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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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The following are images from various music-related articles on Wikipedia.

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Featured articles are displayed here, which represent some of the best content on English Wikipedia.
  • Image 1 Laborintus II is an album by the Belgian orchestra Ictus Ensemble, the vocal group Nederlands Kamerkoor, and the American vocalist Mike Patton, which was recorded live at the 2010 Holland Festival. It was released on July 10, 2012, by Ipecac Recordings, and debuted at number 23 on the American Billboard Classical Albums Chart. It was not well received by critics. The album is a recording of the 1965 work of the same name by Italian composer Luciano Berio, whose composition employs elements of jazz and electronic music. The libretto by Edoardo Sanguineti borrows ideas from the works of Dante Alighieri, T. S. Eliot and Ezra Pound, and his own 1956 poem "Laborintus". Berio named "memory, death and usury" as the work's main concerns, believing these themes to be present in Dante's work. (Full article...)
    Laborintus II is an album by the Belgian orchestra Ictus Ensemble, the vocal group Nederlands Kamerkoor, and the American vocalist Mike Patton, which was recorded live at the 2010 Holland Festival. It was released on July 10, 2012, by Ipecac Recordings, and debuted at number 23 on the American Billboard Classical Albums Chart. It was not well received by critics.

    The album is a recording of the 1965 work of the same name by Italian composer Luciano Berio, whose composition employs elements of jazz and electronic music. The libretto by Edoardo Sanguineti borrows ideas from the works of Dante Alighieri, T. S. Eliot and Ezra Pound, and his own 1956 poem "Laborintus". Berio named "memory, death and usury" as the work's main concerns, believing these themes to be present in Dante's work. (Full article...)
  • Image 2 Franz Liszt The symphonic poems of the Hungarian composer Franz Liszt are a series of 13 orchestral works, numbered S.95–107. The first 12 were composed between 1848 and 1858 (though some use material conceived earlier); the last, Von der Wiege bis zum Grabe (From the Cradle to the Grave), followed in 1882. These works helped establish the genre of orchestral program music—compositions written to illustrate an extra-musical plan derived from a play, poem, painting or work of nature. They inspired the symphonic poems of Bedřich Smetana, Antonín Dvořák, Richard Strauss and others. Liszt's intent, according to musicologist Hugh MacDonald, was for these single-movement works "to display the traditional logic of symphonic thought." In other words, Liszt wanted these works to display a complexity in their interplay of themes similar to that usually reserved for the opening movement of the Classical symphony; this principal self-contained section was normally considered the most important in the larger whole of the symphony in terms of academic achievement and musical architecture. At the same time, Liszt wanted to incorporate the abilities of program music to inspire listeners to imagine scenes, images, or moods. To capture these dramatic and evocative qualities while achieving the scale of an opening movement, he combined elements of overture and symphony in a modified sonata design. The composition of the symphonic poems proved daunting. They underwent a continual process of creative experimentation that included many stages of composition, rehearsal and revision to reach a balance of musical form. (Full article...)
    head and neck portrait of a middle-aged man with long blond hair, wearing a circa-1850 dark suit and a shirt with a high collar
    Franz Liszt


    The symphonic poems of the Hungarian composer Franz Liszt are a series of 13 orchestral works, numbered S.95–107. The first 12 were composed between 1848 and 1858 (though some use material conceived earlier); the last, Von der Wiege bis zum Grabe (From the Cradle to the Grave), followed in 1882. These works helped establish the genre of orchestral program music—compositions written to illustrate an extra-musical plan derived from a play, poem, painting or work of nature. They inspired the symphonic poems of Bedřich Smetana, Antonín Dvořák, Richard Strauss and others.

