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Music

Definition: Music

Music

Noun

1. An artistic form of auditory communication incorporating instrumental or vocal tones in a structured and continuous manner.

2. Any agreeable (pleasing and harmonious) sounds; "he fell asleep to the music of the wind chimes".

3. A musical diversion; "his music was his central interest".

4. A musical composition in printed or written form; "she turned the pages of the music as he played".

5. The sounds produced by singers or musical instruments (or reproductions of such sounds).

6. Punishment for one's actions; "you have to face the music"; "take your medicine".

Source: WordNet 1.7.1 Copyright © 2001 by Princeton University. All rights reserved.
 

Date "music" was first used in popular English literature: sometime before 1010. (references)

 

Specialty Definition: Music

DomainDefinition

Computing

Music n. A common extracurricular interest of hackers (compare {science-fiction fandom, {oriental food; see also filk). Hackish folklore has long claimed that musical and programming abilities are closely related, and there has been at least one large-scale statistical study that supports this. Hackers, as a rule, like music and often develop musical appreciation in unusual and interesting directions. Folk music is very big in hacker circles; so is electronic music, and the sort of elaborate instrumental jazz/rock that used to be called `progressive' and isn't recorded much any more. The hacker's musical range tends to be wide; many can listen with equal appreciation to (say) Talking Heads, Yes, Gentle Giant, Pat Metheny, Scott Joplin, Tangerine Dream, Dream Theater, King Sunny Ade, The Pretenders, Screaming Trees, or the Brandenburg Concerti. It is also apparently true that hackerdom includes a much higher concentration of talented amateur musicians than one would expect from a similar-sized control group of mundane types. Source: Jargon File.

Bible

Music Jubal was the inventor of musical instruments (Gen. 4:21). The Hebrews were much given to the cultivation of music. Their whole history and literature afford abundant evidence of this. After the Deluge, the first mention of music is in the account of Laban's interview with Jacob (Gen. 31:27). After their triumphal passage of the Red Sea, Moses and the children of Israel sang their song of deliverance (Ex. 15). But the period of Samuel, David, and Solomon was the golden age of Hebrew music, as it was of Hebrew poetry. Music was now for the first time systematically cultivated. It was an essential part of training in the schools of the prophets (1 Sam. 10:5; 19:19-24; 2 Kings 3:15; 1 Chr. 25:6). There now arose also a class of professional singers (2 Sam. 19:35; Eccl. 2:8). The temple, however, was the great school of music. In the conducting of its services large bands of trained singers and players on instruments were constantly employed (2 Sam. 6:5; 1 Chr. 15; 16; 23;5; 25:1-6). In private life also music seems to have held an important place among the Hebrews (Eccl. 2:8; Amos 6:4-6; Isa. 5:11, 12; 24:8, 9; Ps. 137; Jer. 48:33; Luke 15:25). Source: Easton's 1897 Bible Dictionary.

Dream Interpretation

To dream of hearing harmonious music, omens pleasure and prosperity.
Discordant music foretells troubles with unruly children, and unhappiness in the household. Source: Ten Thousand Dreams Interpreted ....

Literature

Music Father of music. Giovanni Battista Pietro Aloisio da Palestrina. Giovanni Pierluigi da Palestrina was "the prince of musicians." (1529-1594.)
Father of Greek music. Terpander. (Flourished B.C. 676.)
The prince of music. G. Pietro A. da Palestrina (1529-1594).
Music hath charms, etc.; from Congreve's Mourning Bride, i. l.
Music Men of genius averse to music. The following men of genius were actually averse to music: Edmund Burke; Byron had no ear for music, and neither vocal nor instrumental music afforded him the slightest pleasure. Charles Fox, Hume, Dr. Johnson, Daniel O'Connell, Robert Peel, William Pitt; Pope preferred a street organ to Handel's oratorios; the poet Rogers felt actual discomfort at the sounds of music; Sir Walter Scott, the poet Southey, and Tennyson. Seven of these twelve were actually poets, and five were orators. The Princess Mathilde (Demidoff), an excellent artist, with a veritable passion for art, may be added to those who have had a real antipathy to music. Source: Brewer's Dictionary.

Slang in 1811

MUSIC. The watch-word among highwaymen, signifying the person is a friend, and must pass unmolested. Music is also an Irish term, in tossing up, to express the harp side, or reverse, of a farthing or halfpenny, opposed to the head. Source: 1811 Dictionary of the Vulgar Tongue.

Source: compiled by the editor from various references; see credits.

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Specialty Definition: Celtic music

(From Wikipedia, the free Encyclopedia)

The term "Celtic music" encompasses Irish traditional music and traditional musics of Scotland and the Shetland Islands; Cape Breton Island and Maritime Canada; Wales; the Isle of Man; Northumberland (northern England); Brittany (northwestern France); Cornwall; and Galicia (northwestern Spain). The term, though widely used, is eschewed by many traditionalists.

Common characteristic musical forms include jigs, reels, hornpipes, polkas, strathspeys (Scotland) and slow airs. Much of the music is typified by strong, repeating melodies in a set rhythm, which reflects a background as music to dance to. Ballads are also common. Largely through the immigration of the so-called "Scotch-Irish", Celtic music was the foundation for traditional "folk" music in the U.S., especially that of Appalachia. An earlier version of the above article was posted on Nupedia. This article is Open Content.

Source: adapted by the editor from Wikipedia, the free encyclopedia under a copyleft GNU Free Documentation License (GFDL) from the article "Celtic music."

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Esperanto music

(From Wikipedia, the free Encyclopedia)

Musicians and bands
Akordo - Akvo - Anjo Amika - Amplifiki - Asorti - Torsten Bendias - Morice Benin - Miĥael Bronŝtejn - Blera Brothers - Bretona Esperanto-Koruso - Ken Clinger - Ĵ. Dan' kaj B. Hor' - DJ Kunar - DJ Njokki - DJ Nucki - Dolchamar - John Douglas - Esperanto Desperado - Ekvinokso - Fantom' - Thierry Faverial - Feri Floro - Flávio Fonseca - Freundeskreis - David Gaines - Ralph Glomp - Georgo Handzlik - Lou Harrison - JoMo - JoMo kaj Liberecanoj - Ĵomart kaj Nataŝa - Kajto - Kaj tiel plu - La Kompanoj - Aaron Koenig - Kore - Kredo - Krio de Morto - La Kuracistoj - Daphne Lawless - Ĵak Lepŭil' - Tarcísio Lima - Lunatiko - Magnus - Massimo MANCA - Marĉela - Merlin - La Mevo - Klára Mikola kaj László Garamvölgyi - Ĝanfranko Mole' - La Mondanoj - Nikolin' - Persone - Piĉismo - La Porkoj - Miĥail Povorin - Qexteto Esperanto - Radikulo - Dennis Rocktamba - Jan Schröder - Solotronik - Vladimir Soroka - Suzana - Team' - Duncan C. Thomson - Trattbandet - Tutmonda muziko - Olivier Tzaut - Johán Valano - Jacques Yvart

Songs
La Espero - Ĉu vi pretas - Liza pentras bildojn

Music companies and publishers
Vinilkosmo - Floréal Martorell

Events and projects
EoLA - KEF - ARKONES - KAFE - Vinilkosmo kompil' - Kolekto 2000 - Esperanto Subgrunde kompil' - Elektronika kompilo

Organizations and Magazines
EUROKKA - Vinilkosmo - Rok-Gazet'

External Links

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Filmi music

(From Wikipedia, the free Encyclopedia)

Elaborate song and dance sequences interspersed in Indian movies are generally referred to as filmi music (a desi word). Indian films (in particular Hindi films) have typically been picturised as a musical, even when the theme is not romantic. A typical Indian film has around six songs.

The origins of this tradition can be traced back to the ballets in Indian dance-drama. Traditionally, these song-dance sequences are considered to be an outlet of the intense expressions of the lead characters of the movie. So they are picturised on the lead characters.

During the 1940s, the camera was more or less immobile, focussing only on the facial expressions of the artists, while the music was heavily based on Indian Classical Music.

During the 1950s and 1960s, when technology facilitated mobility of the camera, Indian filmmakers shot musical sequences on location at scenic spots such as Kashmir. The score and lyrics were still inspired from folk and traditional music.

During 1970s, the visual media was dominated by movers and shakers kind of dance. The auditory media was also more western with instruments like guitar taking a dominant role.

The music is typically seen as a safeguard by Indian movie producers that adds value to the movie. Some movies are known to have earned money solely because of their music.

Source: adapted by the editor from Wikipedia, the free encyclopedia under a copyleft GNU Free Documentation License (GFDL) from the article "Filmi music."

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Flamenco music

(From Wikipedia, the free Encyclopedia)

Flamenco music was a form of expression used by the peasants and the oppressed, in much the same way that the Blues was used by American slaves. It was, and is, part of the culture of the Gypsies of Andalusia in Southern Spain. In fact the musical aspects of flamenco (principally singing and guitar playing) cannot really be separated from other aspects of this culture.

History

The exact origins of Flamenco music are unknown. While the Gypsies are generally credited with the creation of Flamenco music, its roots can also be found in Arabic, early Christian and Judaic music.

Flamenco music gained much of its notoriety in the 19th century, where it was performed professionally in drinking spots know as Cafés cantantes.

Ramón Montoya is credited with being the first performer to introduce classical guitar techniques into Flamenco music.

Rhythmic form

The basic rhythm of Flamenco music is known as compás. A compás is characterised by a recurring pattern of beats and accents. These recurring patterns make up a number of different rhythmic and musical forms known as toques.

Each toque has a distinct rhythmic signature which provides Flamenco music with its great richness. These toques are usually identified in their plural forms such as Soleares, Seguiriyas, Alegrías and Sevillanas.

Source: adapted by the editor from Wikipedia, the free encyclopedia under a copyleft GNU Free Documentation License (GFDL) from the article "Flamenco music."

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List of cultural and regional genres of music

(From Wikipedia, the free Encyclopedia)

Cultural genres

Regional, national and geographic genres

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List of popular music performers

(From Wikipedia, the free Encyclopedia)

This is an alphabetical list of popular music performers from the United States, Canada, the United Kingdom and Ireland. The list includes also performers of other countries who have become widely known in North America, Great Britain or Ireland.

See also:


List of popular music performers

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Music

(From Wikipedia, the free Encyclopedia)

Broadly speaking, music is the eloquent arrangement of sound and silence. The actual definition of music is hotly contested, and sounds accepted as music vary according to historical era and culture, but it is usually held that the sounds must at least be consciously organized, either by an individual or a group.

Most music is made of tones (symbolized by musical notes) with definite pitcheses. Different tones played one after the other constitute a melody, while tones played simultaneously make chordss and harmony. Unpitched sounds are often provided by percussion. The temporal organisation of these elements is rhythm.

Writing music

Music can be written in advance of a performance by a composer or songwriter. In such cases, the musician or musicians playing the piece (who may or may not also be the people who wrote it) broadly follow the instructions the composer has given them, which may be written down using musical notation in the form of sheet music. Alternatively, the music may be more-or-less made up by the performers as they go along (improvisation).

Performing music

Music can be performed by a single musician, or several may band together to form a musical ensemble such as a rock band or orchestra. The music they make can be heard through several media; the most traditional way is to hear it live, in the presence of the musicians. Live music can also be broadcast over the radio or television, although this experience is closer to playing back a sound recording or watching a music video. Sometimes, live performances incorporate prerecorded sounds; for example, a DJ uses records for scratching. Of course, you can also create music yourself, by singing, playing a musical instrument, or composing. Modern beginners usually try the guitar or the piano as a first instrument.

Deaf people can experience music by feeling the vibrations in their body; the most famous example of a deaf musician is the composer Ludwig van Beethoven, who composed many famous works even after he had completely lost his hearing. In more modern times, Evelyn Glennie, who has been deaf since the age of twelve, is a highly acclaimed percussionist.

Education

People take music lessons when they want to learn to play music. Musicology is a broad field charged with the historical and scientific study of music, including music theory and music history.

Genres

Since music is an ancient art, an extremely large number of musical genres have evolved. Among the larger genres are classical music, popular music (including rock and roll) and folk music. The term world music is applied to a wide range of music with an "ethnic" element. Ethnomusicology is the study of these genres in an anthropological context.

See also

nds:Musik simple:Music

Source: adapted by the editor from Wikipedia, the free encyclopedia under a copyleft GNU Free Documentation License (GFDL) from the article "Music."

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Music of India

(From Wikipedia, the free Encyclopedia)

The music of India includes multiples varieties of folk and pop music, along with Karnatic and Hindustani classical music.

Pop music

The biggest form of Indian pop music is filmi, or music originated in films. Other forms of pop musicians include Alisha Chinai and rock bands like Bally Sagoo.

