Image 2
    "Alejandro" is a song by American singerLady Gaga from her thirdextended play (EP),The Fame Monster (2009)—thereissue of her debutstudio album,The Fame (2008). It was released as the thirdsingle fromThe Fame Monster on April 20, 2010.Interscope Records intended "Dance in the Dark" to be the EP's third single after "Alejandro" initially received limitedairplay, but Gaga insisted on the latter. Written and co-produced by Gaga alongside Moroccan-Swedish producerRedOne, "Alejandro" was inspired by Gaga's fear of men and is about her bidding farewell to herLatino lovers named Alejandro, Roberto and Fernando. Musically, it is asynth-pop song withEuropop andLatin pop beats, and opens with asample from the mainmelody ofVittorio Monti's "Csárdás".

    Upon its release, "Alejandro" received generally mixed reviews frommusic critics; some praised the song'scatchiness and production while others criticized it as unoriginal, mainly due to the influence from the Swedishpop groupsABBA andAce of Base. Retrospective reviewers ranked the song as one of Gaga's best singles. Commercially, "Alejandro" was a global success, topping therecord charts in Croatia, Finland, Greece, Hungary, Mexico, Poland, Russia and Venezuela. It was aTop 5hit single in Australia, Brazil, Canada, Denmark, France, Germany, Italy, Spain and the United States. In a 2017 journal, which studied structural patterns in melodies ofearworm songs, theAmerican Psychological Association (APA) called "Alejandro" one of the world's catchiest. (Full article...)
  • Image 3 "Deja Vu" (stylized in all lowercase) is a song by American singer-songwriter Olivia Rodrigo. It was released on April 1, 2021, through Geffen and Interscope Records, as the second single from her debut studio album, Sour (2021). Rodrigo wrote the song with its producer Dan Nigro, with Taylor Swift, Jack Antonoff, and St. Vincent receiving writing credits for its interpolation of Swift's 2019 song "Cruel Summer". An incorporation of various pop and rock sub-genres, "Deja Vu" explores themes of nostalgia, heartbreak, and the complexity of moving on from a past relationship. Olivia Rodrigo reflects on the memories associated with her previous relationship and the struggle to let go, even as she acknowledges that the new couple is creating their own memories. "Deja Vu" received acclaim from music critics, many of whom considered it a strong follow-up to "Drivers License" (2021) and praised its lyrics. In the United States, the song debuted at number eight on the Billboard Hot 100 and made Rodrigo the first artist to debut their first two singles in the chart's top 10. It eventually peaked at number three. "Deja Vu" reached the top 10 in Ireland, Australia, Malaysia, New Zealand, Singapore, Canada, Latvia, the United Kingdom, Portugal, and the Czech Republic. (Full article...)
    Image 3
    "Deja Vu" (stylized inall lowercase) is a song by American singer-songwriterOlivia Rodrigo. It was released on April 1, 2021, throughGeffen andInterscope Records, as the second single from her debut studio album,Sour (2021). Rodrigo wrote the song with its producerDan Nigro, withTaylor Swift,Jack Antonoff, andSt. Vincent receiving writing credits for itsinterpolation of Swift's 2019 song "Cruel Summer". An incorporation of variouspop androck sub-genres, "Deja Vu" explores themes of nostalgia, heartbreak, and the complexity of moving on from a past relationship. Olivia Rodrigo reflects on the memories associated with her previous relationship and the struggle to let go, even as she acknowledges that the new couple is creating their own memories.