    Liszt's intent, according to musicologist Hugh MacDonald, was for these single-movement works "to display the traditional logic of symphonic thought." In other words, Liszt wanted these works to display a complexity in their interplay of themes similar to that usually reserved for the opening movement of the Classical symphony; this principal self-contained section was normally considered the most important in the larger whole of the symphony in terms of academic achievement and musical architecture. At the same time, Liszt wanted to incorporate the abilities of program music to inspire listeners to imagine scenes, images, or moods. To capture these dramatic and evocative qualities while achieving the scale of an opening movement, he combined elements of overture and symphony in a modified sonata design. The composition of the symphonic poems proved daunting. They underwent a continual process of creative experimentation that included many stages of composition, rehearsal and revision to reach a balance of musical form. (Full article...)
  • Image 3 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...)
    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 4 Stereolab performing at the London Pitchfork Festival in 2021 Stereolab are an Anglo-French avant-pop band formed in London in 1990. Led by the songwriting team of Tim Gane and Lætitia Sadier, the group's sound features influences from krautrock and 1960s French pop music, often incorporating a repetitive motorik beat with the use of vintage electronic keyboards and female vocals sung in English and French. Their lyrics have political and philosophical themes influenced by the Surrealist and Situationist art movements. While performing, they play in a more feedback-driven and guitar-oriented style. From the mid-1990s, the band began to draw from funk, jazz and Brazilian music. Stereolab were formed by Gane (guitar and keyboards) and Sadier (vocals, keyboards and guitar) after the break-up of McCarthy. The two were romantically involved for fourteen years and are the group's only consistent members. Other longtime members included 1992 addition Mary Hansen (backing vocals, keyboards and guitar), who died in 2002, and 1993 addition Andy Ramsay (drums). The High Llamas' leader Sean O'Hagan (guitar and keyboards) was a member from 1993 to 1994 and continued appearing on later records for occasional guest appearances. (Full article...)

    Stereolab performing at the London Pitchfork Festival in 2021

    Stereolab are an Anglo-French avant-pop band formed in London in 1990. Led by the songwriting team of Tim Gane and Lætitia Sadier, the group's sound features influences from krautrock and 1960s French pop music, often incorporating a repetitive motorik beat with the use of vintage electronic keyboards and female vocals sung in English and French. Their lyrics have political and philosophical themes influenced by the Surrealist and Situationist art movements. While performing, they play in a more feedback-driven and guitar-oriented style. From the mid-1990s, the band began to draw from funk, jazz and Brazilian music.

    Stereolab were formed by Gane (guitar and keyboards) and Sadier (vocals, keyboards and guitar) after the break-up of McCarthy. The two were romantically involved for fourteen years and are the group's only consistent members. Other longtime members included 1992 addition Mary Hansen (backing vocals, keyboards and guitar), who died in 2002, and 1993 addition Andy Ramsay (drums). The High Llamas' leader Sean O'Hagan (guitar and keyboards) was a member from 1993 to 1994 and continued appearing on later records for occasional guest appearances. (Full article...)
  • Image 5 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...)

    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 6 Control is the third studio album by American singer Janet Jackson, released on February 4, 1986, by A&M Records. Her collaborations with the songwriters and record producers Jimmy Jam and Terry Lewis resulted in an unconventional sound: a fusion of rhythm and blues, rap vocals, funk, disco, and synthesized percussion that established Jackson, Jam and Lewis as the leading innovators of contemporary R&B. The distinctive triplet swing beat utilized on the record is also considered to be a precursor to the new jack swing genre. The album became Jackson's commercial breakthrough and enabled her to transition into the popular music market, with Control becoming one of the foremost albums of the 1980s and contemporary music. Containing autobiographical themes, a majority of the album's lyrics came as the result of a series of changes in her life: a recent annulment of her marriage to singer James DeBarge, severing her business affairs from her father and manager Joseph and the rest of the Jackson family, hiring the A&M executive John McClain as her new management, and her subsequent introduction to Jam and Lewis. The album has been praised by critics as both an artistic feat and as a personal testament of self-actualization. It has also been regarded as a template upon which numerous female artists have modeled their careers, particularly Black women. (Full article...)
    Control is the third studio album by American singer Janet Jackson, released on February 4, 1986, by A&M Records. Her collaborations with the songwriters and record producers Jimmy Jam and Terry Lewis resulted in an unconventional sound: a fusion of rhythm and blues, rap vocals, funk, disco, and synthesized percussion that established Jackson, Jam and Lewis as the leading innovators of contemporary R&B. The distinctive triplet swing beat utilized on the record is also considered to be a precursor to the new jack swing genre. The album became Jackson's commercial breakthrough and enabled her to transition into the popular music market, with Control becoming one of the foremost albums of the 1980s and contemporary music.