Filmi

The capital of filmi is Mumbai (Bombay), which is a cinematic capital referred to as Bollywood. Popular composers include Ilayaraja, Rajesh Roshan, A.R. Rahman and Raamlaxman. The films tend be idealized visions of Indian life, and the music is similarly jolly and romantic. Many of the stars play similar, stereotyped roles in multiple films and lip-synch to the singing of vocal stars like Lata Mangeshkar and S.P. Balasurahmaniam. Filmi's Golden Age occurred in the 1950s to the mid-1960s.

Cinema began taking shape in India in the late 19th century, and silent films soon became very popular. In 1931, Ardeshir M. Irani's Alam Ara was adapted from a piece of Parsi theater and launched Indian talkies. The music became extremely popular, and was soon heavily advertised. One reason for the push was that India's linguistic diversity meant dialogue would be incomprehensible for a large portion of the audience, no matter what language it was made in. Music provided a neutral option.

A form of filmi based on ghazal (see below) is called filmi-ghazal and was introduced by Talat Mahmood; it was eventually modernized into ghazal-song.

Western fusions

In the late 1960s and early 1970s, rock and roll fusions with Indian music were well-known throughout Europe and North America. Ali Akbar Khan's 1955 performance in the United States was perhaps the beginning of this trend, which was soon centered around Ravi Shankar.

In 1962, Shankar and Bud Shank, a jazz musician, released Improvisations and Theme From Pather Pachali and began fusing jazz with Indian traditions. Future pioneers like John Coltrane continued this fusion, called indo jazz. George Harrison (of The Beatles) played the sitar, which he had learned from Shankar, on the song "Norwegian Wood" in 1965. Other Western artists like the Grateful Dead, Incredible String Band, Rolling Stones, The Move and Traffic soon incorporated Indian influences and instruments, and added Indian performers.

Though the Indian music craze soon died down among mainstream audiences, diehard fans and immigrants continued the fusion. In the late 1980s, Indian-British artists fused Indian and Western traditions to make the Asian Underground.

Folk music

The arrival of movies and pop music weakened folk music's popularity, but cheaply recordable music has made it easier to find and helped revive the traditions. Folk music (desi) has been influential on classical music, which is viewed as a higher art form. Instruments and styles have impacted classical ragas.

Brass bands

Brass bands, descended from English traditions, are now very popular especially at weddings and other special occasions.

Bhangra

Bhangra is a form of dance-oriented folk music that has become a pop sensation in the United Kingdom. The present musical style is derived from the traditional musical accompaniment to the folk dance of Punjab called by the same name, Bhangra.

Dandiya

A form of folk music adapted for clubs is called dandiya. It is based on Gujarati folk music, and includes best-selling artists like Falguni Pathak.

Rajasthan

Rajasthani has a diverse collection of musician castes, including langas, sapera, bhopa, jogi and manganiyar.

Baul

The Bauls of India and Bangladesh are a mystical order of musicians and played a form of music using a khamak, ektara and dotara.

Classical music

Hindustani

see: Indian classical music

Karnatic

see: Carnatic music.

Vocal music

Hindustani vocal music can be divided into several sorts, including bhajan and ghazal, while Karnatic vocal music is typically a hymn called kriti.

Dhrupad

Dhrupad is a sacred style of singing traditionally performed by men with a tampura and pakhawaj accompanying. The lyrics are in a midieval form of Hindi and typically heroic in theme, or else praising a particular deity. A more ornamented form is called dhamar.

Bhajan

Religious vocal music, bhajan is the most popular form in northern India. Famous performers include Kabir, Tulsidas and Mirabi. It arose out of the Alvar bhakti movement of the 9th and 10th century.

Ghazal

Ghazals are an originally Persian form of vocal music that is popular with multiple variations across Iran, Central Asia, Turkey and India. Ghazal exists in multiple variations, including folk and pop forms.

Khyal

An informal form of vocal music, khyal is partially improvised and very emotional in nature. Though its origins are shrouded in mystery, the 15th century rule of Hussain Shah Sharqi and was popular by the 18th century rule of Mohammed Shah. The best-known composer of the period was Sadarang, a pen name for Niamat Khan. Later performers include Faiyaz Khan, Abdul Karim Khan, Bhimsen Joshi, Shweta Jhaveri, Bade Ghulam Ali Khan and Amir Khan.

Kriti

Kritis are a form of Hindu hymn especially popular in southern India. It is commonly composed in Telugu, Tamil or Sanskrit.

Tarana

Tarana, and its southern equivalent Tillana, are rhymic songs with nonsense lyrics.

Thumri

Thumri is an accessible and informal vocal form said to have begun with the court of Nawab Wajid Ali Shah, 1847-1856. There are two types of thumri: Punjabi and Lucknavi. The lyrics are typically in a language called braj bhasha, and are usually romantic. Performers include Shobha Gurtu, Bade Ghulam Ali Khan and Girija Devi.

References

See also Indian musical instruments, History of Indian music, Natya Shastra, Dattilam, Brihaddeshi, Sangita-Ratnakara , List of regional genres of music

Source: adapted by the editor from Wikipedia, the free encyclopedia under a copyleft GNU Free Documentation License (GFDL) from the article "Music of India."

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Music of Japan

(From Wikipedia, the free Encyclopedia)

For many outsiders, Japanese music is associated entirely with cheap, disposable bubblegum pop, of which there is plenty of. However, many distinct styles and innovative artists play folk and classical music, much of it very intense, and others play distinct forms of rock, electronica, hip hop, punk rock and country music.

Classical music

There are two types of classical music in Japan. Shomyo, or Buddhist chanting, and gagaku, or orchestral court music.

Gagaku

Gagaku is a type of classical music that has been performed at the Imperial court for several centuries. It consists of three primary bodies: native Shintoist religious music and folk songs, saibara, as well as a Korean form, komagaku, and a Chinese form, togaku. By the 7th century, the shakuhachi (an end-blown flute), the koto (a zither) and the biwa (a short-necked lute) had been introduced in Japan from China. These three instruments were the earliest used to play gagaku.

Komagaku and togaku arrived in Japan during the Nara period (710-794), and settled into the basic modern divisions during the Heian period (794-1185). Gagaku performances were played by musicians who belonged to hereditary guilds. During the Kamakura period (1185-1333), military rule was imposed and gagaku was performed in the homes of the aristocracy, but rarely at court. At this time, there were three guilds based out of Osaka, Nara and Kyoto.

After the Meiji Restoration of 1868, musicians from all three guilds came to Tokyo and their descendants make up most of the current Imperial Palace Music Department. By this time, the traditional instruments, the biwa, koto and shakuhachi, had been supplemented by various drums, shamisen (a three-stringed lute, modified from a native Okinawan instrument) and shinobue (a transverse flute).

Related to gagaku is court theater, which developed in parallel. Noh was developed in the 14th century, and soon evolved into bunraki and, eventually, the lively and popular kabuki; kabuki, in turn, helped invent the popular nagauta style of playing th shamisen.

Biwa hoshi

The biwa, a form of short-necked lute, was played by a group of intinerant performers (biwa hoshi) who used it to accompany stories. The most famous of these stories is The Tale of the Heike, a 13th century history of the triumph of the Minamoto clan over the Taira.

Yukar

Among the minority Ainu of the north, yukar (mimicry) is a form of epic poetry. The stories typically involve Kamui, the god of nature, and Pojaumpe, an orphan-warrior.

Folk music

There are four main kinds of Japanese folk songs (min'yo): work songs, religious songs (such as sato kagura, a form of Shintoist music), songs used for gatherings such as weddings and funerals, and children's songs (warabe uta). Many of these songs include extra stress on certain syllables, as well as pitched shouts (kakegoe), especially in northern Honshu.

In min'yo, singers are typically accompanied by shamisen, taiko and shakuhachi. A guild-based system exists for min'yo; it is called iemoto. Education is passed on in a family, and long apprenticeships are common.

A unique form of drumming from Sado island has become internationally famous through the groups Ondekoza and Kodo.

Okinawan folk music

Okinawa has been under the control of Japan since 1609, except for a brief period of US domination during and after World War 2. Umui, religious songs, shima uta, dance songs, and, especially katcharsee, lively celebratory music, were all popular.

The arrival of Western music

After the Meiji Restoration introduced Western musical instruction, a bureaucrat named Izawa Shuji compiled songs like "Auld Lang Syne" and commissioned songs using a pentatonic melody. Western music, especially military marches, soon became popular in Japan. Two major forms of music that developed during this period were shoka, which was composed to bring western music to schools, and gunka, which are military marches with some Japanese elements.

As Japan moved towards representative democracy in the late 19th century, leaders hired singers to sell copies of songs that aired their messages, since the leaders themselves were usually prohibited from speaking in public. This developed into a form of ballad called enka, which became quite popular in the 20th century, though its popularity has waned since the 1970s and enjoys little favour with contemporary youth. Famous enka singers include Misora Hibari and Ikuzo Yoshi. Also at the end of the 19th century, an Osakan form of streetcorner singing became popular; this was called ryukoka. This included the first two Japanese stars, Yoshida Naramura and Tochuken Kumoemon.

Westernized pop music is called kayokyoku, which is said to have begun with "Kachusha no uta" (1914; see 1914 in music). This song was composed by Nakayama Shimpei and first appeared in a dramatization of Resurrection by Tolstoy, sung by Matsui Samako. The song became a hit among enka singers, and was one of the first major best-selling records in Japan. Kayokyoku became a major industry, especially after the arrival of superstar Misora Hibari.

Later, in the 1950s, tango and other kinds of Latin music, especially Cuban music, became very popular in Japan. A distinctively Japanese form of tango called dodompa also developed. Kayokyoku became associated entirely with traditional Japanese structures, while more Western-style music was called Japanese pops. In the 1960s, Japanese bands imitated The Beatles, Bob Dylan and the Rolling Stones, along with other Appalachian folk music, psychedelic rock, mod and similar genres; this was called Group Sounds.

Since then, bubblegum pop and J-Pop has become one of the best-selling forms of music, and is often used in films and television, especially in Japanese animation. The rise of disposable pop has been linked with the popularity of karaoke, leading to much criticism that both trends are consumerist and shallow. For example, Kazafumi Miyazawa of The Boom, claims "I hate that buy, listen and throw away and sing at a karoake bar mentality".

Japanese rock

Homegrown Japanese rock had developed by the late 1960s. Artists like Happy End are considered to have virtually developed the genre. During the 1970s, it grew more popular. The Okinawan Champluse, along with Carol, RC Succession and Harada Shinji were especially famous and helped define the genre's sound. In the 1980s, the Southern All Stars became the biggest band in Japanese rock's history, and inspired alternative rock bands like Shonen Knife & the Boredoms and Tama & Little Creatures. Most influentially, the 1980s spawned Yellow Magic Orchestra, which was inspired by developing electronica, led by Hosono Haruomi.

In 1980, Huruoma and Ry Cooder, an American musician, collaborated on a rock album heavily influenced by Okinawan music for Shoukichi Kina. They were followed by Sandii & the Sunsetz, who further mixed Japanese and Okinawan influences. At the same time, singer-songwriters like Yuming became extremely popular. Other forms of music, from Indonesia, Jamaica and elsewhere, were assimilated. Soukous and Latin music was popular as was Jamaican reggae and ska, exemplified by Rankin' Taxi and Tokyo Ska Paradise Orchestra.

Roots music

In the late 1980s, roots bands like Shang Shang Typhoon and The Boom became popular. Okinawan roots bands like Nenes and Kina were also commercially and critically successful. This led to the second wave of Okinawan music, led by the sudden success of Rinkenband. A new wave of bands followed, including the comebacks of Champluse and Kina, as well as new acts like Soul Flower Union. An updated form of Okinawan folk called kawachi ondo became popular, led by Kikusuimaru Kawachiya; very similar to kawachi ondo is Tademaru Sakuragawa's goshu ondo.

Western classical music

Western classical music has a strong presence in Japan and the country is one of the most important markets for classical music. A number of Japanese composers have written in the western classical music tradition, with Toru Takemitsu (famous as well for his avant-garde works and movie scoring) being the best known. Also famous is the conductor Seiji Ozawa.

List of Japanese popular artists (including some J-Pop)

Traditional instruments

See also

References

External link

Source: adapted by the editor from Wikipedia, the free encyclopedia under a copyleft GNU Free Documentation License (GFDL) from the article "Music of Japan."

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Music of Poland

(From Wikipedia, the free Encyclopedia)

Polish folk music was collected in the 19th century by Oskar Kolberg, as part of a wave of Polish nationalist thought. With the coming of the world wars and then the Communist state, folk traditions were oppressed or subsumed into state-approved folk ensembles.

Polish dance music, especially the mazurka and polonaise, were popularized by Chopin, and they soon spread across Europe and elsewhere. These are triple time dances, while five-beat forms are more common in the northeast and duple-time dances like the polka and krakowiak come from the south.