    "Deja Vu" received acclaim from music critics, many of whom considered it a strong follow-up to "Drivers License" (2021) and praised its lyrics. In the United States, the song debuted at number eight on theBillboard Hot 100 and made Rodrigo the first artist to debut their first two singles in the chart's top 10. It eventually peaked at number three. "Deja Vu" reached the top 10 in Ireland, Australia, Malaysia, New Zealand, Singapore, Canada, Latvia, the United Kingdom, Portugal, and the Czech Republic. (Full article...)
  • Image 4 Sir Adrian Cedric Boult, CH (/boʊlt/; 8 April 1889 – 22 February 1983) was a British conductor. Brought up in a prosperous mercantile family, he followed musical studies in England and at Leipzig, Germany, with early conducting work in London for the Royal Opera House and Sergei Diaghilev's ballet company. His first prominent post was conductor of the City of Birmingham Orchestra in 1924. When the British Broadcasting Corporation appointed him director of music in 1930, he established the BBC Symphony Orchestra and became its chief conductor. The orchestra set standards of excellence that were rivalled in Britain only by the London Philharmonic Orchestra (LPO), founded two years later. Forced to leave the BBC in 1950 on reaching retirement age, Boult became principal conductor of the London Philharmonic Orchestra. The orchestra had declined from its peak of the 1930s, but under his guidance its fortunes were revived. He retired as its chief conductor in 1957, and later accepted the post of president. Although in the latter part of his career he worked with several other orchestras, including the London Symphony Orchestra, the Philharmonia Orchestra, the Royal Philharmonic Orchestra, and his former orchestra, the BBC Symphony, it was the LPO with which he was primarily associated, conducting it in concerts and recordings until 1978, in what was widely called his "Indian summer". (Full article...)
    Image 4
    Sir Adrian Cedric Boult,CH (/blt/; 8 April 1889 – 22 February 1983) was a British conductor. Brought up in a prosperous mercantile family, he followed musical studies in England and atLeipzig, Germany, with early conducting work in London for theRoyal Opera House andSergei Diaghilev's ballet company. His first prominent post was conductor of theCity of Birmingham Orchestra in 1924. When theBritish Broadcasting Corporation appointed him director of music in 1930, he established theBBC Symphony Orchestra and became its chief conductor. The orchestra set standards of excellence that were rivalled in Britain only by theLondon Philharmonic Orchestra (LPO), founded two years later.

    Forced to leave the BBC in 1950 on reaching retirement age, Boult became principal conductor of the London Philharmonic Orchestra. The orchestra had declined from its peak of the 1930s, but under his guidance its fortunes were revived. He retired as its chief conductor in 1957, and later accepted the post of president. Although in the latter part of his career he worked with several other orchestras, including theLondon Symphony Orchestra, thePhilharmonia Orchestra, theRoyal Philharmonic Orchestra, and his former orchestra, the BBC Symphony, it was the LPO with which he was primarily associated, conducting it in concerts and recordings until 1978, in what was widely called his "Indian summer". (Full article...)
  • Image 5 Berlioz by August Prinzhofer, 1845 Louis-Hector Berlioz (11 December 1803 – 8 March 1869) was a French Romantic composer and conductor. His output includes orchestral works such as the Symphonie fantastique and Harold in Italy, choral pieces including the Requiem and L'Enfance du Christ, his three operas Benvenuto Cellini, Les Troyens and Béatrice et Bénédict, and works of hybrid genres such as the "dramatic symphony" Roméo et Juliette and the "dramatic legend" La Damnation de Faust. The elder son of a provincial physician, Berlioz was expected to follow his father into medicine, and he attended a Parisian medical college before defying his family by taking up music as a profession. His independence of mind and refusal to follow traditional rules and formulas put him at odds with the conservative musical establishment of Paris. He briefly moderated his style sufficiently to win France's premier music prize – the Prix de Rome – in 1830, but he learned little from the academics of the Paris Conservatoire. Opinion was divided for many years between those who thought him an original genius and those who viewed his music as lacking in form and coherence. (Full article...)
    Image 5
    portrait of white man in early middle age, seen in left profile; he has bushy hair and a neckbeard but no moustache.
    Berlioz byAugust Prinzhofer, 1845

    Louis-Hector Berlioz (11 December 1803 – 8 March 1869) was a FrenchRomantic composer and conductor. His output includes orchestral works such as theSymphonie fantastique andHarold in Italy, choral pieces including theRequiem andL'Enfance du Christ, his three operasBenvenuto Cellini,Les Troyens andBéatrice et Bénédict, and works of hybrid genres such as the "dramatic symphony"Roméo et Juliette and the "dramatic legend"La Damnation de Faust.

