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The Music Portal

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

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

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

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

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

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Featured articles are displayed here, which represent some of the best content on English Wikipedia.
  • Image 1 Gustav Mahler, photographed in 1907 by Moritz Nähr at the end of his period as director of the Vienna Hofoper Gustav Mahler (German: [ˈɡʊstaf ˈmaːlɐ] ⓘ; 7 July 1860 – 18 May 1911) was an Austro-Bohemian Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect, which included a ban on its performance in much of Europe during the Nazi era. After 1945 his compositions were rediscovered by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century. Born in Bohemia (then part of the Austrian Empire) to Jewish parents of humble origins, the German-speaking Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner, Mozart, and Tchaikovsky. Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic. (Full article...)
    Middle-aged man, seated, facing towards the left but head turned towards the right. He has a high forehead, rimless glasses and is wearing a dark, crumpled suit
    Gustav Mahler, photographed in 1907 by Moritz Nähr at the end of his period as director of the Vienna Hofoper

    Gustav Mahler (German: [ˈɡʊstaf ˈmaːlɐ] ⓘ; 7 July 1860 – 18 May 1911) was an Austro-Bohemian Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect, which included a ban on its performance in much of Europe during the Nazi era. After 1945 his compositions were rediscovered by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century.

    Born in Bohemia (then part of the Austrian Empire) to Jewish parents of humble origins, the German-speaking Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner, Mozart, and Tchaikovsky. Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic. (Full article...)
  • Image 2 "Talking to Yourself" is a song by Canadian singer Carly Rae Jepsen from her sixth studio album, The Loneliest Time (2022). Jepsen wrote it with songwriter Simon Wilcox and its producers, Benjamin Berger and Ryan Rabin from the production team Captain Cuts. School Boy and Interscope Records released it as the album's third single on September 16, 2022. "Talking to Yourself" is a dance-pop and synth-pop song, in which Jepsen recalls a relationship with an ex-lover and wonders if he still has feelings for her. "Talking to Yourself" received generally positive reviews from critics, who praised its production as catchy, comparing its lyrical themes to Jepsen's other music. It peaked at number eight on the Billboard Japan Hot Overseas Songs chart. The music video for "Talking to Yourself" was released alongside it. She included the song on the set list of her 2022–2023 concert tour, the So Nice Tour, and performed it at the Glastonbury Festival 2023. (Full article...)
    "Talking to Yourself" is a song by Canadian singer Carly Rae Jepsen from her sixth studio album, The Loneliest Time (2022). Jepsen wrote it with songwriter Simon Wilcox and its producers, Benjamin Berger and Ryan Rabin from the production team Captain Cuts. School Boy and Interscope Records released it as the album's third single on September 16, 2022. "Talking to Yourself" is a dance-pop and synth-pop song, in which Jepsen recalls a relationship with an ex-lover and wonders if he still has feelings for her.

    "Talking to Yourself" received generally positive reviews from critics, who praised its production as catchy, comparing its lyrical themes to Jepsen's other music. It peaked at number eight on the Billboard Japan Hot Overseas Songs chart. The music video for "Talking to Yourself" was released alongside it. She included the song on the set list of her 2022–2023 concert tour, the So Nice Tour, and performed it at the Glastonbury Festival 2023. (Full article...)
  • Image 3 Amarte Es un Placer (transl. Loving You Is a Pleasure) is the thirteenth studio album by Mexican singer Luis Miguel. It was released by WEA Latina on 13 September 1999. Produced by Miguel, it is a pop album with R&B and jazz influences. Miguel was more involved with the songwriting on this record than on earlier albums and was assisted by composers including Arturo Pérez, Armando Manzanero, and Juan Carlos Calderón. Despite the popularity of his contemporaries Ricky Martin and Enrique Iglesias who crossed over to the English-language market, Miguel preferred to sing and record in Spanish at the time. Four singles were released to promote the album: "Sol, Arena y Mar", "O Tú o Ninguna", "Dormir Contigo", and the title track "Amarte Es un Placer". Miguel embarked on a world tour which lasted from September 1999 into May 2000. He performed in Spain, South America, Mexico, and the United States. It became the highest-grossing tour by a Spanish-speaking recording artist. (Full article...)
    Amarte Es un Placer (transl. Loving You Is a Pleasure) is the thirteenth studio album by Mexican singer Luis Miguel. It was released by WEA Latina on 13 September 1999. Produced by Miguel, it is a pop album with R&B and jazz influences. Miguel was more involved with the songwriting on this record than on earlier albums and was assisted by composers including Arturo Pérez, Armando Manzanero, and Juan Carlos Calderón. Despite the popularity of his contemporaries Ricky Martin and Enrique Iglesias who crossed over to the English-language market, Miguel preferred to sing and record in Spanish at the time.