While folk music has largely died out in Poland, especially in urban areas, the tourist destination of Podhale has retained its traditions. The regional capital, Zakopane, has been a center for art since the late 19th century, when people like composer Karol Szymanowski made the area chic among Europe's intellectuals. Local ensembles use string instruments like violins and a cello to play a distinctive scale called the Lydian mode. Duple-time dances like the krzesany, zbójnicki and ozwodna are popular. Folk songs typically focus on heroes like Janosik.

Contemporary Polish musicians and bands (in alphabetic order):

Classical music

Composers

Pop music

Female Vocalists

Hip-Hop/Rap

Rock

Sung Poetry

Black Metal Scene

See also: Poland, List of famous Poles

References

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Music of the United States

(From Wikipedia, the free Encyclopedia)

The music of the United States includes forms derived from multiple ethnic groups. The original inhabitants of the United States included hundreds of Native American tribes, as well as native Hawaiians played the first music in the area, eventually augmented by immigrants from England, Spain, Sweden and France. Africans imported as slaves provided the musical underpinnings of much of modern American music, while other influences include Spanish-native mestizos from Mexico, Cuba and Puerto Rico, Cajuns, descended from French-Canadians and Eastern European Jews.

Information about the roots of modern American music can be found at American roots music. This article will discuss developments since approximately 1940, when folk-based styles like blues, jazz, gospel, Tejano, Cajun and Creole, klezmer and country music evolved into pop music.

1940s and 1950s

In the 1940s, the major strands of American music combined to form rock and roll. Based most strongly off an electric guitar-based version of the Chicago blues, rock also incorporated jazz, country, folk, swing and other types of music; in particular, bebop jazz and boogie woogie blues were in vogue and greatly influenced the music's style. It had developed by 1949, and quickly became popular among blacks nationwide (see 1949 in music). Mainstream success was slow to develop, though (in spite of early success with Bill Haley & the Comets' "Rock Around the Clock"), and didn't begin in earnest until Elvis Presley ("Hound Dog"), a white man, began singing rock, R&B and rockabilly songs in a devoted black style. He quickly became the most famous and best-selling artist in American history, and a watershed point in the development of music.

Country, bluegrass and folk music

In 1938, Bill Monroe formed the Blue Grass Boys (named after his native state of Kentucky, the blue grass state) and combined diverse influences into Appalachian folk music. These include Scottish, Irish and Eastern European folk, as well as blues, jazz and gospel. Monroe became the father of bluegrass music, and his band was a training ground for most of bluegrass' future stars, especially Lester Flatt and Earl Scruggs. Scruggs and Flatt popularized bluegrass as part of the Foggy Mountain Boys, which they formed in 1948. Though bluegrass never quite achieved mainstream status, it did become well-known through its use in several soundtracks, including the T.V. theme song for The Beverly Hillbillies and the movies Bonnie and Clyde and Deliverance. In the 1950s, bluegrass artists included Stanley Brothers, Osborne Brothers and Jimmy Martin's Sunny Mountain Boys.

Close harmony duets had grown popular in the 1940s, and were made mainstream in the mid-1950s by the Louvin Brothers. This inspired Pete Seeger's brother, Mike Seeker, who formed the New Lost City Ramblers who played traditional Appalachian folk music and helped popularize it. This became known as old-time music, and paralleled the rise of "folk singers", singer-songwriters who played updated versions of the same music. The old-time phenomenon also led to the rediscovery of musicians like Doc Watson, Dock Boggs, Roscoe Holcomb and Clarence Ashley. Some, including Watson, got their career revitalized after the 1961 Newport Folk Festival.

The 1950s also saw the popular dominance of the Nashville sound in country music, and the beginning of popular folk music with groups like The Weavers. Country's Nashville sound was slick and soulful, and a movement of rough honky tonk developed in a reaction against the mainstream orientation of Nashville. This movement was centered in Bakersfield, California with musicians like Buck Owens ("Act Naturally"), Merle Haggard ("Sing a Sad Song") and Wynn Stewart ("It's Such a Pretty World Today") helping to define the sound among the community, made up primarily of Oklahoman immigrants to California, who had fled unemployment and drought. A similarly hard-edged sound also arose in Lubbock, Texas (Lubbock sound).

By the late 1950s, a revival of Appalachian folk music was taking place across the country, and bands like The Weavers were paving the way for future mainstream stars like Bob Dylan and Joan Baez. Bluegrass was similarly revitalized and updated by artists including Tony Rice, Clarence White, Richard Green, Bill Keith and David Grisman. The Dillards, however, were the ones to break bluegrass into mainstream markets in the early 1960s.

Gospel and doo wop

Following World War 2, gospel began its golden age. Artists like the Five Blind Boys of Mississippi, The Swan Silvertones, Clara Ward Singers and Sensational Nightingales became stars across the country; other early artists like Sam Cooke, Dionne Warwick, Dinah Washington, Johnny Taylor, Aretha Franklin, Whitney Houston and Wilson Pickett began their career in gospel quartets during this period, only to achieve even greater fame in the 60s as the pioneers of soul music, itself a secularized, R&B-influenced form of gospel. Mahalia Jackson and The Staple Singers were undoubtedly the most successful of the golden age gospel artists.

In addition, doo wop achieved widespread popularity in the 1950s. Doo wop was a harmonically complex style of choral singing that developed in cities like Chicago, New York, and, most importantly, Baltimore. Groups like The Crows ("Gee"), The Ventures ("Walk-Don't Run"), The Orioles ("It's Too Soon to Know") and Frankie Lymon & the Teenagers ("Why Do Fools Fall in Love") had a string of hit songs that brought the genre to chart domination by 1958 (see [1958 in music]]).

Latin music

Cuban mambo, chachachá and charanga bands enjoyed brief periods of popularity, and helped establish a viable Latin-American music industry, which led the way to the invention of salsa music among Cubans and Puerto Ricans in New York City in the 1970s. The 50s also saw success for Mexican ranchera divas, while a Mexican-American mariachi scene was developing on the West Coast], and Puerto Rican plena, Brazilian bossa nova and other Latin genres became popular.

Mexican-Texans had been playing conjunto music for decades by the end of World War 2, female duos created the first popular style of Mexican-American music, música norteña. Mexican romantic ballads called bolero were also popular, especially singers like the Queen of the Bolero, Chelo Silva. In the mid-1950s, when Mexican ranchera was used in Hollywood film soundtracks and the upper-class enjoyed stately orquestas Tejanas and conjunto evolved into a distinctively Mexican-American genre called Tejano. Artists of this era include Esteban Jordan, Tony de la Rosa and El Conjunto Bernal.

Cajun and Creole music

The 1940s saw a return to the roots of Cajun music, led by Irvy LeJeune, Nathan Abshire and other artists, alongside musicians who incorporated rock and roll, including Laurence Walker and Aldus Roger. In the late 1940s, Clifton Chenier, a Creole, began playing an updated form of la la called zydeco. Zydeco was briefly popular among some mainstream listeners during the 1950s. Artists like Boozoo Chavis, Queen Ida, Rockin' Dopsie and Rockin' Sidney have continued to bring zydeco to national audiences in the following decades. Zydeco shows major influences from rock, and artists lke Beau Jocque have combined other influences, including hip hop.

Diversification of pop music

In the early to mid-1960s, soul music and R&B dominated American audiences. Girl groups (The Angels ("My Boyfriend's Back"), The Shirelles ("Dedicated to the One I Love")) and blue eyed soul (The Righteous Brothers ("You've Lost That Lovin' Feeling"), Mitch Ryder ("Devil With a Blue Dress On")) helped to popularize the music as mainstream, as well as polishing it and removing the grit of gospel. With the popularity of Elvis and other white singers (like Gene Vincent ("Be-Bop-A-Lula"), Roy Acuff ("The Wreck on the Highway"), Jerry Lee Lewis ("Great Balls of Fire") and Chet Atkins ("Mr. Sandman")), as well as black vocalists like Little Richard ("Tutti Frutti"), Chuck Berry ("Johnny B. Goode"), Fats Domino ("The Fat Man") and Chubby Checker ("The Twist"), a new generation of teens began playing in their own rock bands. The 60s also saw the arrival of Mexican-American pop, rock and soul acts that drew upon Tejano and other influences. These include Sunny Ozuna ("Talk to Me", "Reina de mi Amor"), Roberto Pulido y Los Clasicos and Latin Breed.

White rock music developed primarily in two places: southern California, where musicians like Dick Dale (Let's Go Surfing) invented surf rock, and Britain, where mod and merseybeat bands (such as The Who (The Who Sings My Generation) and The Rolling Stones) (The Rolling Stones (England's Newest Hitmakers)) began playing their own version of rock that drew more heavily upon American blues pioneers like Howlin' Wolf ("Evil"), Muddy Waters ("I Be's Troubled") and Jimmy Yancey ("The Fives") than their American counterparts, who mostly played a polished form of pop.

The early 1960s saw four centers of American musical innovation

Invention of psychedelia

In addition, Britain's new generation of blues rock gained popularity in parts of their homeland, especially cities like Liverpool, and cult fame in the States. The popularity of folk singers like Peter, Paul & Mary ("Puff the Magic Dragon") and Bob Dylan (The Freewheelin' Bob Dylan) influenced all of these groups as they became more closely aligned with the counterculture and drugs. The national sound was moving towards an electric, psychedelic version of rock. In 1962 (see 1962 in music), The Beatles (Please Please Me) emerged from England and popularized British rock, while The Beach Boys' success brought harmony-laden surf music to the forefront of the American scene. With country and soul musicians unable to maintain their hipness, both faded from mass consciousness. The mid-1960s saw the collapse of The Beach Boys as a result of singer and songwriter Brian Wilson's mental problems after releasing one of the most influential rock albums in history, Pet Sounds. The Beatles went on to lead the psychedelic revolution of the end of the decade, with few Americans able to challenge them, exceptions including The Mamas & the Papas ("California Dreaming") and Jimi Hendrix (Are You Experienced). The most hard-edged psychedelic bands, like Americans Jefferson Airplane (Surrealistic Pillow) and The Grateful Dead (American Beauty), achieved limited success; the Grateful Dead, the first jam band, could also be considered the first cult act.

In the late 1960s, popular music underwent a sea change. Psychedelia-inflected rock dominated black and white audiences. During this period, most of American musical styles for the next forty years began in one form or another, including heavy metal, punk rock, electronic music and hip hop. Perhaps most importantly were two developments. First was the popularization of the LP as a distinct artistic statement. Prior to the early 1960s (and later in most cases), an LP was nothing more than a collection of singles bound together with filler. As the psychedelic revolution progressed, however, lyrics grew more complex and LPs developed to enable the artists to make a more in depth statement than a single song could allow. In addition, rules as to what could be allowed in popular music were lessened -- singles lasted longer than three minutes (Bob Dylan's "Like a Rolling Stone" was the first of these); singing could be gruff, guttural and not classically beautiful and lyrics could focus on more than simple tales of youth, love songs and ballads to include politically and socially aware lyrics. The idea that popular music could and should change the way one feels and lead social change largely developed during this period, though it was certainly not unheard of before.

Funk, gospel and album-oriented soul

Black music in the late 1960s diversified. Soul music had arisen as a secularized form of gospel music. With the rise of psychedelia and folk, however, artists that had previously been best-sellers found themselves unpopular with the new sound. Many, such as The Temptations and The Supremes, never fully recovered, unable to adjust to the changes in music. Soul music, led at the time by singers like James Brown ("Sex Machine"), developed into psychedelia-influenced funk. Bands like Parliament (The Mothership Connection), War (All Day Music) and Funkadelic (One Nation Under a Groove) merged soul with psychedelic rock to cult acclaim but little popular success. Meanwhile, Sly Stone (Stand) and other similar artists achieved popular success with their mixture of soul and psychedelia. Pure soul adapted to the new face of popular music by expanding beyond the simple lyricism of singles to more cohesive and socially-aware, album-oriented soul. This is usually said to have begun with the success of Marvin Gaye's What's Going On and Curtis Mayfield's Superfly. They both described the gritty realities of ghetto life with funky, danceable beats and led to the dominant sounds of soul in the 1970s, such as Philadelphia soul.

Nonsecularized gospel was still popular, though not near the levels of the 1950s boom. Reverend James Cleveland was the most influential artist of the period; he introduced choirs to gospel with 1962's Peace Be Still, recorded with the Angelic Choir of Nutley from New Jersey. Six years later he founded the annual Gospel Music Workshop of America, which have spread across the world. Edwin Hawkins ("Oh Happy Day") was another major artist of the period. Beginning with artists like Ray Repp in 1964, a slick soft rock and gospel fusion called Christian Contemporary Music (or CCM) became popular, which helped lead the way for future rock Christian artists including light country star Amy Grant and Christian heavy metal pioneers Stryper.