    The elder son of a provincial physician, Berlioz was expected to follow his father into medicine, and he attended a Parisian medical college before defying his family by taking up music as a profession. His independence of mind and refusal to follow traditional rules and formulas put him at odds with the conservative musical establishment of Paris. He briefly moderated his style sufficiently to win France's premier music prize – thePrix de Rome – in 1830, but he learned little from the academics of theParis Conservatoire. Opinion was divided for many years between those who thought him an original genius and those who viewed his music as lacking in form and coherence. (Full article...)
  • Image 6 Ho Ho Ho, also known as VH-1 Presents RuPaul: Ho Ho Ho, is a Christmas album and the third studio album by American singer and drag queen RuPaul. Released on October 28, 1997, by the record label Rhino, it is RuPaul's first album featuring Christmas music and serves as a follow-up to his 1996 album Foxy Lady. RuPaul co-produced the album with Fenton Bailey and Randy Barbato from the production company World of Wonder. Ho Ho Ho consists of thirteen tracks, including ten covers of Christmas standards and carols, and three original songs written by Joe Carrano and RuPaul. Music critics frequently described the album as an example of camp though RuPaul clarified that it included several more serious covers, specifically "All Alone on Christmas" and "Hard Candy Christmas". Ho Ho Ho was praised by critics following its release and during retrospective reviews; its cheerful and humorous compositions were frequently cited as the album's highlights, though some commentators responded negatively to the record's use of humor and the lack of clarity in its overall message. It was included in a 2016 parody list discussing the alt-right, the "War on Christmas", and the bathroom bill. The album peaked at number 27 on the Heatseekers Albums Billboard chart, selling a little more than 4,000 copies in one week. To support the record, RuPaul filmed a television special as part of his VH1 talk show The RuPaul Show. (Full article...)
    Image 6
    Ho Ho Ho, also known asVH-1 Presents RuPaul: Ho Ho Ho, is aChristmas album and the third studio album by American singer anddrag queenRuPaul. Released on October 28, 1997, by the record labelRhino, it is RuPaul's first album featuring Christmas music and serves as a follow-up to his 1996 albumFoxy Lady. RuPaul co-produced the album withFenton Bailey andRandy Barbato from the production companyWorld of Wonder.Ho Ho Ho consists of thirteen tracks, including ten covers ofChristmas standards andcarols, and three original songs written by Joe Carrano and RuPaul.Music critics frequently described the album as an example ofcamp though RuPaul clarified that it included several more serious covers, specifically "All Alone on Christmas" and "Hard Candy Christmas".

    Ho Ho Ho was praised by critics following its release and during retrospective reviews; its cheerful and humorous compositions were frequently cited as the album's highlights, though some commentators responded negatively to the record's use of humor and the lack of clarity in its overall message. It was included in a 2016 parody list discussing thealt-right, the"War on Christmas", and thebathroom bill. The album peaked at number 27 on theHeatseekers AlbumsBillboard chart, selling a little more than 4,000 copies in one week. To support the record, RuPaul filmed a television special as part of hisVH1 talk showThe RuPaul Show. (Full article...)
  • Image 7 "Spinning Around" is a song by Australian singer Kylie Minogue for her seventh studio album, Light Years (2000). Written by Ira Shickman, Osborne Bingham, Kara DioGuardi and Paula Abdul, the song was initially meant to be recorded by Abdul for her own album, but was given to Minogue after the plan never came to fruition. Produced by Mike Spencer, the disco-influenced dance-pop song was then released in Australia and the UK as the lead single from Light Years on 19 June 2000, through Mushroom Records and Parlophone. Lyrically, the song addresses the theme of reinvention, with Minogue claiming that she has changed as a person and learned from the past. Upon its release, "Spinning Around" received favourable reviews from music critics, who singled it out as one of the highlights from the album and praised Minogue for returning to her signature musical style. Commercially, the single was a success and became Minogue's "comeback" single following the critical and commercial disappointment of her previous album Impossible Princess (1997). It entered the Australian Singles Chart at number one, becoming Minogue's first chart-topper since "Confide in Me" in 1994. The single also debuted at number one in the United Kingdom, where it became her first single to peak atop the chart since "Tears on My Pillow" in 1990. Elsewhere, it reached the top five in several countries, including Croatia, Czech Republic, Ireland, New Zealand and Russia. "Spinning Around" was certified platinum in Australia and the United Kingdom. The song won the 2000 ARIA Music Award for "Best Pop Release". (Full article...)
    Image 7
    "Spinning Around" is a song by Australian singerKylie Minogue for her seventh studio album,Light Years (2000). Written by Ira Shickman,Osborne Bingham,Kara DioGuardi andPaula Abdul, the song was initially meant to be recorded by Abdul for her own album, but was given to Minogue after the plan never came to fruition. Produced byMike Spencer, thedisco-influenceddance-pop song was then released in Australia and the UK as thelead single fromLight Years on 19 June 2000, throughMushroom Records andParlophone. Lyrically, the song addresses the theme of reinvention, with Minogue claiming that she has changed as a person and learned from the past.