    Four singles were released to promote the album: "Sol, Arena y Mar", "O Tú o Ninguna", "Dormir Contigo", and the title track "Amarte Es un Placer". Miguel embarked on a world tour which lasted from September 1999 into May 2000. He performed in Spain, South America, Mexico, and the United States. It became the highest-grossing tour by a Spanish-speaking recording artist. (Full article...)
  • Image 4 "My Little Love" is a song by the English singer Adele from her fourth studio album, 30 (2021). Adele wrote it with its producer, Greg Kurstin. The song became available as the album's third track on 19 November 2021, when it was released by Columbia Records. "My Little Love" is a jazz, R&B, and soul song with a 1970s-style groove and influences of gospel music. The song incorporates voice notes of Adele's conversations with her son as she explains the effects of her divorce on his life and pleads for his understanding and forgiveness. Critics generally praised "My Little Love", comparing it to the work of Marvin Gaye, among other artists. Reviews highlighted the emotionalism and vulnerability displayed in the song, but some found the inclusion of the voice notes excessive. The track reached the top 20 in Australia, Canada, Iceland, the Netherlands, New Zealand, and Sweden and entered the top 40 in several other countries. (Full article...)
    "My Little Love" is a song by the English singer Adele from her fourth studio album, 30 (2021). Adele wrote it with its producer, Greg Kurstin. The song became available as the album's third track on 19 November 2021, when it was released by Columbia Records. "My Little Love" is a jazz, R&B, and soul song with a 1970s-style groove and influences of gospel music. The song incorporates voice notes of Adele's conversations with her son as she explains the effects of her divorce on his life and pleads for his understanding and forgiveness.