Progressive, punk and heavy metal

A few bands popular among only a small crowd of devoted followers emerged in the late 1960s. The Nice (The Nice) and The Moody Blues (Days of Future Passed) (both British) began releasing a series of complex, classical tinged concept albums that began a sound known as progressive rock. Other British bands like Led Zeppelin (Led Zeppelin I) and Black Sabbath (Paranoid) emerged with a form of hard-edged electric blues that came to be known as heavy metal music. American bands like the Velvet Underground (White Light/White Heat), Blue Cheer (Vincebus Eruptum) and The Stooges (Raw Power) also emerged with fatalistic, artsy lyrics and a fast-driving energetic sound; this was the beginning of punk rock.

Country and newgrass

In the 1960s, the Bakersfield Sound began its rise to mainstream, led by Merle Haggard. Bands like Muleskinner and Old And In the Way invented a progressive form of bluegrass that came to be known as newgrass. Though this never achieved much mainstream success, newgrass has become a major part of the American country scene. New forms, incuding spacegrass and supergrass, arose in the 80s, and remained low-key. Other artists, including Alison Krauss, achieved some mainstream success and helped pave the way for the surprise success of the traditional old-time music soundtrack O Brother, Where Are Thou.

The rise of the Bakersfield Sound was a popular example of a roots revival in folk music, in which artists and audiences revitalize the traditional music forms of their ancestors, generally as a reaction against dilution of the original culture for mainstream acceptance. In the 1960s and 70s, roots revivals occurred across the globe. The United States saw Appalachian folk music, blues and jazz adapt to rock and roll, forming heavy metal, psychedelia and progressive rock. Other folk forms were also popularized as part of a 1960s roots revival, including Cajun and Hawaiian folk. Cajun music entered the national mainstream for the first time (mostly in the form of cover songs called swamp pop), becoming a fixture at the influential Newport Folk Festival. CoDoFiL (Council for the Development of French in Louisiana), founded in 1968, helped to lead this trend, establishing the Festivals Acadiens and Zydeco Festival, for example. Cajun artists during this period included the Balfa Brothers, D. L. Menard, Eddie LeJeune, Michael Doucet's Beausoleil and Barry Ancelet.

1970s

In the early 1970s, singer-songwriters like James Taylor ("Fire and Rain") and Carol King (Tapestry) topped the charts while prog rock, heavy metal and punk began to differentiate themselves from mainstream music. While most singer-songwriters drew on Anglo folk roots, some, like XIT (Plight of the Redman) drew on their Native American origins, following in the path of pioneers like Buffy Sainte-Marie ("Now That the Buffalo's Gone"); other Native American bands like Redbone fused Native American and rock influences. The mid-1970s saw the development of power pop, the marriage of glam and heavy metal to form hair metal and the emergence of disco. By the late 1970s, disco, an electronically-based dance music, dominated the sound of the US, aided by the breakthrough success of Saturday Night Fever. Originally associated with urban blacks and gay white males, disco spent a few years at the top of the charts just as country rock and prog rock achieved their greatest mainstream success. Country rock bands like Lynyrd Skynyrd (Second Helping) and pop-prog bands like Chicago (Chicago II) and Styx (Kilroy Was Here) dominated the portion of the market not listening to disco with long, bizarre progressive pieces and electric blues based southern rock. Country rock had developed primarily from British blues, and added an element of popular country. At the time, outlaw country artists like Willie Nelson (The Red Headed Stranger) and David Allan Coe ("You Never Even Called Me By Name") dominated the country music charts with tales of cowboys and rebels.

Underground trends

Heavy metal bands like Blue Oyster Cult (Agents of Fortune) began to attract some mainstream attention, while punk influenced the developing glam rock scene. Taking its cue from the energetic, dirty psychedelia of The Doors, glam musicians like David Bowie (The Rise and Fall of Ziggy Stardust and the Spiders From Mars) rose to prominence among segments of the population in the early 1970s.

Jamaican immigrants, most notably including DJ Kool Herc, moved to New York City and brought with them the practice of speaking over isolated percussion breaks from popular songs during long dance parties called block parties; this was the beginning of hip hop. Meanwhile, Cuban and Puerto Rican musicians drew on mambo and other Cuban genres to form salsa music. Early artists included Hector Lavoe and Willie Colón.

Jewish-American musicians launched a revival of klezmer music in the mid-1970s, led by Berkeley, California's The Klezmorim, whose frontman, Henry Sapoznik, formed the Archive of Recorded Sound at the Institute for Jewish Research in New York City. This led to the founding of the KlezKamp festival, where stars like Howie Lees, Max Epstein and Sid Beckerman.

The roots of world music, a fusion of rock, pop and other Western music with traditional folk from around the world, arose in the 1970s. Taj Mahal's Happy to Be Just Like I Am (1972), Joni Mitchell's The Hissing of Summer Lawns (1975) and Ry Cooder's 1976 Chicken Skin Music (with Flaco Jiménez and Gabby Pahinui) helped to launch the genre, which was solidified in 1981 with David Byrne and Brian Eno's My Life in the Bush of Ghosts.

The late 1970s also saw the coalescence of what eventually became known as punk music. Arty singers like Patti Smith (Horses) and grungy bands like The Ramones (The Ramones) emerged from New York, based out of the popular club CBGB's. Just as The Clash (The Clash) and the Sex Pistols (Nevermind the Bollocks, Here's the Sex Pistols) defined and popularized the sound of punk in the UK, a similar scene was developing throughout the US. In the early 1980s, disco died a quick death. The popular reaction against disco was swift and final, and the music had ended its reign of commercial influence by 1982 (see 1982 in music). New Wave filled in as the dominant American sound. It had developed out of arty punk bands like the Talking Heads (More Songs About Buildings and Food), and was popularized by Depeche Mode (Speak and Spell), Duran Duran (Rio) and others.

1980s

New Wave's mainstream popularity was brief. By 1984 (1984 in music), hair metal, long a dormant part of the Los Angeles music scene, started its reign on the charts. Led by hypermasculine bands like Quiet Riot (Metal Health), Van Halen (Van Halen) and Mötley Crüe (Shout at the Devil), hair metal reached its popular peak in the late 1980s with Guns 'n' Roses' Appetite for Destruction and Def Leppard's Pyromania.

Black music in the 1980s focused on two developments. A smooth, ballad-oriented pop-soul evolved and dominated the pop charts, especially in the early part of the decade. Lionel Richie (Can't Slow Down), Michael Jackson (Thriller), Whitney Houston (Whitney Houston) and Prince (Purple Rain) exemplified this field. The other major development in black music was the rise of hip hop as a commercial force.

Hip hop

Hip hop began its course to mainstream popularity with occasional fringe success in the early 80s -- Kurtis Blow (Kurtis Blow) and LL Cool J (Radio) introduced the sound to white listeners, while Afrika Bambaataa & the Soulsonic Force ("Planet Rock") and Grandmaster Flash & the Furious Five ("The Message") innovated new methods in MCing and DJing. Distinct regional variations including Miami bass, LA electro hop, DC go go and Chicago hip house became popular locally and influenced later artists. Of these, bass artists like 2 Live Crew (2 Live Crew Is What We Are) became most famous for sexually explicit lyrics and controversy, while hip house has proven enormously influential on the then developing house music scene and would go on to influence much of electronica and techno.

Punk rock

In the 1980s, punk music began incorporating reggae, ska and other international influences, while heavy metal diversified in the wake of the success of hair metal. Thrash, death and power metal emerged. Pop bands like U2 (The Joshua Tree) and R.E.M (Murmur) also led an interest in the alternative rock scene. All around the country, pop- and hard rock-oriented bands evolving in a state of popular dismissal but critical acclaim had developed a unique sound. Bands like the Pixies (Doolittle) and Hüsker Dü (New Day Rising) made only minor waves on the charts, but fomented a serious revolution in music. A new generation of listeners hated the bombastic, corporate sterility of formulaic hair metal bands, and reacted against them.

Other genres

The 1980s also saw intense diversification in salsa music, which added Latin rap, jazz and other influences. Cuban songo influenced the form, and helped lead to a period of Cuban salsa dominating the genre. Popular salsa from the United States during the 80s including salsa romantica and Miami Sound performers.

1980s gospel was marked by a slick, pop form of Contemporary Christian Music (CCM), most influentially performed by artists like Amy Grant, as well as both traditional and radical singers and choirs, including Kirk Franklin and the Sounds of Blackness. The Detroit Sound of gospel arose during the 80s and remained current in the 90s, dominated by The Winans and The Clarks.

Klezmer music took two different directions during the 1980s. Perennial favorites The Klezmatics, alongside artists like the Flying Bulgar Klezmer Band and Brave Old World, radically reinvented the genre, adding influences from around the world. Another movement, based primarily in Europe, brought klezmer back to its traditional roots.

In 1983, R. Carlos Nakai, a Navajo-Ute, released Changes, a multi-platinum album that launched a revival in the Native American flute. Combined with sounds of nature and ambient electronics, this set the stage for the modern incarnation of New Age music. Three years later, a tradition of Navajo spoken word poetry began with John Trudell's Aka Graffiti Man.

In 1981, David Byrne and Brian Eno released My Life in the Bush of Ghosts, which defined what came to be known as world music by fusing African and Arab vocals over trance-like dance beats. A year later, Peter Gabriel launched WOMAD in Britain; the festival has since become a world music showcase and launched the careers of artists like Youssou N'Dour. In 1986, Paul Simon's blockbuster Graceland made world music briefly mainstream, bringing in South African artists like Ladysmith Black Mambazo and Mahlathini & the Mahotella Queens. In 1989, David Byrne and Peter Gabriel founded record labels (Luaka Bop and RealWorld, respectively) that soon dominated the field.

1990s

The result was the grunge explosion in the early 1990s. By 1992 (1992 in music), hair metal bands were massively unpopular as grunge groups like Nirvana (Nevermind), Pearl Jam (Ten) and Alice in Chains (Dirt) dominated the charts. Their success lasted only a few years, however, as bands found it difficult to maintain their "alternative" sound after going mainstream. In addition, former N.W.A member Dr. Dre (The Chronic) brought gangsta rap to pop audiences. By the mid-90s, alternative rock groups had died out among mainstream listeners, and gangsta rap took over. The middle of the decade also saw a boom in techno music's popularity. Developed primarily in Britain (though Detroit and Chicago were also influential), techno's many permutations achieved some mainstream success throughout the last half of the decade. Bubblegum pop like the Spice Girls also returned after a decade of more-or-less dormancy during the period of hair metal and grunge, both highly opposed to clean, slick and shiny content.

Gangsta rap in the 1980s had focused on the two coasts originally, with West Coast pioneers like Ice-T ("6 N Da Mornin'") and Too $hort (Born to Mack) and East Coast artists like Schoolly D (Saturday Night - The Album) achieving fame among blacks and mainstream success being limited to hardcore groups like N.W.A (Straight Outta Compton), politically controversial groups like Public Enemy (It Takes a Nation of Millions to Hold Us Back) and fledgling alternative hip hop groups like De La Soul (3 Feet High and Rising). East Coast rappers like Slick Rick (The Great Adventures of Slick Rick) had defined that coast's sound in the late 80s, and it had been far and away the center for hip hop until Dr. Dre's The Chronic put the West Coast on the hip hop map. Boasting a radio-friendly G funk sound, based primarily off funk samples, West Coast rap soon became the dominant sound among pop audiences with rappers like Snoop Doggy Dogg (Doggystyle) and Tupac Shakur (Me Against the World) achieving mainstream success. East Coast rappers like Notorious B.I.G (Ready to Die) and Nas (Illmatic) tended to be more well-received critically, but were consistently unable to match the West Coast in pop sales. The rivalry between the two coasts came to a head by 1996 (1996 in music), when the deaths of Notorious B.I.G. and Tupac Shakur rocked the world of hip hop. With West Coast head Suge Knight imprisoned (unrelated to the murders) and East Coast quickly becoming dominated by Puff Daddy's releases aimed at purely pop audiences, rap music splintered. A new generation of southern rappers like OutKast (ATLiens) and Goodie Mob (Soul Food) emerged from Atlanta, as well as vibrant scenes in St. Louis and New Orleans. The Fugees (The Score) also fused hip hop sounds with dub, dancehall and reggae, popular Jamaican forms, to great mainstream success. East Coast rap's reputation among critics during its popular domination by watered-down pop acts like Puff Daddy (No Way Out) and Mase (Harlem World) was saved by the Wu Tang Clan (Enter the Wu-Tang (36 Chambers)), DMX (And Then There Was X), Busta Rhymes (The Coming) and other rappers that used a distinctively East Coast sound without catering to mainstream markets. On the West Coast, a period of relatively poor sales for Dr. Dre and Snoop Dogg and the imprisonment of Suge Knight, led to the subsequent collapse of Death Row Records and a drought in mainstream popularity. In the late part of the decade, Eminem (The Marshall Mathers LP) emerged as one of the country's biggest stars. The Detroit-born rapper achieved success early in his career with radio-friendly hooks and funky beats; he quickly became the first white rapper to cross over to mainstream audiences without losing his critical viability.