    Upon its release, "Spinning Around" received favourable reviews frommusic critics, who singled it out as one of the highlights from the album and praised Minogue for returning to her signature musical style. Commercially, the single was a success and became Minogue's "comeback" single following the critical and commercial disappointment of her previous albumImpossible Princess (1997). It entered theAustralian Singles Chart at number one, becoming Minogue's first chart-topper since "Confide in Me" in 1994. The single also debuted at number one in the United Kingdom, where it became her first single to peak atop the chart since "Tears on My Pillow" in 1990. Elsewhere, it reached the top five in several countries, including Croatia, Czech Republic, Ireland, New Zealand and Russia. "Spinning Around" wascertified platinum in Australia and the United Kingdom. The song won the 2000ARIA Music Award for "Best Pop Release". (Full article...)
  • Image 8 "Your Power" is a song by American singer-songwriter Billie Eilish and the third single from her second studio album, Happier Than Ever (2021). It was released on April 29, 2021, through Darkroom and Interscope Records. A downtempo indie folk ballad backed by an acoustic guitar, the song is a plea for people to stop abusing their authority, and it mainly addresses men who exploit vulnerable women. Its lyrics narrate a damaging sexual relationship between a female high school student and an older man, exploring the topics of domestic abuse, sexual harassment, and statutory rape. Eilish wrote "Your Power" with her producer who is her brother, Finneas O'Connell. Named one of the best songs of 2021 in Variety and The Guardian, "Your Power" was praised for its candid songwriting, the emotional impact of its critiques of abuse, and the relevance of its lyrics to contemporary society. It won Best Video with a Social Message at the 2021 MTV Video Music Awards. During its opening week, the song received 64.2 million streams and sold 8,600 digital copies worldwide. "Your Power" reached the top 10 in over 20 countries; it was Eilish's fifth top 10 song and third top 10 debut in the United States. It peaked at number 6 on the Billboard Global 200 chart, her second top 10 single there. (Full article...)
    Image 8
    "Your Power" is a song by American singer-songwriterBillie Eilish and the thirdsingle from her second studio album,Happier Than Ever (2021). It was released on April 29, 2021, through Darkroom andInterscope Records. Adowntempoindie folkballad backed by anacoustic guitar, the song is a plea for people to stop abusing their authority, and it mainly addresses men who exploit vulnerable women. Its lyrics narrate a damaging sexual relationship between a female high school student and an older man, exploring the topics ofdomestic abuse,sexual harassment, andstatutory rape. Eilish wrote "Your Power" with her producer who is her brother,Finneas O'Connell.

    Named one of the best songs of 2021 inVariety andThe Guardian, "Your Power" was praised for its candid songwriting, the emotional impact of its critiques of abuse, and the relevance of its lyrics to contemporary society. It wonBest Video with a Social Message at the2021 MTV Video Music Awards. During its opening week, the song received 64.2 millionstreams and sold 8,600digital copies worldwide. "Your Power" reached the top 10 in over 20 countries; it was Eilish's fifth top 10 song and third top 10 debut in the United States. It peaked at number 6 on theBillboard Global 200 chart, her second top 10 single there. (Full article...)
  • Image 9 "Can I Get It" is a song by the English singer Adele from her fourth studio album, 30 (2021), written with the Swedish producers Max Martin and Shellback. The song became available as the album's sixth track on 19 November 2021, when it was released by Columbia Records. A pop song with pop rock and country pop influences, "Can I Get It" has acoustic guitar, drum, and horn instrumentation and a whistled hook. The song is about moving on from a breakup and explores Adele's search for true love and the thrilling and wondrous parts of a new relationship. "Can I Get It" received mixed reviews from music critics, who were generally positive about its acoustic portion and lyrics, but highly criticised its whistled hook. Some thought that what they called the song's "brazen" pop production catered to the tastes of mainstream radio, which made it an outlier on 30, and compared it to Flo Rida's single "Whistle" (2012). It reached the top 20 in Sweden, Canada, Switzerland, Australia, Finland, and Norway and entered the top 40 in some other countries. (Full article...)
    Image 9
    "Can I Get It" is a song by the English singerAdele from her fourth studio album,30 (2021), written with the Swedish producersMax Martin andShellback. The song became available as the album's sixth track on 19 November 2021, when it was released byColumbia Records. Apop song withpop rock andcountry pop influences, "Can I Get It" has acoustic guitar, drum, and horn instrumentation and a whistledhook. The song is about moving on from a breakup and explores Adele's search for true love and the thrilling and wondrous parts of a new relationship.