    Critics generally praised "My Little Love", comparing it to the work of Marvin Gaye, among other artists. Reviews highlighted the emotionalism and vulnerability displayed in the song, but some found the inclusion of the voice notes excessive. The track reached the top 20 in Australia, Canada, Iceland, the Netherlands, New Zealand, and Sweden and entered the top 40 in several other countries. (Full article...)
  • Image 5 Top: Pyotr Ilyich Tchaikovsky. Bottom (left to right): Nikolai Rimsky-Korsakov, Alexander Glazunov and Anatoly Lyadov Pyotr Ilyich Tchaikovsky's relations with the group of composers known as the Belyayev circle, which lasted from 1887 until Tchaikovsky's death in 1893, influenced all of their music and briefly helped shape the next generation of Russian composers. This group was named after timber merchant Mitrofan Belyayev, an amateur musician who became an influential music patron and publisher after he had taken an interest in Alexander Glazunov's work. By 1887, Tchaikovsky was firmly established as one of the leading composers in Russia. A favorite of Tsar Alexander III, he was widely regarded as a national treasure. He was in demand as a guest conductor in Russia and Western Europe, and in 1890 visited the United States in the same capacity. By contrast, the fortunes of the nationalistic group of composers known as The Five, which preceded the Belyayev circle, had waned, and the group had long since dispersed; of its members, only Nikolai Rimsky-Korsakov remained fully active as a composer. Now a professor of musical composition and orchestration at the Saint Petersburg Conservatory, Rimsky-Korsakov had become a firm believer in the Western-based compositional training that had been once frowned upon by the group. As a result of the time Tchaikovsky spent with the Belyayev circle's leading composers—Glazunov, Anatoly Lyadov and Rimsky-Korsakov—the somewhat fraught relationship he had previously endured with The Five would eventually meld into something more harmonious. Tchaikovsky's friendship with these men gave him increased confidence in his own abilities as a composer, while his music encouraged Glazunov to broaden his artistic outlook past the nationalist agenda and to compose along more universal themes. This influence grew to the point that Glazunov's Third Symphony became known as the "anti-kuchist" symphony of his oeuvre ("kuchist" refers to "kuchka", the shortened Russian name for The Five) and shared several stylistic fingerprints with Tchaikovsky's later symphonies. Nor was Glazunov the only composer so influenced. Rimsky-Korsakov wrote about the Belyayev composers' "worship of Tchaikovsky and ... tendency toward eclecticism" that became prevalent during this period, along with a predilection toward "Italian-French music of the time of wig and farthingale" (that is, of the 18th Century) typified in Tchaikovsky's late operas The Queen of Spades and Iolanta. (Full article...)
    A large portrait of a man with grey hair and a beard, above three smaller portraits of a middle-aged man with glasses and a long bears, a young man with reddish brown hair, and a man with balding hair and a mustache. The portraits in this image are part of the full portraits shown later in the article.
    Top: Pyotr Ilyich Tchaikovsky. Bottom (left to right): Nikolai Rimsky-Korsakov, Alexander Glazunov and Anatoly Lyadov


    Pyotr Ilyich Tchaikovsky's relations with the group of composers known as the Belyayev circle, which lasted from 1887 until Tchaikovsky's death in 1893, influenced all of their music and briefly helped shape the next generation of Russian composers. This group was named after timber merchant Mitrofan Belyayev, an amateur musician who became an influential music patron and publisher after he had taken an interest in Alexander Glazunov's work. By 1887, Tchaikovsky was firmly established as one of the leading composers in Russia. A favorite of Tsar Alexander III, he was widely regarded as a national treasure. He was in demand as a guest conductor in Russia and Western Europe, and in 1890 visited the United States in the same capacity. By contrast, the fortunes of the nationalistic group of composers known as The Five, which preceded the Belyayev circle, had waned, and the group had long since dispersed; of its members, only Nikolai Rimsky-Korsakov remained fully active as a composer. Now a professor of musical composition and orchestration at the Saint Petersburg Conservatory, Rimsky-Korsakov had become a firm believer in the Western-based compositional training that had been once frowned upon by the group.