Other 90s trends

Power pop bands like Weezer (The Blue Album), jam bands like Phish (A Picture of Nectar) and punk-pop and skacore groups like Green Day (Dookie) and Sublime (Sublime) rose to some prominence, with late punk and ska bands achieving the most mainstream success. No Doubt (Tragic Kingdom), Rancid (...And Out Come the Wolves) and similar bands released blockbuster albums in the middle of the decade.

Soul music, languishing since the popular demise of Michael Jackson and Prince some ten years earlier, re-emerged with a return to the sounds of early 70s soul; Lauryn Hill (The Miseducation of Lauryn Hill), Erykah Badu (Baduizm) and D'Angelo (Voodoo) spearheaded this movement. In hard rock, multiple trends developed.

Thrash metal, invented in the late 80s by bands like Metallica (Kill 'Em All), achieved some mainstream success before mutating into nu metal (such as System of a Down (Toxicity)) in the middle of the decade. Rapcore bands (that mix hip hop and metal) also emerged; Limp Bizkit (Significant Other) and Korn (Peachy) were the most popular, drawing heavily upon early pioneers in the field like Pantera (A Vulgar Display of Power), Faith No More (Angel Dust) and Anthrax (Among the Living). The 1990s also saw a boom in funk metal bands like Red Hot Chili Peppers (Californication) and female singer-songwriters like Tori Amos (Boys for Pele), relying on late 80s pioneers like Tracy Chapman (Tracy Chapman) and P.J. Harvey (Rid of Me).

Another major musical style of the 1990s was pop-country groups, beginning with honky tonk crooners like Clint Black (Killin' Time), Alan Jackson (A Lot About Livin' (And a Little 'Bout Love)) and Garth Brooks (Ropin' the Wind), the sound exploded into mainstream audiences with the crossover success of Shania Twain (Come on Over), the Dixie Chicks (Fly), Faith Hill (Breathe) and other female singers in the middle of the decade.

Verdell Primeaux and Johnny Mike released Sacred Path: Healing Songs of the Native American Church, an influential album that fused Peyote Songs with electronic backwashes and other modern flourishes. In 1994, part Mohawk Robbie Robertson (of The Band) put together the soundtrack for a documentary as part of an exploration of his Native American heritage. The resulting album, Music for the Native Americans, was extremely popular and has proven itself influential, bringing Native American artists to some segments of mainstream audiences.

2000s

Since the turn of the millennium, two major developments in American popular music have occurred. The dominance of bubblegum pop like 'N Sync (No Strings Attached) and Backstreet Boys (Backstreets Back) continued from the 90s, and also grew to include Latin stars like Shakira (Laundy Service), Ricky Martin (Sound Loaded) and Christina Aguilera (Christina Aguilera). In addition to these slick sounds, a growing number of domestic and foreign garage rock bands have achieved notable success, including The Strokes (Is This It), The Hives (Veni Vidi Vicious) and the Stone Roses (Stone Roses).

Related topics

State-specific music:

References

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Music radio

(From Wikipedia, the free Encyclopedia)

Commercial music radio is a radio format that plays popular music in a manner intended to increase profitability of advertisers, thereby increasing the value of the station's advertising, and the station's profits.

In general, the items least valuable to the audience are played before a sequence of commercials, and the most valuable items are played after those commercials. To reduce station changes, commercial breaks are made as brief as commercially possible, and the valuable item following a commercial is rotated several times per hour. Commercial breaks may be longer at times when the audience is thought to be larger. In some countries the maximum time given to commercial breaks is regulated.

Dead air time is considered wasteful. It neither produces profits, nor draws more audience.

Music radio has been helped by the development of semi-automated song-picker programs. Basically, these present the disc-jockey with a list of commercially-acceptable music selections, and other items for the current time slot. These give the disc-jockey some artistic freedom to select songs, promotions, jingles, etc., and yet still assure a cohesive station "sound" and good audience satisfaction. They also reduce a disc-jockey's workload, allowing him or her to develop news items, run the station, prepare gags, or take call-ins while a song is playing. The employer may as a result reduce staffing levels and thus trim overhead costs.

A station's value is usually measured as a percentage of market share in a market of a certain size. The measurement in U.S. markets has historically been by Arbitron, a commercial statistical service that uses listener diaries. Arbitron diaries were historically collected on Thursdays, and for this reason, most radio stations have run special promotions on Thursdays, hoping to persuade last-minute Arbitron diarists to give them a larger market-share. Stations are contractually prohibited from mentioning Arbitron on the air.

Some well-known music-radio formats are Top 40, Freeform Rock and AOR (Album Oriented Rock)''. It turns out that most other stations (such as Rhythm & Blues) use a variation of one of these formats with a different playlist.

Top 40

The original formulaic music radio format was "Top 40." In this format, disc-jockeys would select one of a set of the forty best-selling singles (usually in a rack) as rated by Billboard magazine or from the station's own chart of the local top selling songs. In general, the more aggressive "Top 40" stations could sometimes be better described as "Top 20" stations. They would aggressively skirt listener boredom to play only the most popular singles.

Top 40 radio would punctuate the music with jingles, promotions, gags, call-ins, and requests, brief news, time and weather announcements and most importantly, advertising. The distinguishing mark of a traditional top-40 station was the use of a hyperexcited disc-jockey, and high tempo jingles.

Some of the most famous Top 40 stations of the era were Musicradio 77 WABC/New York, Boss Radio 93 KHJ/Los Angeles Musicradio 89 WLS/Chicago and The Big 68 WRKO/Boston. 

Jingles are the musical equivalent of neon signs, and they can be remarkably beautiful. Jingles are brief, bright pieces of choral music that promote the station's call letters, frequency and sometimes disc-jockey or program segment. Jingles were produced for radio stations by commercial speciality services.  The most famous jingle service was called PAMS, based in Texas.

Gags are audible jokes, often with a (sometimes imaginary) side-kick.  Talk radio evolved out of gags.

News, time-checks, real-time travel advice and weather reports are often quite valuable to listeners.  The news headlines and station identification are often given just before a commercial.  Time, traffic and weather are given just after.  The engineer typically sets the station clocks to standard local time each day, by listening to WWV or WWVH (see atomic clock).  

The station will usually have a policy of announcing time, station call letters and frequency as often as six times per hour, in order to build station loyalty.  Jingles can very useful for giving the station a branded sound in a pleasant, minimal amount of air-time.

While small stations may simply "tear and read" news items (from the teletype), larger stations may employ an editor to rewrite headlines, and provide summaries of local news.  The summaries allow more news to fit in less air-time.  Some stations can share news collection with TV or newspapers in the same media conglomerate.  An emerging trend is to use the radio station's web site to provide in-depth coverage of news and advertisers head-lined on the air.

Most radio stations maintain a call-in telephone line for use during promotions and gags, or to take record requests.  Jocks generally answer the phone and edit the call during music plays.

Promotions are usually the on-air equivalent of lotteries for listeners.  Promotional budgets usually run about $1 per listener per year.  In a large market, a successful radio station can pay a full time director of promotions, and several lotteries per month of vacations, automobiles and other prizes.  Lottery items are often bartered from advertisers, allowing both companies to charge full prices while incurring wholesale costs.  For example, consider a cruise vacation.  Cruising companies often have unused capacity, and when given the choice, prefer to pay their bills by bartering vacations.  Since the ship will sail in any case, bartered vacations cost the cruise company little or nothing.  The promotion is itself advertising for the company providing the prize.


Freeform Rock

"Top 40" was the original form of music radio.  A later development was "freeform" Rock, later commercially developed as AOR (Album-Oriented Rock), in which selections from an album would be played together, with an appropriate introduction.

Traditional freeform rock stations prided themselves on offering their disc-jockeys freedom to play significant music and make significant social commentary and humor.  This approach developed commercial problems because disc-jockeys attracted to this freedom often had tastes substantially different from the audience, and lost audience share.  Also, freeform rock stations could lack predictability, and listeners' loyalty could then be put at risk.  

Responsible jocks would realize their responsibility to the audience to produce a pleasant show, and try to keep the station sound predictable by listening to other jocks, and repeating some of their music selections.

At their best, freeform stations have never been equalled for their degree of social activism, programmatic freedom, and listener involvement.  However, to succeed, the approach requires genius jocks, totally in-tune with their audience, who are also committed to the commercial success of the radio station.  This is a rare combination of traits.  Even if such people are available, they often command extremely high salaries.  However, this may be an effective approach for a new station, if talented jocks can be recruited and motivated at low salaries.


AOR

AOR (Album Oriented Rock) developed as a commercial compromise between top-forties-style formulas and freeform rock.  A program director or music consultant would select some set of music "standards" and require the playlist to be followed, perhaps in an order selected by the jock.  The jock would still introduce each selection, but the jock would have available a scripted introduction to use if he was not personally familiar with a particular piece of music and its artist.  Obviiously a computer helps a lot in this process.

Computer-directed playlisting was a God-send for AOR, because it gave the jocks a great deal of freedom, without risking the station's commercial stability.  The result was often happier jocks, happier audiences, and higher ratings.

A wonderful, relatively safe compromise with the artistic freedom of the jocks is that a few times each hour, usually in the least commecially valuable slots of the hour, the disc-jockey can highlight new tracks that he or she thinks might interest the audience.  The audience is encouraged to comment on the new tracks, allowing the station to track audience tastes.

A skillfully-run AOR station can be virtually indistinguishable from a top-quality freeform station with good jocks that listen to each other.

Giving a jock freedom to play a few new songs has other benefits.  It increases the credibility of the station with serious listeners.  Also, a willingness to identify and play new talent makes a radio station very valuable to record-promoters and artists.  The promotional recordings let a station to develop a large, high quality music library at low cost.  

To play new songs that honestly interest the audience, the station must publish rules about which promotional offers a jock should refuse. Otherwise commercial gifts, promotional offers and other payola can cause jocks to play bad songs, and ruin the station's ratings and profitability.  A policy helps the jocks, because it gives them a simple reason to say no, so that they can continue to do a good job without offending promoters.


Classic Rock

Not playing new artists has been described as a weakness of "classic rock" or "oldies" formats.  This is true in a creative but not a commercial sense.  One of the unwritten "rules" of commercial radio is to get a big share of ratings and revenue.  Stations will not get these if they frequently play songs unfamiliar to their audience.  This is why "Top 40" stations played only the biggest hits and why oldies and classic rock formats do the same for the eras they cover. 

The oldies and classic rock formats have a strong niche market, but as the audience becomes older the station becomes less attractive to advertisers.  Advertisers perceive older listeners as set in their brand choices and not as responsive to advertising as younger, more impulsive listeners.  Oldies stations must occasionally change to more youthful music formats. 

This preference for younger listeners caused the decline of the "Big Band" or "Standards" music formats that covered music from the 1930s to the 1950s.  As the audience grew too old for advertisers, the radio stations that carried these formats saw a sharp loss of ratings and revenue.  This left them with no choice but to adopt more youthful formats.


Classical, Pop, R&B, Easy-listening, Jazz, etc.

These formats all have small but very loyal audiences in the largest markets.  Most follow formats similar to the above (Top 40s, Freeform, AOR and Oldies), except with a different playlist.  Public service stations following these formats tend to be "freeform" stations.


Public Service Formats

Some music radio is broadcast by public service organizations, such as PBS or the BBC.  These usually resemble freeform stations, with particular programs for different types of music.  More popular formats get more popular hours.  The Avant-garde programs tend to be pushed to the late night and early morning slots.


Promotional usages

Music radio is also a means of promoting other enterprises, such as a record label or ad-hoc music events in which the broadcaster(s) have a commercial interest. 

See also radio, Christian radio offshore radio, WABC, WLS, WKBW, KHJ, WRKO, KIMN and internet radio.
Source: adapted by the editor from Wikipedia, the free encyclopedia under a copyleft GNU Free Documentation License (GFDL) from the article "Music radio."
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Popular music
(From Wikipedia, the free Encyclopedia)

Popular music, sometimes abbreviated to pop music, is music belonging to any of a number of contemporary musical styles broadly popular (ergo the term). A narrower sense of the term, usually "pop music", covers mainstream music that does not fall into any other convenient style such as jazz or hip hop. In the broader sense, "popular music" means any sort of music intended for mass consumption and propagated over the radio and similar media.  For the varieties of popular music in this sense, see the list below.

A defining characteristic of popular music (in the broader sense) is that it is the product of the modern business enterprise, and is disseminated for the purpose of earning a profit.  Executives and employees of popular music businesses try to select and cultivate the music that will have the greatest success with the public, and thus maximimize the profits of their firm.  In this respect, popular music differs from traditional folk music, which is created by ordinary people for their own enjoyment; and much classical music, which was originally created to serve the purposes of the Church or for the entertainment of the nobility.  