    "Can I Get It" received mixed reviews frommusic critics, who were generally positive about its acoustic portion and lyrics, but highly criticised its whistled hook. Some thought that what they called the song's "brazen" pop production catered to the tastes of mainstream radio, which made it an outlier on30, and compared it toFlo Rida's single "Whistle" (2012). It reached the top 20 in Sweden, Canada, Switzerland, Australia, Finland, and Norway and entered the top 40 in some other countries. (Full article...)
  • Image 10 "The One" is a song by American singer Tamar Braxton from her second studio album, Love and War, which was released on September 3, 2013. Braxton co-wrote the song with its producer, K.E. on the Track, along with LaShawn Daniels, Christian Ward, Jean-Claude Oliver, and Shaunice Lasha Jones. Epic and Streamline Records issued it as the album's second single on May 7, 2013. "The One" is about commitment to a romantic partner, and the production uses a sample of Mtume's "Juicy Fruit" (1983) and a portion of the Notorious B.I.G.'s "Juicy" (1994). The song received positive reviews from critics who associated it with summer and praised Braxton's vocals. Reviewers commented on the use of samples, believing they were already overused in past music. The single peaked at number four on Billboard's Bubbling Under Hot 100 and number 34 on the Hot R&B/Hip-Hop Songs, and was certified Gold by the Recording Industry Association of America. Gil Green directed the music video, which features Braxton on a date at the Santa Monica Pier. Braxton further promoted "The One" through live performances, including on her Love and War Tour in 2014. (Full article...)
    Image 10
    "The One" is a song by American singerTamar Braxton from her second studio album,Love and War, which was released on September 3, 2013. Braxton co-wrote the song with its producer,K.E. on the Track, along withLaShawn Daniels,Christian Ward,Jean-Claude Oliver, and Shaunice Lasha Jones.Epic andStreamline Records issued it as the album's second single on May 7, 2013. "The One" is about commitment to a romantic partner, and the production uses asample ofMtume's "Juicy Fruit" (1983) and a portion ofthe Notorious B.I.G.'s "Juicy" (1994).

    The song received positive reviews from critics who associated it with summer and praised Braxton's vocals. Reviewers commented on the use of samples, believing they were already overused in past music. The single peaked at number four onBillboard'sBubbling Under Hot 100 and number 34 on theHot R&B/Hip-Hop Songs, and wascertified Gold by theRecording Industry Association of America.Gil Green directed the music video, which features Braxton on a date at theSanta Monica Pier. Braxton further promoted "The One" through live performances, including on herLove and War Tour in 2014. (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 the concept of a multifaceted identity, 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, and as 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 11
    Alicia is the seventh studio album by American singer-songwriter and pianistAlicia Keys. It was primarily recorded atOven Studios andJungle City Studios, both in New York, after her 2016 albumHere and her judgeship on the singing competition seriesThe Voice, before being released byRCA Records on September 18, 2020. Written and produced largely by Keys, the album also features songwriting and production contributions fromSwizz Beatz,Ryan Tedder,Johnny McDaid,Ed Sheeran, andThe-Dream, among others. Keys collaborated with more artists on the recording than in her previous albums, enlisting vocalists such asSampha,Tierra Whack,Diamond Platnumz,Snoh Aalegra, andJill Scott for certain tracks.