    As a result of the time Tchaikovsky spent with the Belyayev circle's leading composers—Glazunov, Anatoly Lyadov and Rimsky-Korsakov—the somewhat fraught relationship he had previously endured with The Five would eventually meld into something more harmonious. Tchaikovsky's friendship with these men gave him increased confidence in his own abilities as a composer, while his music encouraged Glazunov to broaden his artistic outlook past the nationalist agenda and to compose along more universal themes. This influence grew to the point that Glazunov's Third Symphony became known as the "anti-kuchist" symphony of his oeuvre ("kuchist" refers to "kuchka", the shortened Russian name for The Five) and shared several stylistic fingerprints with Tchaikovsky's later symphonies. Nor was Glazunov the only composer so influenced. Rimsky-Korsakov wrote about the Belyayev composers' "worship of Tchaikovsky and ... tendency toward eclecticism" that became prevalent during this period, along with a predilection toward "Italian-French music of the time of wig and farthingale" (that is, of the 18th Century) typified in Tchaikovsky's late operas The Queen of Spades and Iolanta. (Full article...)
  • Image 6 Autograph manuscript of opening bass aria from BWV 56 Ich will den Kreuzstab gerne tragen (lit. 'I will gladly carry the cross-staff'), BWV 56, is a church cantata composed by Johann Sebastian Bach for the 19th Sunday after Trinity. It was first performed in Leipzig on 27 October 1726. The composition is a solo cantata (German: Solokantate) because, apart from the closing chorale, it requires only a single vocal soloist (in this case a bass). The autograph score is one of a few cases where Bach referred to one of his compositions as a cantata. In English, the work is commonly referred to as the Kreuzstab cantata. Bach composed the cantata in his fourth year as Thomaskantor; it is regarded as part of his third cantata cycle. The text was written by Christoph Birkmann, a student of mathematics and theology in Leipzig who collaborated with Bach. He describes in the first person a Christian willing to "carry the cross" as a follower of Jesus. The poet compares life to a voyage towards a harbour, referring indirectly to the prescribed Gospel reading which says that Jesus travelled by boat. The person, at the end, yearns for death as the ultimate destination, to be united with Jesus. This yearning is reinforced by the closing chorale: the stanza "Komm, o Tod, du Schlafes Bruder" ('Come, o death, you brother of sleep') from Johann Franck's 1653 hymn "Du, o schönes Weltgebäude", which uses the imagery of a sea voyage. (Full article...)

    Autograph manuscript of
    opening bass aria from BWV 56

    Ich will den Kreuzstab gerne tragen (lit. 'I will gladly carry the cross-staff'), BWV 56, is a church cantata composed by Johann Sebastian Bach for the 19th Sunday after Trinity. It was first performed in Leipzig on 27 October 1726. The composition is a solo cantata (German: Solokantate) because, apart from the closing chorale, it requires only a single vocal soloist (in this case a bass). The autograph score is one of a few cases where Bach referred to one of his compositions as a cantata. In English, the work is commonly referred to as the Kreuzstab cantata. Bach composed the cantata in his fourth year as Thomaskantor; it is regarded as part of his third cantata cycle.

    The text was written by Christoph Birkmann, a student of mathematics and theology in Leipzig who collaborated with Bach. He describes in the first person a Christian willing to "carry the cross" as a follower of Jesus. The poet compares life to a voyage towards a harbour, referring indirectly to the prescribed Gospel reading which says that Jesus travelled by boat. The person, at the end, yearns for death as the ultimate destination, to be united with Jesus. This yearning is reinforced by the closing chorale: the stanza "Komm, o Tod, du Schlafes Bruder" ('Come, o death, you brother of sleep') from Johann Franck's 1653 hymn "Du, o schönes Weltgebäude", which uses the imagery of a sea voyage. (Full article...)
  • Image 7 "Get Him Back!" (stylized in all lowercase) is a song by American singer-songwriter Olivia Rodrigo from her second studio album, Guts (2023). Rodrigo wrote the song with its producer, Dan Nigro. EMI Records released it as the album's third single on September 15, 2023. A rap rock, pop rap, and pop-punk song with influences of pop rock, "Get Him Back!" explores Rodrigo's desire to exact revenge on her ex-partner while simultaneously wanting to reconcile with him; the titular phrase conveys this through its double meaning. Music critics described "Get Him Back!" as a highlight on Guts, praised the humorous lyricism and chorus, and also commented on Rodrigo's rapping. It was included on several year-end lists of the best songs of 2023. The track reached the top 10 in Australia, Ireland, New Zealand, and the United Kingdom as well as the top 20 in Canada, Greece, Norway, Singapore, and the United States. It received a 2× platinum certification in Australia and platinum in Brazil and Canada. (Full article...)
    "Get Him Back!" (stylized in all lowercase) is a song by American singer-songwriter Olivia Rodrigo from her second studio album, Guts (2023). Rodrigo wrote the song with its producer, Dan Nigro. EMI Records released it as the album's third single on September 15, 2023. A rap rock, pop rap, and pop-punk song with influences of pop rock, "Get Him Back!" explores Rodrigo's desire to exact revenge on her ex-partner while simultaneously wanting to reconcile with him; the titular phrase conveys this through its double meaning.

