Портал:Музыка
портал Викимедиа

Музыкальный портал

Рифленая сторона золотой пластинки «Вояджера», отправленной в космос вместе с зондами «Вояджер» , на которой записана музыка со всего мира

Музыка — это аранжировка звука для создания некоторой комбинации формы , гармонии , мелодии , ритма или иного выразительного содержания . Музыка, как правило, считается культурной универсалией , присутствующей во всех человеческих обществах. Определения музыки сильно различаются по сути и подходу. Хотя ученые сходятся во мнении, что музыка определяется небольшим количеством конкретных элементов , нет единого мнения относительно того, что это за необходимые элементы. Музыку часто характеризуют как весьма универсальное средство выражения человеческого творчества . В создании музыки участвуют различные виды деятельности, которые часто делятся на категории композиции , импровизации и исполнения . Музыка может исполняться с использованием самых разных музыкальных инструментов , включая человеческий голос . Ее также можно сочинять, секвенировать или иным образом производить для косвенного воспроизведения механически или электронно, например, с помощью музыкальной шкатулки , шарманки или программного обеспечения цифровой звуковой рабочей станции на компьютере.

Музыка часто играет ключевую роль в общественных мероприятиях и религиозных церемониях . Методы создания музыки часто передаются как часть культурной традиции. Музыка исполняется в общественных и частных контекстах, подчеркивается на таких мероприятиях, как фестивали и концерты для различных типов ансамблей. Музыка используется в производстве других медиа, например, в саундтреках к фильмам, телешоу, операм и видеоиграм.

Прослушивание музыки является распространенным средством развлечения . Культура, окружающая музыку, распространяется на области академического обучения, журналистики , философии , психологии и терапии . Музыкальная индустрия включает в себя авторов песен, исполнителей, звукорежиссеров , продюсеров, организаторов туров, дистрибьюторов инструментов, аксессуаров и издателей нот и записей . Технологии, облегчающие запись и воспроизведение музыки, исторически включали ноты , микрофоны , фонографы и магнитофоны , а воспроизведение цифровой музыки было обычным использованием для MP3-плееров , CD-плееров и смартфонов . ( Полная статья... )

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  • Image 1 "This Charming Man" — песня английской рок-группы The Smiths, написанная гитаристом Джонни Марром и певцом Моррисси. Выпущенная в качестве второго сингла группы в октябре 1983 года на независимом лейбле Rough Trade, она характеризуется джангл-поп-гитарным риффом Марра и характерными мрачными текстами Моррисси, которые вращаются вокруг повторяющихся тем Smiths сексуальной двусмысленности и похоти. Другая версия, из шоу Джона Пила на BBC Radio 1, была включена в сборник Hatful of Hollow в 1984 году. Чувствуя себя оторванным от мейнстримовой гей-культуры начала 1980-х годов, Моррисси написал "This Charming Man", чтобы вызвать образ старой, более закодированной и самосознающей андеграундной сцены. Певец сказал о тексте песни: "Мне очень нравится идея того, что мужской голос довольно уязвим, что его берут и слегка манипулируют, а не всегда есть этот тяжелый мачизм, который просто всем надоедает". (Полная статья...)
    Image 1
    « This Charming Man » — песня английской рок- группы The Smiths , написанная гитаристом Джонни Марром и певцом Моррисси . Выпущенная в качестве второго сингла группы в октябре 1983 года на независимом лейбле Rough Trade , она характеризуется джангл-поп- гитарным риффом Марра и характерно мрачной лирикой Моррисси, которая вращается вокруг повторяющихся тем Smiths — сексуальной неоднозначности и похоти. Другая версия, из шоу Джона Пила на BBC Radio 1 , была включена в сборник Hatful of Hollow в 1984 году. Чувствуя себя оторванным от мейнстримовой гей-культуры

    начала 1980-х годов , Моррисси написал «This Charming Man», чтобы вызвать образ старой, более закодированной и самосознающей андеграундной сцены. Певица сказала о тексте песни: «Мне очень нравится идея того, что мужской голос довольно уязвим, что его берут и слегка манипулируют, а не то, что в нем постоянно присутствует этот тяжелый мачизм, который всем надоедает». ( Полная статья... )
  • Image 2 Messager in 1921 André Charles Prosper Messager (French: [mɛsaʒe]; 30 December 1853 – 24 February 1929) was a French composer, organist, pianist and conductor. His compositions include eight ballets and thirty opéras comiques, opérettes and other stage works, among which his ballet Les Deux Pigeons (1886) and opéra comique Véronique (1898) have had lasting success; Les p'tites Michu (1897) and Monsieur Beaucaire (1919) were also popular internationally. Messager took up the piano as a small child and later studied composition with, among others, Camille Saint-Saëns and Gabriel Fauré. He became a major figure in the musical life of Paris and later London, both as a conductor and a composer. Many of his Parisian works were also produced in the West End and some on Broadway; the most successful had long runs and numerous international revivals. He wrote two operatic works in English, and his later output included musical comedies for Sacha Guitry and Yvonne Printemps. (Full article...)
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    head and shoulder shot of an elderly bald man with a large moustache
    Messager in 1921