    Containing autobiographical themes, a majority of the album's lyrics came as the result of a series of changes in her life: a recent annulment of her marriage to singer James DeBarge, severing her business affairs from her father and manager Joseph and the rest of the Jackson family, hiring the A&M executive John McClain as her new management, and her subsequent introduction to Jam and Lewis. The album has been praised by critics as both an artistic feat and as a personal testament of self-actualization. It has also been regarded as a template upon which numerous female artists have modeled their careers, particularly Black women. (Full article...)
  • Image 7 Hector Berlioz was the first to use the term "choral symphony" for a musical composition—his Roméo et Juliette. A choral symphony is a musical composition for orchestra, choir, and sometimes solo vocalists that, in its internal workings and overall musical architecture, adheres broadly to symphonic musical form. The term "choral symphony" in this context was coined by Hector Berlioz when he described his Roméo et Juliette as such in his five-paragraph introduction to that work. The direct antecedent for the choral symphony is Ludwig van Beethoven's Ninth Symphony. Beethoven's Ninth incorporates part of the ode An die Freude ("Ode to Joy"), a poem by Friedrich Schiller, with text sung by soloists and chorus in the last movement. It is the first example of a major composer's use of the human voice on the same level as instruments in a symphony. A few 19th-century composers, notably Felix Mendelssohn and Franz Liszt, followed Beethoven in producing choral symphonic works. Notable works in the genre were produced in the 20th century by Gustav Mahler, Igor Stravinsky, Ralph Vaughan Williams, Benjamin Britten and Dmitri Shostakovich, among others. The final years of the 20th century and the opening of the 21st century have seen several new works in this genre, among them compositions by Mikis Theodorakis, Peter Maxwell Davies, Tan Dun, Philip Glass, Hans Werner Henze, Krzysztof Penderecki, William Bolcom and Robert Strassburg. (Full article...)
    A distinguished-looking man in his forties with medium-length hair, aquiline nose, and circa-1850 formal high collar
    Hector Berlioz was the first to use the term "choral symphony" for a musical composition—his Roméo et Juliette.


    A choral symphony is a musical composition for orchestra, choir, and sometimes solo vocalists that, in its internal workings and overall musical architecture, adheres broadly to symphonic musical form. The term "choral symphony" in this context was coined by Hector Berlioz when he described his Roméo et Juliette as such in his five-paragraph introduction to that work. The direct antecedent for the choral symphony is Ludwig van Beethoven's Ninth Symphony. Beethoven's Ninth incorporates part of the ode An die Freude ("Ode to Joy"), a poem by Friedrich Schiller, with text sung by soloists and chorus in the last movement. It is the first example of a major composer's use of the human voice on the same level as instruments in a symphony.