    Music critics described "Get Him Back!" as a highlight on Guts, praised the humorous lyricism and chorus, and also commented on Rodrigo's rapping. It was included on several year-end lists of the best songs of 2023. The track reached the top 10 in Australia, Ireland, New Zealand, and the United Kingdom as well as the top 20 in Canada, Greece, Norway, Singapore, and the United States. It received a 2× platinum certification in Australia and platinum in Brazil and Canada. (Full article...)
  • Image 8 "Lips Are Movin" is a song by the American singer-songwriter Meghan Trainor, taken from her debut major-label studio album, Title (2015). It was written by Trainor and the album's producer, Kevin Kadish. Epic Records premiered the song on MTV News on October 15, 2014, and released it to the United States contemporary hit radio stations on October 21, as the second single from Title. A retro-tinged doo-wop and pop song with girl-group harmonies and bubblegum pop hooks, "Lips Are Movin" was inspired by Trainor's conflict with her record label. However, critical commentary has described it as a song about Trainor leaving her significant other after discovering he is cheating on her. Critics drew similarities between the song's style and that of Trainor's debut single, "All About That Bass" (2014). Some deemed the song catchy, while others criticized its lyrics. In the United States, "Lips Are Movin" reached number 4 on the Billboard Hot 100 and was certified quadruple platinum by the Recording Industry Association of America (RIAA). It received platinum or multi-platinum certifications in Australia, Canada, New Zealand, and the United Kingdom, and reached the top 10 on their charts among others. (Full article...)
    "Lips Are Movin" is a song by the American singer-songwriter Meghan Trainor, taken from her debut major-label studio album, Title (2015). It was written by Trainor and the album's producer, Kevin Kadish. Epic Records premiered the song on MTV News on October 15, 2014, and released it to the United States contemporary hit radio stations on October 21, as the second single from Title. A retro-tinged doo-wop and pop song with girl-group harmonies and bubblegum pop hooks, "Lips Are Movin" was inspired by Trainor's conflict with her record label. However, critical commentary has described it as a song about Trainor leaving her significant other after discovering he is cheating on her.

    Critics drew similarities between the song's style and that of Trainor's debut single, "All About That Bass" (2014). Some deemed the song catchy, while others criticized its lyrics. In the United States, "Lips Are Movin" reached number 4 on the Billboard Hot 100 and was certified quadruple platinum by the Recording Industry Association of America (RIAA). It received platinum or multi-platinum certifications in Australia, Canada, New Zealand, and the United Kingdom, and reached the top 10 on their charts among others. (Full article...)
  • Image 9 "Nothing to My Name" (Chinese: 一无所有; pinyin: Yī wú suǒ yǒu) is a song by Chinese rock musician Cui Jian. It is widely considered Cui's most famous and most important work, and one of the most influential songs in the history of the People's Republic of China, both as a seminal point in the development of Chinese rock music and as a political sensation. The song was an unofficial anthem for Chinese youth and activists during the 1989 Tiananmen Square protests and massacre. Both in its lyrics and instruments, the song mixes traditional Chinese styles with modern rock elements. In the lyrics, the speaker addresses a girl who is scorning him because he has nothing. However, the song has also been interpreted as being about the dispossessed youth of the time, because it evokes a sense of disillusionment and lack of individual freedom that was common among the young generation during the 1980s. (Full article...)
    "Nothing to My Name" (Chinese: 一无所有; pinyin: Yī wú suǒ yǒu) is a song by Chinese rock musician Cui Jian. It is widely considered Cui's most famous and most important work, and one of the most influential songs in the history of the People's Republic of China, both as a seminal point in the development of Chinese rock music and as a political sensation. The song was an unofficial anthem for Chinese youth and activists during the 1989 Tiananmen Square protests and massacre.