    André Charles Prosper Messager (French: [mɛsaʒe]; 30 December 1853 – 24 February 1929) was a French composer, organist, pianist and conductor. His compositions include eight ballets and thirty opéras comiques, opérettes and other stage works, among which his ballet Les Deux Pigeons (1886) and opéra comique Véronique (1898) have had lasting success; Les p'tites Michu (1897) and Monsieur Beaucaire (1919) were also popular internationally.

    Messager took up the piano as a small child and later studied composition with, among others, Camille Saint-Saëns and Gabriel Fauré. He became a major figure in the musical life of Paris and later London, both as a conductor and a composer. Many of his Parisian works were also produced in the West End and some on Broadway; the most successful had long runs and numerous international revivals. He wrote two operatic works in English, and his later output included musical comedies for Sacha Guitry and Yvonne Printemps. (Full article...)
  • Image 3 "Bad Romance" 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). Gaga wrote and produced the song with RedOne. Following an unauthorized demo leak, Gaga premiered the song's final version during the finale of Alexander McQueen's 2010 Paris Fashion Week show in October 2009 and released it as the lead single from The Fame Monster later that month. Musically, it is an electropop and dance-pop song with a spoken bridge. Inspired by German house and techno, the song was developed as an experimental pop record. Lyrically, Gaga drew from the paranoia she experienced while on tour and wrote about her attraction to unhealthy romantic relationships. "Bad Romance" was acclaimed by music critics for its chorus, beat and hook. Retrospective reviewers called it Gaga's best song. It topped the charts in more than 20 countries and sold 12 million copies worldwide, becoming one of the best-selling singles of all time. In the US, the song peaked at number two on the Billboard Hot 100 chart and was certified eleven times Platinum by the Recording Industry Association of America, having sold 5.9 million digital downloads as of 2019. "Bad Romance" won a Grammy Award for Best Female Pop Vocal Performance, and was included in annual "best-of" lists of the media outlets Rolling Stone and Pitchfork; the former named it one of the 100 Greatest Songs of the 21st Century and 500 Greatest Songs of All Time. In a 2017 journal, which studied structural patterns in melodies of earworm songs, the American Psychological Association called "Bad Romance" the catchiest in the world. (Full article...)
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    "Bad Romance" 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). Gaga wrote and produced the song with RedOne. Following an unauthorized demo leak, Gaga premiered the song's final version during the finale of Alexander McQueen's 2010 Paris Fashion Week show in October 2009 and released it as the lead single from The Fame Monster later that month. Musically, it is an electropop and dance-pop song with a spoken bridge. Inspired by German house and techno, the song was developed as an experimental pop record. Lyrically, Gaga drew from the paranoia she experienced while on tour and wrote about her attraction to unhealthy romantic relationships.