    A few 19th-century composers, notably Felix Mendelssohn and Franz Liszt, followed Beethoven in producing choral symphonic works. Notable works in the genre were produced in the 20th century by Gustav Mahler, Igor Stravinsky, Ralph Vaughan Williams, Benjamin Britten and Dmitri Shostakovich, among others. The final years of the 20th century and the opening of the 21st century have seen several new works in this genre, among them compositions by Mikis Theodorakis, Peter Maxwell Davies, Tan Dun, Philip Glass, Hans Werner Henze, Krzysztof Penderecki, William Bolcom and Robert Strassburg. (Full article...)
  • Image 8 Faryl is the debut album by British mezzo-soprano Faryl Smith, released on 9 March 2009 by Universal Classics and Jazz. Smith rose to fame after her appearance on the second series of Britain's Got Talent and signed with Universal after the competition. The album was recorded during December 2008 and January 2009 and features the track "River of Light", a song set to The Blue Danube with new lyrics. Faryl was produced by Jon Cohen, and the backing music was provided by a 60-piece orchestra. As part of the album's promotion, Smith made numerous television and radio appearances and filmed a music video for "River of Light". Around this time, she met with then-Prime Minister Gordon Brown at 10 Downing Street. After its release, Faryl became the fastest-selling classical solo album in British chart history, selling 20,000 copies in the first four days, and a total of 29,200 copies in the first week, more than any other debut album of a classical singer. Faryl entered the UK Albums Chart at number 6, rising to number 4 the next week, and was the third album by a Britain's Got Talent contestant to reach the top ten in Britain. Smith subsequently embarked on a promotional tour in the US to publicise the album, where it reached number 6 on the classical chart. (Full article...)
    Faryl is the debut album by British mezzo-soprano Faryl Smith, released on 9 March 2009 by Universal Classics and Jazz. Smith rose to fame after her appearance on the second series of Britain's Got Talent and signed with Universal after the competition. The album was recorded during December 2008 and January 2009 and features the track "River of Light", a song set to The Blue Danube with new lyrics. Faryl was produced by Jon Cohen, and the backing music was provided by a 60-piece orchestra. As part of the album's promotion, Smith made numerous television and radio appearances and filmed a music video for "River of Light". Around this time, she met with then-Prime Minister Gordon Brown at 10 Downing Street.

    After its release, Faryl became the fastest-selling classical solo album in British chart history, selling 20,000 copies in the first four days, and a total of 29,200 copies in the first week, more than any other debut album of a classical singer. Faryl entered the UK Albums Chart at number 6, rising to number 4 the next week, and was the third album by a Britain's Got Talent contestant to reach the top ten in Britain. Smith subsequently embarked on a promotional tour in the US to publicise the album, where it reached number 6 on the classical chart. (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 "Can't Get You Out of My Head" is a song recorded by Australian singer Kylie Minogue for her eighth studio album, Fever (2001). Parlophone Records released the song as the album's lead single on 8 September 2001. "Can't Get You Out of My Head", which was written and produced by Cathy Dennis and Rob Davis, is a dance-pop, techno-pop and nu-disco song that is known for its "la la la" hook. Its lyrics are about obsession with a love interest. Music critics praised the song's production and Minogue's vocals and labelled it a highlight of Fever. The song reached number one on the charts in 40 countries worldwide. It peaked at number one on the UK Singles Chart for four weeks and was certified three-times platinum by the British Phonographic Industry (BPI). It also topped the Australian Singles Chart and received a three-times Platinum certification from the Australian Recording Industry Association. In the United States, the song peaked at number seven on the Billboard Hot 100 chart and became Minogue's first US top-ten single in 13 years. As of 2018[update], the track has sold over five million copies worldwide. (Full article...)
    "Can't Get You Out of My Head" is a song recorded by Australian singer Kylie Minogue for her eighth studio album, Fever (2001). Parlophone Records released the song as the album's lead single on 8 September 2001. "Can't Get You Out of My Head", which was written and produced by Cathy Dennis and Rob Davis, is a dance-pop, techno-pop and nu-disco song that is known for its "la la la" hook. Its lyrics are about obsession with a love interest. Music critics praised the song's production and Minogue's vocals and labelled it a highlight of Fever.

