Senin, 27 Februari 2012

Steve Vai


Steve Vai (lahir: Carle Place, New York, 6 Juni 1960) adalah gitaris, penulis lagu, penyanyi dan produser yang berasal dari Amerika Serikat.

Karier

  • Group Band Saat Ini: Steve Vai
  • Group Band Sebelumnya: Hot Chocolate, The Ohio Express, Circus, Rayge, Bold As Love, Axis, Morning Thunder, Frank Zappa, The Out Band, The Classified, 777, Alcatrazz, David Lee Roth, Whitesnake
  • Pengaruh: Joe Satriani, Frank Zappa
  • Gitar: Ibanez Universe, Ibanez JEM
Permainannya mulai dari blues, jazz, rock sampai klasik dan ethnic music. Permainan gitarnya pun tidak terbatas pada komunitas gitar saja tetapi juga bagi orang-orang awam yang tidak mendalami gitar.
Pada umur 6 tahun, Steve mulai belajar piano. Pada umur 10 tahun, Steve mulai belajar bermain akordeon. Pada umur 13 tahun barulah Steve mulai mendalami gitar dan sejak saat itu lahirlah seorang dewa gitar yang baru.
Steve Vai mengawali kariernya dengan album debutnya Flex-Able Leftovers pada tahun 1984. Pada tahun 1990, Steve merilis album keduanya yang berjudul Passion and Warfare. Album ini mendapat pengakuan internasional dan Steve memenangkan polling pembaca majalah Guitar Player dalam 4 kategori yang berbeda. Album Steve yang ketiga berjudul Sex & Religion dirilis tahun 1993 dan album keempatnya Alien Love Secrets dirilis tahun 1995. Pada tahun 1996 album kelima Steve Fire Garden dirilis.
Tahun 1999, Steve meluncurkan album keenamnya yang berjudul Ultra Zone. Dalam album ini Steve lebih banyak memfokuskan dirinya dalam komposisi lagu dan bereksperimen dengan gitarnya. Tahun 2001 album The Seventh Song dirilis dan album ini berisi lagu-lagu slow/ballad yang pernah dirilis Steve dengan ditambah beberapa lagu baru. Dan di tahun 2001 Alive in an Ultra World pun dirilis.
Steve Vai juga pernah memproduksi 2 album Natal yang berjudul Merry Axemas Vol.1 dan Merry Axemas Vol.2, juga konser G3 bersama Joe Satriani dan Eric Johnson/Kenny Wayne Shepherd dan terakhir John Petrucci turut juga bergabung dalam G3.
Belakangan ini Steve Vai lebih memfokuskan diri bereksperimen pada permainan gitarnya dan sekarang ini band Steve Vai ditambah seorang pemain bass yang sudah tidak asing lagi buat fans-fans rock tahun 80-an, Billy Sheehan.

SOLO Diskografi

FLEX-ABLE (1984, merilis sendiri): Saya suka catatan ini karena musiknya sangat Zappa style. Ini juga mengingatkan saya ketika saya hidup dalam kesederhanaan dan semua tentang musik. (Steve Vai)

PASSION & Warfare (1990, Relativitas Records): Membuat catatan ini adalah pembebasan yang lengkap bagi saya. Ini adalah refleksi dari musik yang menyiksa jiwa saya untuk waktu yang lama untuk tampil keluar. Itu adalah pembenaran yang mendebarkan untuk diakui untuk sesuatu yang saya merasa sangat bertenaga berkaitan dengan itu. Steve Vai)

SEX & RELIGION (1993, Relativitas Records): Ini adalah usaha saya untuk memulai sebuah band. Pada saat merekam, saya melakukan banyak pencarian jiwa dan itulah mengapa musik ini begitu sangat pribadi.