    "Bad Romance" was acclaimed by music critics for its chorus, beat and hook. Retrospective reviewers called it Gaga's best song. It topped the charts in more than 20 countries and sold 12 million copies worldwide, becoming one of the best-selling singles of all time. In the US, the song peaked at number two on the Billboard Hot 100 chart and was certified eleven times Platinum by the Recording Industry Association of America, having sold 5.9 million digital downloads as of 2019. "Bad Romance" won a Grammy Award for Best Female Pop Vocal Performance, and was included in annual "best-of" lists of the media outlets Rolling Stone and Pitchfork; the former named it one of the 100 Greatest Songs of the 21st Century and 500 Greatest Songs of All Time. In a 2017 journal, which studied structural patterns in melodies of earworm songs, the American Psychological Association called "Bad Romance" the catchiest in the world. (Full article...)
  • Image 4 "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). Written and produced by Gaga and RedOne, it was released on April 20, 2010, as the third single from the EP. Interscope Records intended the track "Dance in the Dark" to be the EP's third single after "Alejandro" initially received limited airplay, but Gaga insisted on the latter. A synth-pop track with Europop and Latin pop beats, it opens with a sample from the main melody of Vittorio Monti's "Csárdás". The song was inspired by Gaga's fear of men and is about her bidding farewell to her Latino lovers named Alejandro, Roberto and Fernando. Some critics praised the track's catchiness and production while others criticized it as unoriginal, mainly due to the influence from the pop acts ABBA and Ace of Base. Retrospective reviewers ranked the song as one of Gaga's best. Following the album's release, the song charted in the UK and Hungary. Upon its release as a single, "Alejandro" topped the Czech, Finnish, Greek, Mexican, Venezuelan, Polish, Russian and Romanian charts, and reached the top five in Australia, Canada and Sweden. In a 2017 journal, which studied structural patterns in melodies of earworm songs, American Psychological Association called "Alejandro" one of the catchiest in the world. (Full article...)
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    "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). Written and produced by Gaga and RedOne, it was released on April 20, 2010, as the third single from the EP. Interscope Records intended the track "Dance in the Dark" to be the EP's third single after "Alejandro" initially received limited airplay, but Gaga insisted on the latter. A synth-pop track with Europop and Latin pop beats, it opens with a sample from the main melody of Vittorio Monti's "Csárdás". The song was inspired by Gaga's fear of men and is about her bidding farewell to her Latino lovers named Alejandro, Roberto and Fernando.

    Some critics praised the track's catchiness and production while others criticized it as unoriginal, mainly due to the influence from the pop acts ABBA and Ace of Base. Retrospective reviewers ranked the song as one of Gaga's best. Following the album's release, the song charted in the UK and Hungary. Upon its release as a single, "Alejandro" topped the Czech, Finnish, Greek, Mexican, Venezuelan, Polish, Russian and Romanian charts, and reached the top five in Australia, Canada and Sweden. In a 2017 journal, which studied structural patterns in melodies of earworm songs, American Psychological Association called "Alejandro" one of the catchiest in the world. (Full article...)
  • Image 5 Aaliyah is the third and final studio album by American R&B singer Aaliyah. It was released on July 7, 2001, by Blackground Records and Virgin Records. Because of its packaging design, it is also known as "The Red Album". Aaliyah started to work on the album in 1998, but rescheduled its recording around her developing film career. She resumed recording in 2000 at Sing Sing Studios in Australia, where she shot her role for the 2002 film Queen of the Damned during the day and recorded songs at night. Additional recording took place at Manhattan Center and Sony Music Studios in New York and Westlake Recording Studios in Los Angeles, among other locations. Through her recording contract with Blackground, the singer worked primarily with the record label's in-house crew of writers and producers, including Bud'da, J. Dub, Rapture, and Eric Seats, as well as longtime collaborator Timbaland. Aaliyah is described in critical commentaries as an album of R&B, neo soul, and dance-pop, while drawing on an array of other genres such as funk, hip hop, alternative rock, electronica, and Latin music. The album's producers incorporated synthesizer melodies, fragmented beats, distorted guitar, and eccentrically manipulated vocals and song structures, while much of the lyrics were written by singer-songwriter Static Major, who shared a close friendship and strong rapport with Aaliyah. The resulting songs deal with the complexities of romantic love and different stages in a relationship. Aaliyah viewed the album as a reflection of herself as both a young adult and a matured vocalist. (Full article...)
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    Aaliyah is the third and final studio album by American R&B singer Aaliyah. It was released on July 7, 2001, by Blackground Records and Virgin Records. Because of its packaging design, it is also known as "The Red Album". Aaliyah started to work on the album in 1998, but rescheduled its recording around her developing film career. She resumed recording in 2000 at Sing Sing Studios in Australia, where she shot her role for the 2002 film Queen of the Damned during the day and recorded songs at night. Additional recording took place at Manhattan Center and Sony Music Studios in New York and Westlake Recording Studios in Los Angeles, among other locations. Through her recording contract with Blackground, the singer worked primarily with the record label's in-house crew of writers and producers, including Bud'da, J. Dub, Rapture, and Eric Seats, as well as longtime collaborator Timbaland.