    Both in its lyrics and instruments, the song mixes traditional Chinese styles with modern rock elements. In the lyrics, the speaker addresses a girl who is scorning him because he has nothing. However, the song has also been interpreted as being about the dispossessed youth of the time, because it evokes a sense of disillusionment and lack of individual freedom that was common among the young generation during the 1980s. (Full article...)
  • Image 10 Daguerreotype, c. 1849 Frédéric François Chopin (born Fryderyk Franciszek Chopin; 1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of the Romantic period who wrote primarily for solo piano. He has maintained worldwide renown as a leading composer of his era whose "poetic genius was based on a professional technique that was without equal in his generation". Chopin was born in Żelazowa Wola and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his early works in Warsaw before leaving Poland at age 20, less than a month before the outbreak of the November 1830 Uprising; at 21, he settled in Paris. Thereafter he gave only 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself, selling his compositions and giving piano lessons, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many musical contemporaries, including Robert Schumann. After a failed engagement to Maria Wodzińska from 1836 to 1837, he maintained an often troubled relationship with the French writer Aurore Dupin (known by her pen name George Sand). A brief and unhappy visit to Mallorca with Sand in 1838–39 proved one of his most productive periods of composition. In his final years he was supported financially by his admirer Jane Stirling. In poor health most of his life, Chopin died in Paris in 1849 at age 39. (Full article...)

    Daguerreotype, c. 1849

    Frédéric François Chopin (born Fryderyk Franciszek Chopin; 1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of the Romantic period who wrote primarily for solo piano. He has maintained worldwide renown as a leading composer of his era whose "poetic genius was based on a professional technique that was without equal in his generation".

    Chopin was born in Żelazowa Wola and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his early works in Warsaw before leaving Poland at age 20, less than a month before the outbreak of the November 1830 Uprising; at 21, he settled in Paris. Thereafter he gave only 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself, selling his compositions and giving piano lessons, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many musical contemporaries, including Robert Schumann. After a failed engagement to Maria Wodzińska from 1836 to 1837, he maintained an often troubled relationship with the French writer Aurore Dupin (known by her pen name George Sand). A brief and unhappy visit to Mallorca with Sand in 1838–39 proved one of his most productive periods of composition. In his final years he was supported financially by his admirer Jane Stirling. In poor health most of his life, Chopin died in Paris in 1849 at age 39. (Full article...)
  • Image 11 "Forever & Always" is a song written and recorded by the American singer-songwriter Taylor Swift for her second studio album, Fearless (2008). Inspired by her relationship with Joe Jonas, which lasted for several months in 2008, the lyrics are about an abrupt breakup that leaves the narrator angered and confused. Produced by Swift and Nathan Chapman, "Forever & Always" is a country pop and pop rock song instrumented by guitars and fiddles. It was the last track recorded for Fearless, being added to the album shortly before it was mastered and published. A "Piano Version" was released as part of the Fearless: Platinum Edition reissue in 2009. Music critics deemed the production of "Forever & Always" catchy and highlighted the emotions in Swift's vocals, but a few considered the track generic. Journalists have commented that the song became the blueprint for Swift's songwriting inspired by her high-profile romantic relationships. Swift performed "Forever & Always" at several live events, including the 2009 Country Music Association Awards and her Fearless Tour (2009–2010). Commercially, the track reached the top 40 on the US Billboard Hot 100 chart and the Canadian Hot 100 chart, and it was certified platinum by the Recording Industry Association of America. (Full article...)
    "Forever & Always" is a song written and recorded by the American singer-songwriter Taylor Swift for her second studio album, Fearless (2008). Inspired by her relationship with Joe Jonas, which lasted for several months in 2008, the lyrics are about an abrupt breakup that leaves the narrator angered and confused. Produced by Swift and Nathan Chapman, "Forever & Always" is a country pop and pop rock song instrumented by guitars and fiddles. It was the last track recorded for Fearless, being added to the album shortly before it was mastered and published. A "Piano Version" was released as part of the Fearless: Platinum Edition reissue in 2009.