Although the controlling forces of popular music are business enterprises, young people who aspire to become popular musicians are certainly not always driven by the profit motive.  Rather, they often want to find an outlet for their sense of expression and creativity, or simply to have fun.  Historically, the conflicting motives of business people and musicians has been a source of tension in the popular music industry.  

Many people play popular music together with their friends, often in garages and basements, on a casual amateur basis.  This activity is one of the most widespread forms of participatory music-making in modern societies.  As participatory music, "garage bands" are a new development in traditional folk music, which (where it survives) is likewise performed by ordinary people for enjoyment.  The difference is that amateur performers of popular music are well acquainted with the expert performances that they hear on recordings, and often try to emulate them.  In the past, folk music had few professional experts and was spread by word of mouth and by songsheets, although today folk music is the subject of considerable scholarly study and is widely available on recordings.

A list of current performers of popular music can be found at:

Music genres that can be described as popular music include:
See also:

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Pulitzer Prize for Music
(From Wikipedia, the free Encyclopedia)
The Pulitzer Prize for Music was first awarded in 1943. Joseph Pulitzer did not call for such a prize in his will, but had arranged for a music scholarship to be awarded each year. This was eventually converted into a full fledged prize.

The winners in this category have been:

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Abbreviations & Acronyms: Music
The following table is compiled from various sources, across various languages. When English abbreviations or acronyms come from a non-English source, this is noted.
EntrySourceExpressionField
MUSIC
EnglishMaryland University Sectored Isochronous CyclotronN/A
MUCEEnglishMusic Users'Council of EuropeN/A
Source: compiled by the editor, based on several corpora (additional references).
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Synonyms: Music
Synonyms: euphony (n), medicine (n), sheet music (n). (additional references)
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Synonyms within Context: Music
ContextSynonyms within Context (source: adapted from Roget's Thesaurus).
Amusement
Place of amusement, theater; hall, concert room, ballroom, assemblyroom; music hall.
Courage
Put a bold face upon; show a bold front, present a bold front; show fight; face the music.
Intellect
Phrase: ens rationis; frons est animi janua; locos y ninos dicen la verdad; mens sola loco non exulat; " my mind is my kingdom "; " stern men with empires in their brains "; " the mind, the music breathing from her face "; " thou living ray of intellectual Fire ".
Mart
Tobacco shop, tobacco store, tobacconists, cigar store, hardware store, jewelry shop, bookstore, liquor store, gun shop, rod and reel shop, furniture store, drugstore, chemist's, florist, flower shop, shoe store, stationer, stationer's, electronics shop, telephone store, music store, record shop, fur store, sporting goods store, video store, video rental store; lumber store, lumber yard, home improvements store, home improvement center; gas station, auto repair shop, auto dealer, used car dealer.
Motive
Phrase: fax mentis incendium gloriae; "temptation hath a music for all ears" "to beguile many and be beguiled by one".
Order
Noun: order, regularity, uniformity, symmetry, lucidus ordo; music of the spheres.
Poetry
Song, ballad, lay; love song, drinking song, war song, sea song; lullaby; music; nursery rhymes.
The Drama
Theater; playhouse, opera house; house; music hall; amphitheater, circus, hippodrome, theater in the round; puppet show, fantoccini; marionettes, Punch and Judy.
World
Noun: world, creation, nature, universe; earth, globe, wide world; cosmos; kosmos; terraqueous globe, sphere; macrocosm, megacosm; music of the spheres.
Source: adapted from Roget's Thesaurus.
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Crosswords: Music
English words defined with "music": African-American music ♦ Bachelor of Music, ballroom music, black music ♦ Chamber music, church music, classical music, concerted music, country music ♦ dance music, danceroom music, department of music, Doctor of Music ♦ ethnic music ♦ folk music ♦ hillbilly music ♦ incidental music ♦ Magic music, marching music, martial music, military music, monophonic music, music box, music department, music genre, music lesson, music of the spheres, music paper, music rack, music school, Music shell, music stand, music teacher ♦ part music, Passion music, piano music, polyphonic music, pop music, popular music, popular music genre, Programme music ♦ rap music, religious music, rock music ♦ school of music, Secular music, serial music, serious music, set to music, sheet music, square-dance music ♦ twelve-tone music ♦ Vocal music. (references)
Specialty definitions using "music": atonal music ♦ background music, Broken Music ♦ DIRECTOR, MUSIC ♦ Frozen Music ♦ Hercules of Music, Hierarchical Music Specification Language ♦ MARRIAGE MUSIC, mood music, music autographer, MUSIC COPYIST, music department head, MUSIC ENGRAVER, MUSIC GRAPHER, MUSIC LIBRARIAN, INTERNATIONAL BROADCAST, music mixer, MUSIC SUPERVISOR, MUSIC THERAPIST, Music Therapy, music typographer ♦ Rough Music ♦ Sing my Music, and not Yours ♦ TOOTH Music ♦ walk-in/out music. (references)
Etymologies containing "music": Pibroch. (references)
Non-English Usage: "Music" is also a word in the following language with the English translation in parentheses.
German (music).
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Modern Usage: Music
DomainUsage
Screenplays
He jumps about to music! (Singin' in the Rain; writing credit: Betty Comden; Adolph Green)
What kind of music do you usually have here (The Blues Brothers; writing credit: Dan Aykroyd and John Landis.)
Music to drown by. Now I know I'm in first class (Titanic; writing credit: James Cameron)
Blast this Christmas music! It's joyful and triumphant (How the Grinch Stole Christmas; writing credit: Jeffrey Price)
The Beach Boys are great American music. (Rush Hour; writing credit: Jim Kouf)
Lyrics
I wish music could adopt me (Music; performing artist: Erick Sermon)
Now when the music starts (Turn On Some Music; performing artist: Marvin Gaye)
Play that funky music Come on Come on (Play that funky music; performing artist: Vanilla Ice)
How can you help it, when the music starts to play (Everybody Plays the Fool; performing artist: Aaron Neville)
With a bit of rock music, everything is fine ("Dancing Queen"; performing artist: Abba)
Clever
He has Van Gogh's ear for music. (references; author: unknown)
You are an engineer if people groan at the party when you pick out the music. (references; author: unknown)
A bean supper will be held on Tuesday evening in the church hall. Music will follow. (references; author: unknown)
I wrote a song, but I can't read music. Every time I hear a new song on the radio, I think, "Hey, maybe I wrote that. (references; author: unknown)
Movie/TV Titles
American Roots Music (2001)
Marsalis On Music (1995)
Music with Roots in the Aether: Opera for Television by Robert Ashley (1974)
You Will Be My Music (1974)
Music Machine (1973)
Song Titles
Music! Music! Music! (performing artist: Teresa Brewer)
Listen To The Music (performing artist: The Doobie Brothers)
Music Box Dancer (performing artist: Frank Mills)
SWAYING TO THE MUSIC (performing artist: JOHNNY RIVERS)
Music (performing artist: Madonna)
Source: compiled by the editor from various references; see credits.
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Commercial Usage: Music
DomainTitle
References
  • Edel Music AG: International Competitive Benchmarks and Financial Gap Analysis (reference)
  • Sony Music Entertainment (Japan) Inc.: International Competitive Benchmarks and Financial Gap Analysis (reference)
  • Music Corporation: International Competitive Benchmarks and Financial Gap Analysis (reference)
  • Paradise Music & Entertainment, Inc.: International Competitive Benchmarks and Financial Gap Analysis (reference)
  • TouchTunes Music Corporation: International Competitive Benchmarks and Financial Gap Analysis (reference)
    (more reference examples)
  
Books
  • This Business of Music: The Definitive Guide to the Music Industry (This Business of Music, 8th Ed) (reference)
  • What They'll Never Tell You About the Music Business: The Myths, Secrets, Lies (& a Few Truths) (reference)
  • The Phish Companion: A Guide to the Band and their Music (reference)
  • Aesthetical Essays: Studies in Aesthetic Theory, Hindustani Music and Kathak Dance (reference)
  • Conceptualizing Music: Cognitive Structure, Theory, and Analysis (Ams Studies in Music Series) (reference)
    (more book examples)
  
Periodicals
  
Theater & Movies
  • Rhythm of Resistance - Black South African Music (reference)
  • Times Ain't Like They Used to Be: Early Rural & Popular American Music (reference)
  • Music of Paul Simon Arranged for Fingerstyle Guitar (reference)
  • Music in High Places - Sugar Ray (Live from Australia) (reference)
  • Retreat - Music Video on Domestic Violence Awareness (reference)
    (more DVD examples; more video examples)
  
Music
  • Muppet Show: Music Mayhem & More - 25th Anniv Coll (reference)
  • Space or Dream of Life - Music Experience in 3-Dimensional Sound Reality (TM), 5.1 Music Disc [DTS SURROUND SOUND] (reference)
  • More Music From 8 Mile [SOUNDTRACK] (reference)
  • Traditional Music of Peru 8: Piura (reference)
  • The Music of ABBA (reference)
    (more classical music examples; more popular music examples)
  
High Tech
  
Consumer Goods
Source: compiled by the editor from various references; see credits.
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Image Slideshow: Music
Photos:
Music
More pictures...
Illustrations:
Music
More pictures...
Computer Images:
Music
More pictures...
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Photo Album: Music
ThumbnailDescription & CreditThumbnailDescription & Credit
Pictured is a family group of a father, mother and eight children around a piano. One of the younger women is playing the piano and the others are following the music and singing. They raise their hands while singing. It appears to be a family room home setting. These people are a Mormon family. They are presently being studied for their low cancer death rate. Credit: Linda Bartlett (photographer).
Music - a companion of the sailor - note the survival suit. Credit: Fisheries.
Traditional music to welcome the salmon was played at the dedication ceremony. Credit: NOAA Restoration Center.
Theater Performance --Prairie Dog Music Co.-- at the NHOTIC. Credit: BLM Staff.
Caption: Bldg. 5, Third Floor, Music Room; West Orange, NJ; Ca. 1920; {10.389/21} (jpg).
Caption: Edison Listening to Helen Davis Singing, Victor Young at the Piano, in the Music Room of Bldg. 5; West Orange, NJ; 1912; {14.225/137} (jpg).
U.S. American National Red Cross Hospital No. 5, Auteuil, France. : Convalescent soldiers enjoying music and some time outdoors. Credit: National Library of Medicine.
The Great Society: : Music Medicine and Sport / W[arrington] Colescott. Credit: National Library of Medicine.
Cover for sheet music composed and written by Chief Yeoman Daisy May Pratt Erd, USNRF, during World War I. It features the names of 109 U.S. Navy ships, from battleships to tugs and patrol boats. Credit: NAVY.
Johnson house, Moorestown, N.J.  Music room. Credit: Library of Congress.
Source: pictures compiled by the editor from various references; see picture credits.
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Digital Photo Gallery: Music
 
"Girl Listening To Music" by Hana Matz
Commentary: "A young girl listening to music.  Note: blur is purposely there for effect. ."		"B & F Music House" by Luke Partridge
Commentary: "Old music store in the Ghetto."