    Aaliyah is described in critical commentaries as an album of R&B, neo soul, and dance-pop, while drawing on an array of other genres such as funk, hip hop, alternative rock, electronica, and Latin music. The album's producers incorporated synthesizer melodies, fragmented beats, distorted guitar, and eccentrically manipulated vocals and song structures, while much of the lyrics were written by singer-songwriter Static Major, who shared a close friendship and strong rapport with Aaliyah. The resulting songs deal with the complexities of romantic love and different stages in a relationship. Aaliyah viewed the album as a reflection of herself as both a young adult and a matured vocalist. (Full article...)
  • Image 6 Turnage in 2014 at the Cabrillo Festival of Contemporary Music Blood on the Floor is a suite in nine movements composed for orchestra and jazz trio by Mark-Anthony Turnage. It was composed over a span of three years (1993–1996) after a commission from the Ensemble Modern—a German music group—to produce a piece for an evening jazz event in 1994. After the performance, Turnage expanded the piece into a larger nine-movement suite. During this period of composition, Turnage's brother Andrew died of a drug overdose, shaping the music greatly. As a result, drug culture is one of the main themes in the suite. Blood on the Floor also draws influences from the paintings of Francis Bacon and Heather Betts; the suite's title is an adaptation of Bacon's painting Blood on Pavement. Like other compositions by Turnage, Blood on the Floor incorporates elements of both classical and jazz music. Due to this, it has been described as being part of the "third stream" genre, a term coined by Turnage's former teacher Gunther Schuller. The suite is written as a concerto grosso and features a blend of classical, jazz, non-western and electronic instruments. As part of this fusion, the suite contains space for soloists to improvise in four of its movements. Blood on the Floor shows elements of non-functional harmony and has complex rhythmic changes, often changing metre every bar. Motifs are found recurring throughout the suite. (Full article...)
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    Turnage in 2014 at the Cabrillo Festival of Contemporary Music

    Blood on the Floor is a suite in nine movements composed for orchestra and jazz trio by Mark-Anthony Turnage. It was composed over a span of three years (1993–1996) after a commission from the Ensemble Modern—a German music group—to produce a piece for an evening jazz event in 1994. After the performance, Turnage expanded the piece into a larger nine-movement suite. During this period of composition, Turnage's brother Andrew died of a drug overdose, shaping the music greatly. As a result, drug culture is one of the main themes in the suite. Blood on the Floor also draws influences from the paintings of Francis Bacon and Heather Betts; the suite's title is an adaptation of Bacon's painting Blood on Pavement.

    Like other compositions by Turnage, Blood on the Floor incorporates elements of both classical and jazz music. Due to this, it has been described as being part of the "third stream" genre, a term coined by Turnage's former teacher Gunther Schuller. The suite is written as a concerto grosso and features a blend of classical, jazz, non-western and electronic instruments. As part of this fusion, the suite contains space for soloists to improvise in four of its movements. Blood on the Floor shows elements of non-functional harmony and has complex rhythmic changes, often changing metre every bar. Motifs are found recurring throughout the suite. (Full article...)
  • Image 7 Title is the debut EP by American singer-songwriter Meghan Trainor. Kevin Kadish produced all of its songs and wrote them with Trainor. The two conceived the EP shortly after Trainor signed with Epic Records in 2014. The label released it on September 9, 2014, and replaced it with a pre-order for Trainor's 2015 debut major-label studio album of the same name the following month. Musically, Title comprises songs inspired by 1950s doo wop that lie between modern R&B and melodic pop. The EP has a lyrical theme of commitment and staying true to oneself, which Trainor hoped would empower women. It includes Trainor's debut single, "All About That Bass", which was released on June 30, 2014, and reached No. 1 in 58 countries with worldwide sales of 11 million units. (Full article...)
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    Title is the debut EP by American singer-songwriter Meghan Trainor. Kevin Kadish produced all of its songs and wrote them with Trainor. The two conceived the EP shortly after Trainor signed with Epic Records in 2014. The label released it on September 9, 2014, and replaced it with a pre-order for Trainor's 2015 debut major-label studio album of the same name the following month.

    Musically, Title comprises songs inspired by 1950s doo wop that lie between modern R&B and melodic pop. The EP has a lyrical theme of commitment and staying true to oneself, which Trainor hoped would empower women. It includes Trainor's debut single, "All About That Bass", which was released on June 30, 2014, and reached No. 1 in 58 countries with worldwide sales of 11 million units. (Full article...)
  • Image 8 Makeba during a performance Zenzile Miriam Makeba (/məˈkeɪbə/; 4 March 1932 – 9 November 2008), nicknamed Mama Africa, was a South African singer, songwriter, actress, and civil rights activist. Associated with musical genres including Afropop, jazz, and world music, she was an advocate against apartheid and white-minority government in South Africa. Born in Johannesburg to Swazi and Xhosa parents, Makeba was forced to find employment as a child after the death of her father. She had a brief and allegedly abusive first marriage at the age of 17, gave birth to her only child in 1950, and survived breast cancer. Her vocal talent had been recognized when she was a child, and she began singing professionally in the 1950s, with the Cuban Brothers, the Manhattan Brothers, and an all-woman group, the Skylarks, performing a mixture of jazz, traditional African melodies, and Western popular music. In 1959, Makeba had a brief role in the anti-apartheid film Come Back, Africa, which brought her international attention, and led to her performing in Venice, London, and New York City. In London, she met the American singer Harry Belafonte, who became a mentor and colleague. She moved to New York City, where she became immediately popular, and recorded her first solo album in 1960. Her attempt to return to South Africa that year for her mother's funeral was prevented by the country's government. (Full article...)
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    Makeba during a performance