    Music critics deemed the production of "Forever & Always" catchy and highlighted the emotions in Swift's vocals, but a few considered the track generic. Journalists have commented that the song became the blueprint for Swift's songwriting inspired by her high-profile romantic relationships. Swift performed "Forever & Always" at several live events, including the 2009 Country Music Association Awards and her Fearless Tour (2009–2010). Commercially, the track reached the top 40 on the US Billboard Hot 100 chart and the Canadian Hot 100 chart, and it was certified platinum by the Recording Industry Association of America. (Full article...)
  • Image 12 Love It to Death is the third studio album by American rock band Alice Cooper, released on March 9, 1971. It was the band's first commercially successful album and the first album that consolidated the band's aggressive hard-rocking sound, instead of the psychedelic and experimental rock style of their first two albums. The album's best-known track, "I'm Eighteen", was released as a single to test the band's commercial viability before the album was recorded. Formed in the mid-1960s, the band took the name Alice Cooper in 1968 and became known for its outrageous theatrical live shows. The loose, psychedelic freak rock of the first two albums failed to find an audience. The band moved to Pontiac, MI in 1970 where they were influenced by the aggressive hard rock scene. A young Bob Ezrin was enlisted as producer; he encouraged the band to tighten its songwriting over two months of rehearsing ten to twelve hours a day. The single "I'm Eighteen" achieved Top 40 success soon after, peaking at No. 21. This convinced Warner Bros. that Alice Cooper had the commercial potential to release an album. After its release in March 1971, Love It to Death reached No. 35 on the Billboard 200 albums chart and has since been certified platinum. The album's second single, "Caught in a Dream", charted at No. 94. (Full article...)
    Love It to Death is the third studio album by American rock band Alice Cooper, released on March 9, 1971. It was the band's first commercially successful album and the first album that consolidated the band's aggressive hard-rocking sound, instead of the psychedelic and experimental rock style of their first two albums. The album's best-known track, "I'm Eighteen", was released as a single to test the band's commercial viability before the album was recorded.

    Formed in the mid-1960s, the band took the name Alice Cooper in 1968 and became known for its outrageous theatrical live shows. The loose, psychedelic freak rock of the first two albums failed to find an audience. The band moved to Pontiac, MI in 1970 where they were influenced by the aggressive hard rock scene. A young Bob Ezrin was enlisted as producer; he encouraged the band to tighten its songwriting over two months of rehearsing ten to twelve hours a day. The single "I'm Eighteen" achieved Top 40 success soon after, peaking at No. 21. This convinced Warner Bros. that Alice Cooper had the commercial potential to release an album. After its release in March 1971, Love It to Death reached No. 35 on the Billboard 200 albums chart and has since been certified platinum. The album's second single, "Caught in a Dream", charted at No. 94. (Full article...)
  • Image 13 Fórmula, Vol. 1 is the debut studio album by American singer Romeo Santos, released on November 8, 2011, by Sony Music Latin. It is Santos's first album as a solo artist following the break-up of American bachata group Aventura, of which he was the lead singer. The record contains fifteen tracks, most of which were composed by Santos and co-produced with Ivan Chevere. The album experiments with the sound of bachata and other genres including R&B and flamenco. It features several Anglophone and Hispanophone guest artists including Usher, Tomatito, Mario Domm, and Lil Wayne. Recording for the album took place in 2011 at The Castle, Fight Klub, and EMG Studios in New York City. A deluxe edition of the album containing five extra tracks was released exclusively in Walmart retail stores in the United States. In the U.S., Formula, Vol. 1 peaked at number one on the Billboard Top Latin Albums and Billboard Tropical Albums charts and was the best-selling Latin album of 2012. It was certified three times platinum (Latin field) by the Recording Industry Association of America (RIAA) for shipping 300,000 copies and had sold 328,000 copies in the U.S. by February 2014. It ranked number thirteen, twenty-six, and seventy-seven on the Argentine, Mexican, and Spanish album charts respectively. (Full article...)
    Fórmula, Vol. 1 is the debut studio album by American singer Romeo Santos, released on November 8, 2011, by Sony Music Latin. It is Santos's first album as a solo artist following the break-up of American bachata group Aventura, of which he was the lead singer. The record contains fifteen tracks, most of which were composed by Santos and co-produced with Ivan Chevere. The album experiments with the sound of bachata and other genres including R&B and flamenco. It features several Anglophone and Hispanophone guest artists including Usher, Tomatito, Mario Domm, and Lil Wayne. Recording for the album took place in 2011 at The Castle, Fight Klub, and EMG Studios in New York City. A deluxe edition of the album containing five extra tracks was released exclusively in Walmart retail stores in the United States.