Source: photographs selected by the editor, with permission from the photographers.
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Sounds Captioned with "Music".
PlayCaptionPlayCaption
Synthetic music.A new age, world music style piece with synthesizers and bamboo flute.
Thick synthesized texture with guitar playing in a new age or world music style.Synthesized music.
Typical smooth jazz style music with electric bass and keyboard melody.Upbeat example highlighting a new age style or world music genre with flutes and guitar.
An old recording of Hawaiian-sounding music circa 1950's or 1960's.Electric guitar and electric keyboard create a new age or world music excerpt.
Church organ music.Highly dramatic work reflective of the piano music of Mozart.
Source: compiled by the editor from various references; see credits.
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Familiar Quotations: Music
AuthorQuotation
De Stael
Architecture is frozen music.
Dick Clark
Music is the soundtrack of your life.
Friedrich Nietzsche
Only sick music makes money today.
Without music life would be a mistake.
Heinrich Heine
When words leave off, music begins.
Omar Khayyam
Oh, the brave Music of a distant drum!
Ralph Waldo Emerson
Music causes us to think eloquently.
Richard Barnfield
Is music and sweet poetry agree.
Robert Schumann
Everything he touches turns to music.
William Shakespeare
If music be the food of love; play on.
Source: compiled by the editor from various references.
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Use in Literature: Music
TitleAuthorQuote
Emma
Austen, Jane
I know enough of music to speak decidedly on that point
Sylvie and Bruno Concluded
Carroll, Lewis
All fear and shyness had quite passed away now, and nothing remained but the pure joy of the music that had thrilled our hearts
A Christmas Carol
Dickens, Charles
After tea, they had some music.
The Hitchhiker's Guide to the Galaxy
Douglas Adams
The suns blazed into the pitch of space and a low ghostly music floated through the bridge: Marvin was humming ironically because he hated humans so much
Scarlet Letter
Hawthorne, Nathaniel
She broke continually into shouts of a wild, inarticulate, and sometimes piercing music.
Les Miserables
Hugo, Victor
He would have given ten years of his life to hear it, to be able to carry a little of that music in soul
Portrait of the Artist as a Young Man
Joyce, James
This furious music allayed his dread and, leaning against the windowledge, he let his eyelids close again
Grapes of Wrath
Steinbeck, John
Over near the office the men still squatted and talked, and the shrill music came to them
Walden
Thoreau, Henry David
In the music of the harp which trembles round the world it is the insisting on this which thrills us.
Source: compiled by the editor from various references.
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Non-Fiction Usage: Music
SubjectTopicQuote
Health
Focusing on music might help you forget about your tinnitus for a while. (references)
When you go to a restaurant, do not sit near the kitchen or near a band playing music. (references)
Think about things that will help you cope. Many people find listening to music very helpful. (references)
Business
However, unwritten quotas for both foreign films and foreign music persist. (references)
While books are struggling in finding the way, music is off to a smoother start. (references)
Electronic music distribution may be offered in conjunction with Internet broadcasting. (references)
Children
Bosnia and Herzegovina
So-called national subjects (language, history and music) were still taught separately in afternoon classes, but materials that could be hateful or offensive to others were eliminated. (references)
Civil Liberties
Afghanistan
The Taliban prohibited music, movies, and television on religious grounds. (references)
Cote d'Ivoire
The religious stations broadcast a mix of religious services, debates, and sacred music. (references)
Economic History
Spain
Copying of music CDs is also increasing. (references)
Egypt
So far, they include news, music, and sports. (references)
Bolivia
Its regional folk music is distinctive and varied. (references)
Human Rights
Korea
The Government also allows the personal perusal of North Korean books, music, television programs, and movies as a means to promote understanding and reconciliation with North Korea. (references)
Turkey
Other methods used are forced prolonged standing, isolation, loud music, witnessing or hearing incidents of torture, being driven to the countryside for a mock execution, and threats to detainees or their family members. (references)
Greece
Amnesty International called on the authorities to conduct an impartial investigation into allegations made by Andreas Kalamiotis, a 21-year-old Rom, who claimed that he was beaten and mistreated by police in July while in custody for disturbing neighbors in Aghia Paraskevi with loud music. (references)
Indigenous People
Guatemala
On May 18, UNESCO declared the language, dances, and music of the Garifuna people to be part of the international cultural patrimony. (references)
Minorities
Yugoslavia
The Federal Ministry of National and Ethnic Communities has proposed a new curriculum, that would include studies on Hungarian art, history and music. (references)
Mexico
Adventists in Tapachula were accused of playing loud music in front of Catholic churches while Mass was being conducted, allegedly infringing upon the rights of their neighbors to unimpeded worship. (references)
Political Economy
DENMARK
There is little piracy in Denmark of music CDs or audio or video cassettes. (references)
MEXICO
Music piracy increased dramatically in 2000 compared with 1999, according to industry. (references)
HONG KONG
U.S. film and music distributors also report increasing levels of legitimate sales in Hong Kong. (references)
Trade
Canada
Under the Investment Canada Act and related regulations, Canada maintains laws and policies that restrict new or expanded foreign investment in the energy, publishing, telecommunications, transportation, film, music, broadcasting, and cable television sectors. (references)
Travel
Ghana
Open 7 days, with live music on the weekend. (references)
Australia
Typically, there are a myriad of art exhibitions, music festivals and concerts. (references)
Lexicography
Devil's Dictionary
NOISE, n.  A stench in the ear.  Undomesticated music.  The chief product and authenticating sign of civilization.
Source: compiled by the editor from ICON Group International, Inc.; see credits.
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Spoken Usage: Music
SpeakerPhrase(s)
Barry Manilow
Well, in the beginning I didn't. I mean, the first time I listened to pop music was when I was on the radio.
Connie Francis
The Startime Kids. And they were the most precocious, talented group of young people that I've ever seen. And I was on that show four years, every single week for four years. And I learned a lot. I learned to do all kinds of music.
Jermaine Jackson
True, but still. Look at his heart. Look at his music. Look at what he's done for people. Look at the influence. We've been influenced. And you have to say, he's a wonderful person.
Linda Thompson
Oh, he revolutionized music. You know, he was this young kid from abject poverty who grew up in Tupelo, Mississippi and Memphis, Tennessee, and you know, was an amalgamation of lots of different styles of music, from black gospel to, you know, hillbilly.
Source: compiled by the editor from various references; see credits.
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Speeches: Music
SpeakerTermPhrase(s)
Thomas Jefferson
1801-1809In music they are more generally gifted than the whites with accurate ears for tune and time, and they have been found capable of imagining a small catch.
Ronald Reagan
1981-1989With God as your composer, Tyrone, your music will be the music of angels.
Bill Clinton
1993-2001Though we march to the music of our time, our mission is timeless.
Source: compiled by the editor from various references.
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Usage Frequency: Music
"Music" is generally used as a noun (singular) -- approximately 99.83% of the time. "Music" is used about 15,003 times out of a sample of 100 million words spoken or written in English. Its rank is based on over 700,000 words used in the English language. Some parts-of-speech are not covered due to the samples used by the British National Corpus. (note: percents less than one-hundredth of one percent have been omitted)
Parts of SpeechPercentUsage per
100 Million Words		Rank in English
Noun (singular)99.83%14,977620 
Noun (proper)0.17%2668,323 
                    Total100.00%15,003N/A
Source: compiled by the editor from several corpora; see credits.
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Name Usage Frequency: Music
The following table summarizes the usage of "music" based on a population census conducted in the United States. Ranks and frequencies are based on all names reported and classified.
NameUsage/GenderUsage per 100
million Persons		Rank in USA
MusicLast name2,0006,304
Source: compiled by the editor from several corpora; see credits.
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Usage in Company Names: Music
CountryNameCountryName
Canada
Indigo Books & Music, Inc.
Germany
Edel Music AG
Japan
Sony Music Entertainment (Japan) Inc.
Philippines
Music Corporation
United Kingdom
Music Choice Europe P.L.C.
USA
Paradise Music & Entertainment, Inc.
 (more examples...)  
Source: compiled by the editor from Icon Group International, Inc.
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Expressions: Music
Expressions using "music": a love of music ♦ a music mistress ♦ academy of music ♦ atonal music ♦ bachelor of Music ♦ background music ♦ ballroom music ♦ bass music ♦ black music ♦ canned music ♦ chamber music ♦ chin music ♦ church music ♦ classical music ♦ college of music ♦ compose music ♦ computer music ♦ concert of music ♦ concerted music ♦ constant background music ♦ country music ♦ dance music ♦ dance to jazz music ♦ danceroom music ♦ department of music ♦ devotee of music ♦ doctor of Music ♦ ear for music ♦ emotional music ♦ ethnic music ♦ face the music ♦ fantasia music ♦ folk music ♦ have a poor ear for music ♦ have an ear for music ♦ have an instinct for music ♦ hierarchical Music Specification Language ♦ hillbilly music ♦ horn music ♦ incidental music ♦ instrumental music ♦ it was music to his ears ♦ jazz music ♦ light music ♦ Magic music ♦ marching music ♦ martial music ♦ military music ♦ monophonic music ♦ mood music ♦ music book ♦ music box ♦ music centre ♦ music critic ♦ music cymbals ♦ music department ♦ music director ♦ music drama ♦ music genre ♦ music hall ♦ music instrument ♦ music instrument digital interface ♦ music lesson ♦ music line ♦ music loft ♦ music lover ♦ music master ♦ music of the spheres ♦ music paper ♦ music pen ♦ music player ♦ music rack ♦ music school ♦ music sheet ♦ music shell ♦ music stand ♦ music stool ♦ music teacher ♦ Music Therapy ♦ music video recording ♦ nice ear for music ♦ palm court music ♦ part music ♦ passion music ♦ piano music ♦ piece of music ♦ pipe music ♦ piped music ♦ play music ♦ playing music ♦ polyphonic music ♦ pop music ♦ popular music ♦ popular music genre ♦ program music ♦ programme music ♦ range in music ♦ rap music ♦ religious music ♦ repeat in music ♦ respond to music. Additional references.
Hyphenated Usage
Beginning with "music": music-based, music-book, music-box, music-boxes, music-business, music-case, music-drama, music-filled, music-hall, music-halls, music-historical, music-house, music-industrial, music-industry, music-lesson, music-lover, music-lovers, music-loving, music-madded, music-makers, music-making, music-master, music-mingled, music-mistress, music-oriented, music-political, music-printers, music-rack, music-related, music-room, music-school, music-sheets, music-shop, music-stand, music-stool, music-teacher, music-theatre, music-theatrical, music-to-lighting, music-types, music-wise, music-xxxx.
Ending with "music": dance-music, early-music, pop-music.
Containing "music": Image-music-text.
Source: compiled by the editor from various references; see credits.
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Frequency of Internet Keywords: Music
The following statistics estimate the number of searches per day across the major English-language search engines as identified by various trade publications. Hyperlinks lead to commercial use of the expression at Amazon.com.
 
ExpressionFrequency
per Day		ExpressionFrequency
per Day
music
190,093
music file
4,484
music download
43,513
msn music
4,477
free music download
38,466
bmg music
4,441
free music
28,849
rap music
4,403
music video
26,579
much music
4,297
music lyrics
16,316
downloading music
3,836
sheet music
11,348
dance music
3,810
yahoo music
9,459
country music lyrics
3,643
mp3 music
8,813
wedding music
3,491
music match
8,663
music match juke box
3,344
listen to music
8,590
music software
3,306
country music
7,489
music chart
2,754
christian music
7,052
live music
2,744
free sheet music
6,360
pop music
2,703
rock music
6,119
arabic music
2,510
metal music
5,645
music gift
2,482
music cd
5,153
piano music
2,474
gospel music
5,083
new age music
2,473
music online
4,533
music search
2,403
new music
4,524
piano sheet music
2,389
Source: compiled by the editor from various references; see credits.
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Modern Translation: Music
Language Translations for "music"; alternative meanings/domain in parentheses.
Afrikaans
  
musiek. (various references)
   
Albanian
  
muzikë (harmony). (various references)
   
Arabic 
  
‏موسيقى (debutant), ‏عقاب (chastise, forfeit, penality, penalty, punishment, retribution, sanction). (various references)
   
Bulgarian 
  
оркестър от духови инструменти, ноти (numbers), музикален (musical, tunable, tuneful), музика (band), приятен звук. (various references)
   
Catalan
  
músic. (various references)
   
Chinese 
  
音樂 , 音乐 (Musical), 籟  (musical pipe with 3 reeds), 曲子  (folk tune), 樂  (cheerful, happy, laugh). (various references)
   
Czech
  
muzika (dance), noty, hudební výchova, hudba. (various references)
   
Danish
  
musik (music lessons, musical education, musical expression). (various references)
   
Dutch
  
muziek (musical expression). (various references)
   
Esperanto
  
muziko. (various references)
   
Faeroese
  
tónleikur. (various references)
   
Farsi 
  
موسیقی , موزیک , خنیا (Melody), اهنگ  (Air, Cadence, Intonation, Sonance, Tone, Tune), رامشگری . (various references)
   
Finnish
  
musiikki. (various references)
   
French
  
musique (sheet music). (various references)
   
Frisian
  
muzyk. (various references)
   
German
  
Musik (score). (various references)
   
Greek 
  
μουσική (music lessons, musical education). (various references)
   
Hawaiian
  
muzikë. (various references)
   
Hebrew 
  
מוסיקה, שירה (poetics, poetry, singing, song, verse), זמרה (singing). (various references)
   
Hungarian
  
zene. (various references)
   
Indonesian
  
musik, bunyi-bunyian (musical instruments). (various references)
   
Irish
  
ceol. (various references)
   
Italian
  
musica (music lessons, musical education, musical expression). (various references)
   
Japanese Kanji 
  
音譜  (notation, notes), 音楽　 (musical movement), 音楽  (musical movement), 譜面 , 譜  (note, score), 鳴り物  (a musical instrument, fanfare), 管弦  (wind and string instruments), ミドル級  (10^-3, aerogramme, communications within a small range, middleweight class, Mila Sohon, militarism, militarist, military look, milli-, millibar, milligram, millimeter, million, million seller, millionaire, millisecond, mimic, mi-mollet, mimosa, mineral, mineral water, Minerva, minestrone, mini, mini component, mini computer, mini floppy disk, mini size, mini theater, miniature, miniature car, minibuffer, minicar, minicomputer, mini-computer, minicycle, mini-disk, minifacsimile, minim, minimalist program, minimum, minimum access, minion, minipill, mini-skirt, ministate, Minnesota, Minolta, minute steak, miracle, mirage, mirror, mirror ball, mirror site, monitor, Muenchen, Muller, Munich, museum, music tape, music therapy, musical, musical comedy, musical play, musical show, musician, mutant, mute, Myanmar). (various references)
   