    Alicia's mostly low-tempo and melodically subtle music reconciles the experimental direction ofHere with her earlier work'sbass drum-drivenR&B and piano-basedballadry. Throughout, individual songs incorporate sounds from a wide range of other genres, includingorchestral pop,progressive soul,funk,ambient,country, andCaribbean music. Thematically, they explore the concept of a multifaceted identity,sociopolitical concerns, and forms of love within the framework of impressionistic lyrics, personal narratives, andself-knowledge. Keys has described the album as therapeutic and reflective of greaterintrospection, and as expressing ideas and feelings of hope, frustration, despair, ambivalence, andequanimity shared in her memoirMore Myself (2020), which was written duringAlicia's recording. (Full article...)
  • Image 12 "Love Is Embarrassing" (stylized in all lowercase) is a song by American singer-songwriter Olivia Rodrigo from her second studio album, Guts (2023). Rodrigo wrote the song with its producer, Dan Nigro. It became available as the album's ninth track on September 8, 2023, when it was released by Geffen Records. A new wave song, "Love Is Embarrassing" has self-deprecating lyrics in which Rodrigo derides a love interest and expresses embarrassment about how much she was attracted to him. Music critics found the lyricism of "Love Is Embarrassing" relatable and compared Rodrigo's vocals and the production to the work of other artists. The song reached the top 30 in Australia, Canada, Ireland, New Zealand, and the United States and entered the charts in some other countries. It received platinum certifications in Australia, Brazil, and Canada. Rodrigo included the song on the set list of her 2024–2025 concert tour, the Guts World Tour. She suffered a wardrobe malfunction while performing the song during the London tour stop, which critics believed she handled well. (Full article...)
    Image 12
    "Love Is Embarrassing" (stylized inall lowercase) is a song by American singer-songwriterOlivia Rodrigo from her second studio album,Guts (2023). Rodrigo wrote the song with its producer,Dan Nigro. It became available as the album's ninth track on September 8, 2023, when it was released byGeffen Records. Anew wave song, "Love Is Embarrassing" hasself-deprecating lyrics in which Rodrigo derides alove interest and expresses embarrassment about how much she was attracted to him.

    Music critics found the lyricism of "Love Is Embarrassing" relatable and compared Rodrigo's vocals and the production to the work of other artists. The song reached the top 30 in Australia, Canada, Ireland, New Zealand, and the United States and entered the charts in some other countries. It received platinum certifications in Australia, Brazil, and Canada. Rodrigo included the song on the set list of her 2024–2025 concert tour, theGuts World Tour. She suffered awardrobe malfunction while performing the song during the London tour stop, which critics believed she handled well. (Full article...)
  • Image 13 Romance is the eighth studio album by Mexican singer Luis Miguel. It was released by WEA Latina on 19 November 1991. Although the production was originally intended as another collaboration with Juan Carlos Calderón, that plan was scrapped when Calderón was unable to compose songs for the album. Facing a new-material deadline in his recording contract, at his manager's suggestion Miguel chose bolero music for his next project. Mexican singer-songwriter Armando Manzanero was hired by WEA Latina to co-produce the album with Miguel. Recording began in August 1991 at Ocean Way Recording in Hollywood, California, with Bebu Silvetti the arranger. On the album Miguel covers twelve boleros, originally recorded from 1944 to 1986. The first two singles, "Inolvidable" and "No Sé Tú", reached number one on the Billboard Hot Latin Songs chart in the United States and spent six months atop the Mexican charts. "Mucho Corazón" and "Cómo" were in the top five of the Hot Latin Songs chart, and "Usted" and "La Barca" received airplay throughout Latin America. Miguel promoted the record with a tour of the United States and Latin America. The album was generally well received by music critics, who praised Miguel's singing and the record's production. The singer received several accolades, including Luis Miguel's fourth Grammy nomination for Best Latin Pop Album. (Full article...)
    Image 13
    Romance is the eighthstudio album by Mexican singerLuis Miguel. It was released byWEA Latina on 19 November 1991. Although the production was originally intended as another collaboration withJuan Carlos Calderón, that plan was scrapped when Calderón was unable to compose songs for the album. Facing a new-material deadline in his recording contract, at his manager's suggestion Miguel chosebolero music for his next project. Mexican singer-songwriterArmando Manzanero was hired by WEA Latina to co-produce the album with Miguel. Recording began in August 1991 at Ocean Way Recording in Hollywood, California, withBebu Silvetti thearranger.