    The song reached number one on the charts in 40 countries worldwide. It peaked at number one on the UK Singles Chart for four weeks and was certified three-times platinum by the British Phonographic Industry (BPI). It also topped the Australian Singles Chart and received a three-times Platinum certification from the Australian Recording Industry Association. In the United States, the song peaked at number seven on the Billboard Hot 100 chart and became Minogue's first US top-ten single in 13 years. As of 2018, the track has sold over five million copies worldwide. (Full article...)
  • Image 11 "Gento" (stylized in all uppercase) is a song recorded by the Filipino boy band SB19 for their second extended play (EP), Pagtatag! (2023). The band's leader, Pablo, wrote the song alone and co-produced it with Joshua Daniel Nase and Simon Servida. A pop and hip hop track, it is about empowerment and uses gold mining as a metaphor for achieving success, alluding to the band's career. The song was released via Sony Music Philippines on May 19, 2023, as the EP's lead single. Most reviews from music critics favored the single's catchy lyricism, but one criticized its monotonous energy. The song was the band's first entry on two of Billboard's record charts: World Digital Song Sales—a first among Filipino groups—and the Philippines Songs charts, peaking at numbers eight and eleven, respectively. A dance challenge set to the song became a trend on TikTok. The accompanying music video, directed by Kerbs Balagtas, depicted the band members mining for gold. The group promoted the song with live performances and included it on the set list of their Pagtatag! World Tour (2023–2024). The song has received multiple accolades, including the Wishclusive Pop Performance of the Year award at the Wish 107.5 Music Awards 2024. (Full article...)
    "Gento" (stylized in all uppercase) is a song recorded by the Filipino boy band SB19 for their second extended play (EP), Pagtatag! (2023). The band's leader, Pablo, wrote the song alone and co-produced it with Joshua Daniel Nase and Simon Servida. A pop and hip hop track, it is about empowerment and uses gold mining as a metaphor for achieving success, alluding to the band's career. The song was released via Sony Music Philippines on May 19, 2023, as the EP's lead single.

    Most reviews from music critics favored the single's catchy lyricism, but one criticized its monotonous energy. The song was the band's first entry on two of Billboard's record charts: World Digital Song Sales—a first among Filipino groups—and the Philippines Songs charts, peaking at numbers eight and eleven, respectively. A dance challenge set to the song became a trend on TikTok. The accompanying music video, directed by Kerbs Balagtas, depicted the band members mining for gold. The group promoted the song with live performances and included it on the set list of their Pagtatag! World Tour (2023–2024). The song has received multiple accolades, including the Wishclusive Pop Performance of the Year award at the Wish 107.5 Music Awards 2024. (Full article...)
  • Image 12 "All About That Bass" is the debut single of American singer-songwriter Meghan Trainor, released on June 30, 2014, through Epic Records. The song was included on Trainor's debut extended play (EP), Title (2014), and her debut studio album of the same name (2015). Written by Trainor and producer Kevin Kadish, "All About That Bass" is a bubblegum pop, doo-wop and pop rap track. Trainor, who as a teenager struggled with her negative body image, was inspired to write the song to promote self-acceptance. Some music critics praised "All About That Bass"'s production and memorable message, while others called it a novelty song and criticized the failure of its lyrics to empower every body type. The song was nominated for awards, including Record of the Year and Song of the Year at the 57th Annual Grammy Awards. It was the best-selling song by a female artist during the 2010s in the United States, and was certified Diamond by the Recording Industry Association of America (RIAA). It also reached number one in 58 countries and received multi-platinum certifications in Australia, Canada, Denmark, Italy, Mexico, New Zealand, Norway, Sweden, Spain, and the United Kingdom, becoming the fourth best-selling song of 2014 with 11 million copies sold worldwide. (Full article...)
    "All About That Bass" is the debut single of American singer-songwriter Meghan Trainor, released on June 30, 2014, through Epic Records. The song was included on Trainor's debut extended play (EP), Title (2014), and her debut studio album of the same name (2015). Written by Trainor and producer Kevin Kadish, "All About That Bass" is a bubblegum pop, doo-wop and pop rap track. Trainor, who as a teenager struggled with her negative body image, was inspired to write the song to promote self-acceptance.