    In the U.S., Formula, Vol. 1 peaked at number one on the Billboard Top Latin Albums and Billboard Tropical Albums charts and was the best-selling Latin album of 2012. It was certified three times platinum (Latin field) by the Recording Industry Association of America (RIAA) for shipping 300,000 copies and had sold 328,000 copies in the U.S. by February 2014. It ranked number thirteen, twenty-six, and seventy-seven on the Argentine, Mexican, and Spanish album charts respectively. (Full article...)
  • Image 14 "Never Forget You" is a song recorded by American singer-songwriter Mariah Carey for her third studio album, Music Box (1993). Carey co-wrote the slow jam with Babyface and the pair produced it with Daryl Simmons. Columbia Records released the song on January 21, 1994, as the B-side to "Without You" and promoted it to American urban contemporary radio stations as the album's fourth single. The lyrics lament the end of a romance. Strings, synthesizers, and percussion characterize the composition; Jermaine Dupri altered them for remixes. Music critics deemed "Never Forget You" unremarkable and derivative. The song's level of emotion and Carey's vocal performance were further topics of commentary. "Never Forget You" peaked at numbers one and three on the US urban contemporary radio charts published by Radio & Records and Gavin Report, respectively. It also reached number three on Billboard Hot 100 Singles and number seven on Billboard Hot R&B Singles. Combined with "Without You", the single sold 600,000 copies in the US throughout 1994. (Full article...)
    "Never Forget You" is a song recorded by American singer-songwriter Mariah Carey for her third studio album, Music Box (1993). Carey co-wrote the slow jam with Babyface and the pair produced it with Daryl Simmons. Columbia Records released the song on January 21, 1994, as the B-side to "Without You" and promoted it to American urban contemporary radio stations as the album's fourth single. The lyrics lament the end of a romance. Strings, synthesizers, and percussion characterize the composition; Jermaine Dupri altered them for remixes.

    Music critics deemed "Never Forget You" unremarkable and derivative. The song's level of emotion and Carey's vocal performance were further topics of commentary. "Never Forget You" peaked at numbers one and three on the US urban contemporary radio charts published by Radio & Records and Gavin Report, respectively. It also reached number three on Billboard Hot 100 Singles and number seven on Billboard Hot R&B Singles. Combined with "Without You", the single sold 600,000 copies in the US throughout 1994. (Full article...)
  • Image 15 Blonde on Blonde is the seventh studio album by the American singer-songwriter Bob Dylan, released as a double album on June 20, 1966, by Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded. Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited (both 1965). Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique mixture of the visionary and the colloquial". It was one of the first double albums in rock music. (Full article...)
    Blonde on Blonde is the seventh studio album by the American singer-songwriter Bob Dylan, released as a double album on June 20, 1966, by Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.

    Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited (both 1965). Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique mixture of the visionary and the colloquial". It was one of the first double albums in rock music. (Full article...)
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