    On the album Miguelcovers twelve boleros, originally recorded from 1944 to 1986. The first two singles, "Inolvidable" and "No Sé Tú", reached number one on theBillboard Hot Latin Songs chart in the United States and spent six months atop the Mexican charts. "Mucho Corazón" and "Cómo" were in the top five of the Hot Latin Songs chart, and "Usted" and "La Barca" receivedairplay throughout Latin America. Miguel promoted the record with a tour of the United States and Latin America. The album was generally well received bymusic critics, who praised Miguel's singing and the record's production. The singer received several accolades, including Luis Miguel's fourthGrammy nomination forBest Latin Pop Album. (Full article...)
  • Image 14 First solo violin part, as used for the first performance of the cantata Wie schön leuchtet der Morgenstern ('How beautifully the morning star shines'), BWV 1, is a church cantata for Annunciation by Johann Sebastian Bach. In 1725, when the cantata was composed, the feast of the Annunciation (25 March) coincided with Palm Sunday. Based on Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern" (1599), it is one of Bach's chorale cantatas. Bach composed it in his second year as Thomaskantor in Leipzig, where the Marian feast was the only occasion during Lent when music of this kind was permitted. The theme of the hymn suits both the Annunciation and Palm Sunday occasions, in a spirit of longing expectation of an arrival. As usual for Bach's chorale cantata cycle, the hymn was paraphrased by a contemporary poet who retained the hymn's first and last stanzas unchanged, but transformed the themes of the inner stanzas into a sequence of alternating recitatives and arias. Wie schön leuchtet der Morgenstern is the last chorale cantata of Bach's second cantata cycle, possibly because the librettist who provided the paraphrases for the middle movements of these cantatas was no longer available. Bach scored the work for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of two horns, two oboes da caccia, two solo violins, strings and continuo. The chorale melody of Nicolai's hymn appears in the opening and closing choral movements of the cantata. All instruments play in the opening festive chorale fantasia, in which the soprano sings the hymn tune, and the two solo concertante violins represent the morning star. An oboe da caccia accompanies the vocal soloist in the first aria. The strings, including the solo violins, return in the second aria. An independent horn part crowns the closing chorale. (Full article...)
    Image 14

    First solo violin part, as used for the first performance of the cantata

    Wie schön leuchtet der Morgenstern ('How beautifully the morning star shines'),BWV 1, is achurch cantata for Annunciation byJohann Sebastian Bach. In 1725, when the cantata was composed, the feast of theAnnunciation (25 March) coincided withPalm Sunday. Based onPhilipp Nicolai'shymn "Wie schön leuchtet der Morgenstern" (1599), it is one ofBach's chorale cantatas. Bach composed it in his second year asThomaskantor inLeipzig, where theMarian feast was the only occasion duringLent when music of this kind was permitted. Thetheme of the hymn suits both the Annunciation and Palm Sunday occasions, in a spirit of longing expectation of an arrival. As usual for Bach'schorale cantata cycle, the hymn was paraphrased by a contemporary poet who retained the hymn's first and laststanzas unchanged, but transformed the themes of the inner stanzas into a sequence of alternatingrecitatives andarias.
    Wie schön leuchtet der Morgenstern is the lastchorale cantata of Bach's second cantata cycle, possibly because thelibrettist who provided the paraphrases for the middlemovements of these cantatas was no longer available. Bach scored the work for three vocal soloists, afour-part choir and aBaroque instrumental ensemble of twohorns, twooboes da caccia, two soloviolins,strings andcontinuo. The chorale melody of Nicolai's hymn appears in the opening and closing choral movements of the cantata. All instruments play in the opening festivechorale fantasia, in which thesoprano sings thehymn tune, and the two soloconcertante violins represent the morning star. An oboe da caccia accompanies the vocal soloist in the first aria. The strings, including the solo violins, return in the second aria. An independent horn part crowns the closingchorale. (Full article...)
  • Image 15 Side A of retail US single "Like a Rolling Stone" is a song by the American singer-songwriter Bob Dylan, released on July 20, 1965, by Columbia Records. Its confrontational lyrics originated in an extended piece of verse Dylan wrote in June 1965, when he returned exhausted from a grueling tour of England. Dylan distilled this draft into four verses and a chorus. He recorded "Like a Rolling Stone" a few weeks later for the album Highway 61 Revisited as its opening track. During a difficult two-day preproduction, Dylan struggled to find the essence of the song, which was demoed without success in 3 4 time. A breakthrough happened when he recorded it in a rock format and the rookie session musician Al Kooper improvised a Hammond organ riff. (Full article...)
    Image 15

    Side A of retail US single

    "Like a Rolling Stone" is a song by the American singer-songwriterBob Dylan, released on July 20, 1965, byColumbia Records. Its confrontational lyrics originated in an extended piece of verse Dylan wrote in June 1965, when he returned exhausted from a gruelingtour of England. Dylan distilled this draft into four verses and a chorus. He recorded "Like a Rolling Stone" a few weeks later for the albumHighway 61 Revisited as its opening track.

    During a difficult two-day preproduction, Dylan struggled to find the essence of the song, which was demoed without success in3
    4
    time
    . A breakthrough happened when he recorded it in arock format and the rookie session musicianAl Kooper improvised aHammond organ riff. (Full article...)

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