    Zenzile Miriam Makeba (/məˈkeɪbə/; 4 March 1932 – 9 November 2008), nicknamed Mama Africa, was a South African singer, songwriter, actress, and civil rights activist. Associated with musical genres including Afropop, jazz, and world music, she was an advocate against apartheid and white-minority government in South Africa.

    Born in Johannesburg to Swazi and Xhosa parents, Makeba was forced to find employment as a child after the death of her father. She had a brief and allegedly abusive first marriage at the age of 17, gave birth to her only child in 1950, and survived breast cancer. Her vocal talent had been recognized when she was a child, and she began singing professionally in the 1950s, with the Cuban Brothers, the Manhattan Brothers, and an all-woman group, the Skylarks, performing a mixture of jazz, traditional African melodies, and Western popular music. In 1959, Makeba had a brief role in the anti-apartheid film Come Back, Africa, which brought her international attention, and led to her performing in Venice, London, and New York City. In London, she met the American singer Harry Belafonte, who became a mentor and colleague. She moved to New York City, where she became immediately popular, and recorded her first solo album in 1960. Her attempt to return to South Africa that year for her mother's funeral was prevented by the country's government. (Full article...)
  • Image 9 Jane Marian Joseph (31 May 1894 – 9 March 1929) was an English composer, arranger and music teacher. She was a pupil and later associate of the composer Gustav Holst, and was instrumental in the organisation and management of various of the music festivals which Holst sponsored. Many of her works were composed for performance at these festivals and similar occasions. Her early death at age 35, which prevented the full realisation of her talents, was considered by her contemporaries as a considerable loss to English music. Holst first observed Joseph's potential when he was teaching her composition at St Paul's Girls' School. She began to act as his amanuensis in 1914, when he was composing The Planets, her special responsibility being the preparation of the score for the "Neptune" movement. She continued to assist Holst with transcriptions, arrangements and translations, and was his librettist for the choral ballet The Golden Goose. (Full article...)
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    Jane Marian Joseph (31 May 1894 – 9 March 1929) was an English composer, arranger and music teacher. She was a pupil and later associate of the composer Gustav Holst, and was instrumental in the organisation and management of various of the music festivals which Holst sponsored. Many of her works were composed for performance at these festivals and similar occasions. Her early death at age 35, which prevented the full realisation of her talents, was considered by her contemporaries as a considerable loss to English music.

    Holst first observed Joseph's potential when he was teaching her composition at St Paul's Girls' School. She began to act as his amanuensis in 1914, when he was composing The Planets, her special responsibility being the preparation of the score for the "Neptune" movement. She continued to assist Holst with transcriptions, arrangements and translations, and was his librettist for the choral ballet The Golden Goose. (Full article...)
  • Image 10 "Out of the Woods" is a song by the American singer-songwriter Taylor Swift from her fifth studio album, 1989 (2014). Swift wrote and produced the song with Jack Antonoff. With lyrics inspired by a failed relationship and the ensuing anxieties that Swift experienced, "Out of the Woods" is a synth-pop song with elements of Eurodance and indietronica and features heavy synthesizers, looping drums, and layered background vocals. Big Machine Records made the song available for download on October 14, 2014, as a promotional single for 1989. Swift premiered the music video for "Out of the Woods" on ABC's Dick Clark's New Year's Rockin' Eve on December 31, 2015; the video depicts Swift struggling to escape from a magical forest. The song was released to US pop and hot adult contemporary radio as the album's sixth single on January 18, 2016, by Big Machine in partnership with Republic Records. (Full article...)
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    "Out of the Woods" is a song by the American singer-songwriter Taylor Swift from her fifth studio album, 1989 (2014). Swift wrote and produced the song with Jack Antonoff. With lyrics inspired by a failed relationship and the ensuing anxieties that Swift experienced, "Out of the Woods" is a synth-pop song with elements of Eurodance and indietronica and features heavy synthesizers, looping drums, and layered background vocals.