Japanese Katakana 
  
おんがく (musical movement), おんぷ (notation, note, notes), ミュージック , なりもの (a musical instrument, fanfare), ふめん, ふ (affix, append, captive, generally, giving to, instructor, minus, negative, negative prefix, non, note, pawn, prisoner, refer to, score, slave, submitting to, tutor, un, victim, widely), かんげん (admonition, cajolery, freeboard, in other words, leniency and severity, reduction, resolution, return to origins, wind and string instruments). (various references)
   
Korean 
  
음악 (Musical). (various references)
   
Manx
  
kiaullee, kiaull (minstrel, singing, warble, warble of birds), bingys (intonation, ring, shrillness, sounding, yielding music). (various references)
   
Norwegian
  
musikk. (various references)
   
Papago
  
muhsigo (to make music), ne'it (to compose music). (various references)
   
Papiamen
  
músika. (various references)
   
Pig Latin
  
usicmay.(various references)
   
Polish
  
muzyka. (various references)
   
Portuguese
  
música (tune). (various references)
   
Romanian
  
muzicå, muzicã (band), note (report). (various references)
   
Romany
  
bashalipè. (various references)
   
Russian 
  
ноты, музыка;ноты музыкальный, музыка. (various references)
   
Scottish
  
ceòl. (various references)
   
Sepedi
  
boopedi. (various references)
   
Serbo-Croatian
  
muzika. (various references)
   
Shona
  
mumhanzi. (various references)
   
Spanish
  
música (minstrelsy, setting). (various references)
   
Sranan
  
poku. (various references)
   
Swedish
  
musik (score, strains, strike up the band). (various references)
   
Tagalog
  
tugtúgin, tugtóg. (various references)
   
Thai
  
รูปแบบการร้องเพลงของคนดำ (gospel music). (various references)
   
Turkish
  
musiki, müzik. (various references)
   
Turkmen 
  
saz (intact, musical). (various references)
   
Ukrainian
  
ноти, музичний твір, музика (note). (various references)
   
Vietnamese 
  
nhạc (variety entertainment, variety show), chịu đựng tất cả những lời phê bình chê trách, chịu đựng tất cả những hậu quả của việc mình làm. (various references)
   
Welsh
  
miwsig, peroriaeth (melody), cynghanedd (harmony, Welsh metrical alliteration), cerddoriaeth, cerdd (poem, poetry, song). (various references)
   
Yucatec
  
paax, k'aay (sing, song). (various references)
Source: compiled by the editor from various translation references.
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Ancestral Language Translations: Music
LanguagePeriodTranslations
Greek700 BCE-300 CE
mousike techne. (various references)
Latin500 BCE-Modern
apollo, cantatio, cantionum, cantus, musa, musica, musicis. (various references)
Source: compiled by the editor from various references.
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Bible Trace: Music
LanguageDateSourceMatthew Chapter 11, Verse 17
Greek (transliterated)250 BCSeptuagintKai legousin hulhsamen umin kai ouk wrchsasqe eqrhnhsamen umin kai ouk ekoyasqe

Latin405VulgateDicunt cecinimus vobis et non saltastis lamentavimus et non planxistis

Old English990West Saxon& cweðeð. we sungen eow. & ge nefricodon. & we cwyddun & ge ne weapan.
Middle English1395WyclifAnd seien, We han songun to you, and ye han not daunsid; we han morned to you, and ye han not weilid.
Renaissance English1526TyndaleAnd saye: we have pyped vnto you and ye have not daunsed? We have morned vnto you and ye have not sorowed.
Jacobean English1611King JamesAnd saying, We have piped unto you, and ye have not danced; we have mourned unto you, and ye have not lamented.
Victorian English1833WebsterAnd saying, We have piped to you, and ye have not danced; We have mourned to you, and ye have not lamented.

Basic English1964OgdenWe made music for you and you did not take part in the dance; we gave cries of sorrow and you made no signs of grief.

Source: compiled by the editor from various references; see credits.
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Matched Bible Translations: Music
LanguageMatthew Chapter 11, Verse 17
Cebuano`Gitokahan bitaw namo kamog plawta, apan wala man kamo mosayaw; nagminatay kami, apan wala man kamo magtampoktampok sa inyong mga dughan.`
Croatian'Zasvirasmo vam i ne zaigraste, zakukasmo i ne zaplakaste.'"
DanishVi blæste på Fløjte for eder, og I dansede ikke; vi sang Klagesange, og I jamrede ikke.
DutchEn zeggen: Wij hebben u op de fluit gespeeld, en gij hebt niet gedanst; wij hebben u klaagliederen gezongen, en gij hebt niet geweend.
Finnishsanoen: `Me soitimme teille huilua, ja te ette karkeloineet; me veisasimme itkuvirsiä, ja te ette valittaneet`.
Frenchdisent: Nous vous avons joué de la flûte, et vous n`avez pas dansé; nous avons chanté des complaintes, et vous ne vous êtes pas lamentés.
Germanund sprechen: Wir haben euch gepfiffen, und ihr wolltet nicht tanzen; wir haben euch geklagt, und ihr wolltet nicht weinen.
Haitian CreoleNou jwe mizik cho pou nou ak fif nou, nou pa danse. Nou chante chante ki tris pou nou, nou pa kriye.
HungarianÉs ezt mondják: Sípoltunk néktek, és nem tánczoltatok; siralmas énekeket énekeltünk néktek, és nem sírtatok.
Indonesian-Bahasa Sehari-hari'Kami memainkan lagu gembira untuk kalian, tetapi kalian tidak mau menari! Kami menyanyikan lagu perkabungan, dan kalian tidak mau menangis!'
Indonesian-Terjemahan Lamakatanya: Kami sudah meniup suling bagi kamu, tiada juga kamu menari; kami sudah meratap, tetapi tiada juga kamu menangis.
ItalianVi abbiamo suonato il flauto e non avete ballato, abbiamo cantato un lamento e non avete pianto.
LatvianSaka: Mçs jums spçlçjâm, bet jûs nedejojât; mçs jums dziedâjâm raudu dziesmas, bet jûs neraudâjât.
Manx GaelicAs gra, Ta shin er n'yannoo bingys diu, as cha vel shiu er ghaunsin: ta shin er hroggal bardoon diu, as cha vel shiu er ghobberan.
MaoriE mea ana, Whakatangi noa matou i te putorino ki a koutou, a kahore koutou i kanikani mai; aue noa matou ki a koutou, a kahore koutou i tangi mai.
NorwegianVi blåste på fløite for eder, og I vilde ikke danse; vi sang sørgesanger, og I vilde ikke gråte.
PortugueseTocamo-vos flauta, e não dançastes; cantamos lamentações, e não pranteastes.   
Rumanian,V`am ckntat din fluier, wi n`ayi jucat; v`am ckntat de jale, wi nu v`ayi tknguit.`
RussianЗПЧПТСФ: НЩ ЙЗТБМЙ ЧБН ОБ УЧЙТЕМЙ, Й ЧЩ ОЕ РМСУБМЙ; НЩ РЕМЙ ЧБН РЕЮБМШОЩЕ РЕУОЙ, Й ЧЩ ОЕ ТЩДБМЙ.
Shuar"Námpera ainis nakurustaitsar peem umpuarji Túrasha Jantsemáchurme. Nuyá iwiarsatniua ainis nakurustaitsar íwiareakur kantamtai Kantamáji Túrasha átum uutcharme."
Spanishdiciendo: 'Os tocamos la flauta, y no bailasteis; entonamos canciones de duelo y no lamentasteis.'
Swahili`Tumewapigieni ngoma lakini hamkucheza; tumeimba nyimbo za huzuni lakini hamkulia!`
Swedishoch säga: 'Vi hava spelat för eder, och I haven icke dansat; vi hava sjungit sorgesång, och I haven icke jämrat eder.'
Umara'uli': `Kibawai-koi molalowe, uma-koi dota goe' dohe-kai. Kibawai-koi motantangi', uma wo'o-koi dota geo' dohe-kai.'
Source: compiled by the editor from various references; see credits.
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Derivations & Misspellings: Music
Derivations
Words beginning with "music": musical, musicale, musicales, musicalise, musicalised, musicalises, musicalising, musicalities, musicality, musicalization, musicalizations, musicalize, musicalized, musicalizes, musicalizing, musically, musicals, musician, musicianly, musicians, musicianship, musicianships, musicological, musicologies, musicologist, musicologists, musicology, musics. (additional references)
Words ending with "music": nonmusic. (additional references)
Words containing "music": antimusical, ethnomusicological, ethnomusicologies, ethnomusicologist, ethnomusicologists, ethnomusicology, extramusical, nonmusical, nonmusician, nonmusicians, nonmusics, unmusical. (additional references)

Misspellings
"Music" is suggested in spellcheckers for the following: luksic, maksic, masec, masic, Masik, Masiku, Massika, Mesach, Messac, Mezzich, mhuaih, misic, Misick, miskick, Missika, misuc, mosic, Mosis, mossic, moszic, moujik, msc, msi, Msika, Muci, Mugica, Muice, muis, muise, Mujica, Mujico, mukis, mulsim, Mumsie, muric, mursi, musak, Musaka, Musashi, musc, muscu, Museau, musek, mushika, musi, musica, musicaux, musicbiz, Musici, Musicke, musicl, musics, Musicum, musid, musie, musig, musik, musil, musin, Musoke, Mussi, Mussie, Mutica, Mutsuki, muza, muzhik, muzhiks, muzic, Muzik, Mysia, nusi, susic, Umbiko, Usci, Usmc. (additional references)
Source: compiled by the editor, based on several corpora (additional references).
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Rhyming with "Music"
Words rhyming with "music" (pronounced 'Mu"sic'): Akinesic, Amnesic, Antilyssic, Aphasic, BASIC, Bibasic, Ferriprussic, Ferroprussic, Glossic, Gneissic, Jurassic, Liassic, Magnesic, Manganesic, Melassic, Melissic, Monobasic, Neoclassic, Nitroprussic, Pectosic, Pentabasic, Persic, Polybasic, Pottassic, Prussic, Quadribasic, Sesquibasic, thalassic, Triassic. (additional references)
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Anagrams: Music
Scrabble® Enable2K-Verified Anagrams
Words within the letters "c-i-m-s-u"
-1 letter: scum.
-2 letters: cis, cum, ism, mis, mus, sic, sim, sum.
-3 letters: is, mi, mu, si, um, us.
 Words containing the letters "c-i-m-s-u"
 
+1 letter: amicus, cesium, cubism, cumins, miscue, miscut, mucins, muscid, musics, umiacs.
 
+2 letters: caesium, ceriums, cesiums, coniums, crinums, crissum, cubisms, cultism, cummins, curiums, dictums, ischium, miscued, miscues, miscuts, mucoids, murices, muscids, musical, pumices, stickum, umiacks.
 
+3 letters: ascidium, autecism, bulimics, cadmiums, caesiums, calciums, cambiums, capsicum, chiasmus, chillums, chumship, clumpish, clumsier, clumsily, coliseum, craniums, crummies, cultisms, cumarins, insomuch, meniscus, microbus, midcults, miscount, miscuing, misfocus, mistouch, modicums, mucinous, muckiest, mucosity, munchies, muscling, musicale, musicals, musician, muticous, nonmusic, numerics, panicums, pumicers, quackism, scandium, scholium, scumlike, scummier, scumming, silicium, spiculum, stickums, syconium, tsunamic, upclimbs.
Source: compiled by the editor from various references; see credits.

SCRABBLE® is a registered trademark. All intellectual property rights in and to the game are owned in the U.S.A and Canada by Hasbro Inc., and throughout the rest of the world by J.W. Spear & Sons Limited of Maidenhead, Berkshire, England, a subsidiary of Mattel Inc. Mattel and Spear are not affiliated with Hasbro.
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INDEX
 1. Definition 
 2. Synonyms 
 3. Crosswords 
 4. Usage: Modern 		 5. Usage: Commercial 
 6. Images: Slideshow 
 7. Images: Photo Album 
 8. Images: Digital Art 		 9. Sounds 
 10. Quotations: Familiar 
 11. Quotations: Fiction 
 12. Quotations: Non-fiction 		 13. Quotations: Spoken 
 14. Quotations: Speeches 
 15. Usage Frequency 
 16. Names: Frequency 		 17. Names: Company Usage 
 18. Expressions 
 19. Expressions: Internet 
 20. Translations: Modern 		 21. Translations: Ancient 
 22. Bible Trace 
 23. Abbreviations 
 24. Acronyms 		 25. Derivations 
 26. Rhymes 
 27. Anagrams 
 28. Bibliography 


  
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