    Some music critics praised "All About That Bass"'s production and memorable message, while others called it a novelty song and criticized the failure of its lyrics to empower every body type. The song was nominated for awards, including Record of the Year and Song of the Year at the 57th Annual Grammy Awards. It was the best-selling song by a female artist during the 2010s in the United States, and was certified Diamond by the Recording Industry Association of America (RIAA). It also reached number one in 58 countries and received multi-platinum certifications in Australia, Canada, Denmark, Italy, Mexico, New Zealand, Norway, Sweden, Spain, and the United Kingdom, becoming the fourth best-selling song of 2014 with 11 million copies sold worldwide. (Full article...)
  • Image 13 William Sterndale Bennett – engraving after a portrait by John Everett Millais, 1873 Sir William Sterndale Bennett (13 April 1816 – 1 February 1875) was an English composer, pianist, conductor and music educator. At the age of ten Bennett was admitted to the London Royal Academy of Music (RAM), where he remained for ten years. By the age of twenty, he had begun to make a reputation as a concert pianist, and his compositions received high praise. Among those impressed by Bennett was the German composer Felix Mendelssohn, who invited him to Leipzig. There Bennett became friendly with Robert Schumann, who shared Mendelssohn's admiration for his compositions. Bennett spent three winters composing and performing in Leipzig. In 1837 Bennett began to teach at the RAM, with which he was associated for most of the rest of his life. For twenty years he taught there, later also teaching at Queen's College, London. Among his pupils during this period were Arthur Sullivan, Hubert Parry, and Tobias Matthay. Throughout the 1840s and 1850s he composed little, although he performed as a pianist and directed the Philharmonic Society for ten years. He also actively promoted concerts of chamber music. From 1848 onward, his career was punctuated by antagonism between himself and the conductor Michael Costa. (Full article...)
    engraving of portrait of middle aged man sitting at desk, wearing doctoral robes, clean shaven but with long sideboards, looking out at viewer,
    William Sterndale Bennett – engraving after a portrait by John Everett Millais, 1873

    Sir William Sterndale Bennett (13 April 1816 – 1 February 1875) was an English composer, pianist, conductor and music educator. At the age of ten Bennett was admitted to the London Royal Academy of Music (RAM), where he remained for ten years. By the age of twenty, he had begun to make a reputation as a concert pianist, and his compositions received high praise. Among those impressed by Bennett was the German composer Felix Mendelssohn, who invited him to Leipzig. There Bennett became friendly with Robert Schumann, who shared Mendelssohn's admiration for his compositions. Bennett spent three winters composing and performing in Leipzig.

    In 1837 Bennett began to teach at the RAM, with which he was associated for most of the rest of his life. For twenty years he taught there, later also teaching at Queen's College, London. Among his pupils during this period were Arthur Sullivan, Hubert Parry, and Tobias Matthay. Throughout the 1840s and 1850s he composed little, although he performed as a pianist and directed the Philharmonic Society for ten years. He also actively promoted concerts of chamber music. From 1848 onward, his career was punctuated by antagonism between himself and the conductor Michael Costa. (Full article...)
  • Image 14 The Zoo TV Tour (also written as ZooTV, ZOO TV or ZOOTV) was a worldwide concert tour by rock band U2. Staged primarily to support their 1991 album Achtung Baby along with their subsequent 1993 album Zooropa, the tour visited arenas and stadiums from 1992 to 1993. Intended to mirror the group's new musical direction on Achtung Baby, the Zoo TV Tour departed from the band's previously austere stage setups by providing an elaborately staged multimedia spectacle, satirising television and media oversaturation by attempting to instill "sensory overload" in its audience. To escape their reputation for being earnest and over-serious, U2 embraced a more lighthearted and self-deprecating image on tour. Zoo TV and Achtung Baby were central to the group's 1990s reinvention. The tour's concept was inspired by disparate television programming, coverage of the Gulf War, the desensitising effect of mass media, and "morning zoo" radio shows. The stages featured dozens of large video screens that showed visual effects, video clips, and flashing text phrases, along with a lighting system partially made of Trabant automobiles. The shows incorporated channel surfing, prank calls, video confessionals, a belly dancer, and live satellite transmissions from war-torn Sarajevo. On stage, Bono portrayed several characters he conceived, including the leather-clad egomaniac "The Fly", the greedy televangelist "Mirror Ball Man", and the devilish "MacPhisto". Unlike on other U2 tours, each of the Zoo TV shows opened with six to eight consecutive new songs before older material was played. (Full article...)
    The Zoo TV Tour (also written as ZooTV, ZOO TV or ZOOTV) was a worldwide concert tour by rock band U2. Staged primarily to support their 1991 album Achtung Baby along with their subsequent 1993 album Zooropa, the tour visited arenas and stadiums from 1992 to 1993. Intended to mirror the group's new musical direction on Achtung Baby, the Zoo TV Tour departed from the band's previously austere stage setups by providing an elaborately staged multimedia spectacle, satirising television and media oversaturation by attempting to instill "sensory overload" in its audience. To escape their reputation for being earnest and over-serious, U2 embraced a more lighthearted and self-deprecating image on tour. Zoo TV and Achtung Baby were central to the group's 1990s reinvention.