    Big Machine Records made the song available for download on October 14, 2014, as a promotional single for 1989. Swift premiered the music video for "Out of the Woods" on ABC's Dick Clark's New Year's Rockin' Eve on December 31, 2015; the video depicts Swift struggling to escape from a magical forest. The song was released to US pop and hot adult contemporary radio as the album's sixth single on January 18, 2016, by Big Machine in partnership with Republic Records. (Full article...)
  • Image 11 "Habits (Stay High)" is a song recorded by Swedish singer Tove Lo from her debut extended play (EP), Truth Serum, and her debut studio album, Queen of the Clouds (2014). It was written by Lo with Ludvig Söderberg and Jakob Jerlström, while it was produced by the latter two under the production name the Struts. Initially, the singer self-released the song under the title "Habits" on 15 March 2013 as her second independently released single. After Lo was signed to Universal Music, the track was re-released on 6 December 2013 under the title of "Habits (Stay High)" as both the second single from Truth Serum and the lead single from Queen of the Clouds. Musically, it is a pop and electropop song which features a minimal and upbeat electronic instrumentation. Its lyrics delve into the singer's attempts to forget her previous boyfriend through substance abuse, drinking and other hedonistic practices. Consequently, some critics and Lo herself noted a contrast between the song's production and its lyrical content. "Habits (Stay High)" was well received by most critics, who commended its lyrics and production. The track became a sleeper hit; it entered the music charts in 2014, one year after its original release. The recording peaked at number three on the Billboard Hot 100 in the United States and became the highest-charting song by a Swedish artist on that chart since "The Sign" by Ace of Base peaked at number one in 1994. It was certified 8× platinum by the Recording Industry Association of America (RIAA) and has sold over 2.6 million copies in the country. Additionally, the track topped the charts in Poland and Romania, and peaked within the top ten in Austria, Canada, France and Switzerland, among others. (Full article...)
    Image 11
    "Habits (Stay High)" is a song recorded by Swedish singer Tove Lo from her debut extended play (EP), Truth Serum, and her debut studio album, Queen of the Clouds (2014). It was written by Lo with Ludvig Söderberg and Jakob Jerlström, while it was produced by the latter two under the production name the Struts. Initially, the singer self-released the song under the title "Habits" on 15 March 2013 as her second independently released single. After Lo was signed to Universal Music, the track was re-released on 6 December 2013 under the title of "Habits (Stay High)" as both the second single from Truth Serum and the lead single from Queen of the Clouds. Musically, it is a pop and electropop song which features a minimal and upbeat electronic instrumentation. Its lyrics delve into the singer's attempts to forget her previous boyfriend through substance abuse, drinking and other hedonistic practices. Consequently, some critics and Lo herself noted a contrast between the song's production and its lyrical content.

    "Habits (Stay High)" was well received by most critics, who commended its lyrics and production. The track became a sleeper hit; it entered the music charts in 2014, one year after its original release. The recording peaked at number three on the Billboard Hot 100 in the United States and became the highest-charting song by a Swedish artist on that chart since "The Sign" by Ace of Base peaked at number one in 1994. It was certified 8× platinum by the Recording Industry Association of America (RIAA) and has sold over 2.6 million copies in the country. Additionally, the track topped the charts in Poland and Romania, and peaked within the top ten in Austria, Canada, France and Switzerland, among others. (Full article...)
  • Image 12 "Bale Out: RevoLucian's Christian Bale Remix!" is a satirical dance remix by American composer Lucian Piane, also known as RevoLucian, released on February 2, 2009, to YouTube and Myspace. The piece parodies Christian Bale by utilizing audio from a July 2008 rant made by the actor on the set of Terminator Salvation. Various other elements are used in the remix, including pulsating dance track beats and clips of Barbra Streisand from a 2006 exchange with a supporter of then-President George W. Bush, creating the impression of Streisand arguing with Bale. The day after its release, the YouTube page for the song had been viewed over 200,000 times, and over a million times by February 5, 2009. The Associated Press called it a "hypnotic dance track", and United Press International noted it was "catchy", characterizing it as a "YouTube sensation". Gil Kaufman of MTV.com described the piece as "a techno-ripping, demonic dance party". Time magazine's website called the track "hilarious", and Nine News characterized it as a "raging online success". The director of Terminator Salvation McG liked the remix and put a copy of it on his iPod, and Bale said he had heard the remix and thought "they did a good job". (Full article...)
    Image 12
    "Bale Out: RevoLucian's Christian Bale Remix!" is a satirical dance remix by American composer Lucian Piane, also known as RevoLucian, released on February 2, 2009, to YouTube and Myspace. The piece parodies Christian Bale by utilizing audio from a July 2008 rant made by the actor on the set of Terminator Salvation. Various other elements are used in the remix, including pulsating dance track beats and clips of Barbra Streisand from a 2006 exchange with a supporter of then-President George W. Bush, creating the impression of Streisand arguing with Bale.

    The day after its release, the YouTube page for the song had been viewed over 200,000 times, and over a million times by February 5, 2009. The Associated Press called it a "hypnotic dance track", and United Press International noted it was "catchy", characterizing it as a "YouTube sensation". Gil Kaufman of MTV.com described the piece as "a techno-ripping, demonic dance party". Time magazine's website called the track "hilarious", and Nine News characterized it as a "raging online success". The director of Terminator Salvation McG liked the remix and put a copy of it on his iPod, and Bale said he had heard the remix and thought "they did a good job". (Full article...)
  • Image 13 "Village Green" is a song by the English rock band the Kinks from their 1968 album The Kinks Are the Village Green Preservation Society. Written and sung by the band's principal songwriter, Ray Davies, the song was first recorded in November 1966 during the sessions for Something Else by the Kinks (1967) but was re-recorded in February 1967. Both the composition and instrumentation of "Village Green" evoke Baroque music, especially its prominently featured harpsichord played by the session keyboardist Nicky Hopkins. Unlike most of the band's late 1960s recordings, it employs real orchestral instruments, including oboe, cello, viola and piccolo, as arranged by the English composer David Whitaker. Davies composed "Village Green" in August 1966 after an experience at a pub in Devon, a rural part of England. The song laments the decline of a fictional English community's traditional village green. Retrospective commentators place the song in the tradition of English pastoral poetry, particularly its themes of rural living and a declining English culture. After the song's recording, Davies withheld it from release while deciding whether to include it on a solo album or as part of a Kinks project. It served as one of the central inspirations for The Kinks Are the Village Green Preservation Society and was the album's title track until only a few months before its release. The song was first issued in the United Kingdom on that album in November 1968, but it saw earlier release on a French EP in May 1967 as well as on a similar Spanish EP. The song was not played live until a Ray Davies solo show in 1995, though the Kinks had performed an instrumental version in 1973. (Full article...)
    Image 13
    "Village Green" is a song by the English rock band the Kinks from their 1968 album The Kinks Are the Village Green Preservation Society. Written and sung by the band's principal songwriter, Ray Davies, the song was first recorded in November 1966 during the sessions for Something Else by the Kinks (1967) but was re-recorded in February 1967. Both the composition and instrumentation of "Village Green" evoke Baroque music, especially its prominently featured harpsichord played by the session keyboardist Nicky Hopkins. Unlike most of the band's late 1960s recordings, it employs real orchestral instruments, including oboe, cello, viola and piccolo, as arranged by the English composer David Whitaker.

    Davies composed "Village Green" in August 1966 after an experience at a pub in Devon, a rural part of England. The song laments the decline of a fictional English community's traditional village green. Retrospective commentators place the song in the tradition of English pastoral poetry, particularly its themes of rural living and a declining English culture. After the song's recording, Davies withheld it from release while deciding whether to include it on a solo album or as part of a Kinks project. It served as one of the central inspirations for The Kinks Are the Village Green Preservation Society and was the album's title track until only a few months before its release. The song was first issued in the United Kingdom on that album in November 1968, but it saw earlier release on a French EP in May 1967 as well as on a similar Spanish EP. The song was not played live until a Ray Davies solo show in 1995, though the Kinks had performed an instrumental version in 1973. (Full article...)
  • Image 14 Love in 2014 Courtney Michelle Love (née Harrison; born July 9, 1964) is an American singer, guitarist, songwriter, and actress. A figure in the alternative and grunge scenes of the 1990s, her career has spanned four decades. She rose to prominence as the lead vocalist and rhythm guitarist of the alternative rock band Hole, which she formed in 1989. Love has drawn public attention for her uninhibited live performances and confrontational lyrics, as well as her highly publicized personal life following her marriage to Nirvana frontman Kurt Cobain. In 2020, NME named her one of the most influential singers in alternative culture of the last 30 years. Love had an itinerant childhood, but was primarily raised in Portland, Oregon, where she played in a series of short-lived bands and was active in the local punk scene. After briefly being in a juvenile hall, she spent a year living in Dublin and Liverpool before returning to the United States and pursuing an acting career. She appeared in supporting roles in the Alex Cox films Sid and Nancy (1986) and Straight to Hell (1987) before forming the band Hole in Los Angeles with guitarist Eric Erlandson. The group received critical acclaim from underground rock press for their 1991 debut album Pretty on the Inside, produced by Kim Gordon, while their second release, Live Through This (1994), was met with critical accolades and multi-platinum sales. In 1995, Love returned to acting, earning a Golden Globe Award nomination for her performance as Althea Leasure in Miloš Forman's The People vs. Larry Flynt (1996), which established her as a mainstream actress. The following year, Hole's third album, Celebrity Skin (1998), was nominated for three Grammy Awards. (Full article...)
    Image 14