    The tour's concept was inspired by disparate television programming, coverage of the Gulf War, the desensitising effect of mass media, and "morning zoo" radio shows. The stages featured dozens of large video screens that showed visual effects, video clips, and flashing text phrases, along with a lighting system partially made of Trabant automobiles. The shows incorporated channel surfing, prank calls, video confessionals, a belly dancer, and live satellite transmissions from war-torn Sarajevo. On stage, Bono portrayed several characters he conceived, including the leather-clad egomaniac "The Fly", the greedy televangelist "Mirror Ball Man", and the devilish "MacPhisto". Unlike on other U2 tours, each of the Zoo TV shows opened with six to eight consecutive new songs before older material was played. (Full article...)
  • Image 15 Freedom: The Regine Velasquez-Alcasid Digital Concert was a livestream concert by the Filipino recording artist Regine Velasquez. The concert was produced and broadcast by ABS-CBN Events through four live streaming platforms at 8:00 p.m. Philippine Standard Time on February 28, 2021. The concert's premise was "freedom of singing", stemming from Velasquez's desire to sing songs from several music genres and create a live experience on a stream for her fans longing for a sense of human connection. The set list included renditions of songs from artists such as Elton John, Chris Isaak, George Michael, Sara Bareilles, Dua Lipa, and Billie Eilish. Bamboo Mañalac performed as a special guest. Freedom was filmed at ABS-CBN Studios in Manila, with musicians, background vocalists, and dancers on set. Initially scheduled for Valentine's Day, Freedom was postponed due to potential COVID-19 exposure among the production team, in line with strict quarantine guidelines affecting the city. The concert received positive reviews, praise centering on Velasquez's stage presence and performance. Commercially, ticket sales exceeded ₱1 million (US$20,000) within twelve hours after they were made available for purchase. There was a reshowing of the livestream, broadcast exclusively via Stageit on April 4, 2021. (Full article...)
    Freedom: The Regine Velasquez-Alcasid Digital Concert was a livestream concert by the Filipino recording artist Regine Velasquez. The concert was produced and broadcast by ABS-CBN Events through four live streaming platforms at 8:00 p.m. Philippine Standard Time on February 28, 2021. The concert's premise was "freedom of singing", stemming from Velasquez's desire to sing songs from several music genres and create a live experience on a stream for her fans longing for a sense of human connection. The set list included renditions of songs from artists such as Elton John, Chris Isaak, George Michael, Sara Bareilles, Dua Lipa, and Billie Eilish. Bamboo Mañalac performed as a special guest.

    Freedom was filmed at ABS-CBN Studios in Manila, with musicians, background vocalists, and dancers on set. Initially scheduled for Valentine's Day, Freedom was postponed due to potential COVID-19 exposure among the production team, in line with strict quarantine guidelines affecting the city. The concert received positive reviews, praise centering on Velasquez's stage presence and performance. Commercially, ticket sales exceeded ₱1 million (US$20,000) within twelve hours after they were made available for purchase. There was a reshowing of the livestream, broadcast exclusively via Stageit on April 4, 2021. (Full article...)
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