    Love in 2014

    Courtney Michelle Love (née Harrison; born July 9, 1964) is an American singer, guitarist, songwriter, and actress. A figure in the alternative and grunge scenes of the 1990s, her career has spanned four decades. She rose to prominence as the lead vocalist and rhythm guitarist of the alternative rock band Hole, which she formed in 1989. Love has drawn public attention for her uninhibited live performances and confrontational lyrics, as well as her highly publicized personal life following her marriage to Nirvana frontman Kurt Cobain. In 2020, NME named her one of the most influential singers in alternative culture of the last 30 years.

    Love had an itinerant childhood, but was primarily raised in Portland, Oregon, where she played in a series of short-lived bands and was active in the local punk scene. After briefly being in a juvenile hall, she spent a year living in Dublin and Liverpool before returning to the United States and pursuing an acting career. She appeared in supporting roles in the Alex Cox films Sid and Nancy (1986) and Straight to Hell (1987) before forming the band Hole in Los Angeles with guitarist Eric Erlandson. The group received critical acclaim from underground rock press for their 1991 debut album Pretty on the Inside, produced by Kim Gordon, while their second release, Live Through This (1994), was met with critical accolades and multi-platinum sales. In 1995, Love returned to acting, earning a Golden Globe Award nomination for her performance as Althea Leasure in Miloš Forman's The People vs. Larry Flynt (1996), which established her as a mainstream actress. The following year, Hole's third album, Celebrity Skin (1998), was nominated for three Grammy Awards. (Full article...)
  • Image 15 Leo Ornstein as a young man, c. 1918 Leo Ornstein (born Лев Орнштейн, Lev Ornshteyn; c. December 11, 1895 – February 24, 2002) was an American experimental composer and pianist of the early twentieth century. His performances of works by avant-garde composers and his own innovative and even shocking pieces made him a cause célèbre on both sides of the Atlantic. The bulk of his experimental works were written for piano. Ornstein was the first important composer to make extensive use of the tone cluster. As a pianist, he was considered a world-class talent. By the mid-1920s, he had walked away from his fame and soon disappeared from popular memory. Though he gave his last public concert before the age of forty, he continued writing music for another half-century and beyond. Largely forgotten for decades, he was rediscovered in the mid-1970s. Ornstein completed his eighth and final piano sonata in September 1990 at the age of ninety-four, making him the oldest published composer in history at the time (a mark since passed by Elliott Carter). (Full article...)
    Image 15

    Leo Ornstein as a young man, c. 1918

    Leo Ornstein (born Лев Орнштейн, Lev Ornshteyn; c. December 11, 1895 – February 24, 2002) was an American experimental composer and pianist of the early twentieth century. His performances of works by avant-garde composers and his own innovative and even shocking pieces made him a cause célèbre on both sides of the Atlantic. The bulk of his experimental works were written for piano.

    Ornstein was the first important composer to make extensive use of the tone cluster. As a pianist, he was considered a world-class talent. By the mid-1920s, he had walked away from his fame and soon disappeared from popular memory. Though he gave his last public concert before the age of forty, he continued writing music for another half-century and beyond. Largely forgotten for decades, he was rediscovered in the mid-1970s. Ornstein completed his eighth and final piano sonata in September 1990 at the age of ninety-four, making him the oldest published composer in history at the time (a mark since passed by Elliott Carter). (Full article...)

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WikiProjects, связанные с музыкой: WikiProject Music – Песни – Альбомы – Альтернативная музыка – Классическая музыка – Композиторы – Современная христианская музыка – Современная музыка – Электронная музыка – Эмо-музыка – Хип-хоп – Инструменты – Led Zeppelin – Металлическая музыка – Джаз – Музыканты – Опера – Panic at the Disco – Powderfinger (группа) – Панк-музыка – Лейблы звукозаписи – Производство звукозаписи – Рок-музыка – R&B и соул-музыка – Терминология – The Beatles

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