ALIEN LOVE SECRET (1995, Relativitas Records): Setelah produksi yang besar dari dua album sebelumnya, hal ini merupakan rilis namun diberkati untuk dibuat album yang direcord hanya, bass gitar dan drum. Sangat menyenangkan murni membuat EP ini. (Steve Vai)

FIRE GARDEN (1996, Epic): Mungkin favorit saya; catatan ini benar-benar matang dan substansial dalam hal konten musik. Saya tidak tahu apakah satu catatan paling mewakili apa yang saya lakukan secara musikal, tapi album ini muncul dalam waktu yang berdekatan dengan album sebelumnya. (Steve Vai)

ULTRA ZONE (1999, Epic): Elemen dari semua catatan saya yang lain muncul di sini. Ini kembali ke kepolosan album  FLEX-ABLE, memiliki unsur-unsur komposisi dari Passion and Warfare dan memiliki banyak zat seperti FIRE GARDEN. (Steve Vai)

SEVENTH SONG (2000, Epic): Bahwa seluruh catatan merupakan kerangka pikiran tertentu yang bertentangan dengan perubahan suasana hati berpengaruh besar pada catatan saya. melodi-melodi manis adalah representasi musik dari keinginan saya untuk menjadi lebih dekat dengan alam rohani saya. (Steve Vai)

LIVE IN AN ULTRA WORLD (2001, Epic): Album ini memiliki begitu banyak kenangan, perasaan, hasrat dan berbagai rasa untuk saya. Ketika saya berpikir untuk merekam catatan lain, saya memulai inspirasi dari empat dinding studio. Ketika saya berpikir tentang merekam catatan ini, aku berdiri di sebuah jembatan di Paris dengan istri saya; saya di halte truk di Polandia menampilkan performa live yang hebat dengan band saya, saya berada di kamar hotel saya di Yunani memandang air dan menulis lagu. (Steve Vai)

sumber -sumber
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Sabtu, 25 Februari 2012

Download All About Avanged Sevenvold

1.Sounding the Seventh Trumpet (2001)



List : 
  1. "To End the Rapture" – 1:24
  2. "Turn the Other Way" – 5:37
  3. "Darkness Surrounding" – 4:49
  4. "The Art of Subconscious Illusion" – 3:46
  5. "We Come Out at Night" – 4:45
 .6. "Lips of Deceit" – 4:09
  7.  "Warmness on the Soul" – 4:20
  8. "An Epic of Time Wasted" – 4:19
  9. "Breaking their Hold" – 1:12
 10. "Forgotten Faces" – 3:27
 11. "Thick and Thin" – 4:15
 12. "Streets" – 3:06
 13. "Shattered by Broken Dreams" – 7:04

Download Here : Click Here


2.Waking the Fallen(2003)


 List :
    1.  “Waking the Fallen” – 1:42
    2.  “Unholy Confessions” – 4:45
    3.  “Chapter Four” – 5:44
    4.  “Remenissions” – 6:06
    5.  “Desecrate Through Reverence” – 5:38
    6.  “Eternal Rest” – 5:12
    7.  “Second Heartbeat” – 7:00
    8.  “Radiant Eclipse” – 6:09
    9.  “I Won’t See You Tonight (Part 1)” – 8:58
  10. “I Won’t See You Tonight (Part 2)” – 4:44
  11. “Clairvoyant Disease” – 4:59
  12. “And All Things Will End” – 7:40

Download Here : Click Here


3.City of Evil (2005)



List :
  1. "Beast and the Harlot" – 5:41
  2. "Burn It Down" – 4:59
  3. "Blinded in Chains" – 6:35
  4. "Bat Country" – 5:13
  5. "Trashed and Scattered" – 5:53
  6. "Seize the Day" – 5:33
  7. "Sidewinder" – 7:02
  8. "The Wicked End" – 7:11
  9. "Strength of the World" – 9:15
 10. "Betrayed" – 6:48
 11. "M.I.A." – 8:46

Download Here :  Click Here


4.Avenged Sevenfold (2007)


List :
  1. “Critical Acclaim” – 5:15
  2.  “Almost Easy” – 3:54
  3.  “Scream” – 4:50
  4.  “Afterlife” – 5:55
  5.  “Gunslinger” – 4:11
  6.  “Unbound (The Wild Ride)” – 5:11
  7.  “Brompton Cocktail” – 4:13
  8.  “Lost” – 5:02
  9.  “A Little Piece of Heaven” – 8:01
 10. “Dear God” – 4:41

Download Here : Click Here


5.Live In The LBC & Diamonds in the Rough (2008)


List :
  Daftar Lagu:
    Live in the LBC (DVD)
   1. “Critical Acclaim”
   2. “Second Heartbeat”
   3. “Afterlife”
   4. “Beast and the Harlot”
   5. “Scream”
   6. “Seize the Day”
   7. “Walk” (abridged) (Pantera cover)
   8. “Bat Country”
   9. “Almost Easy”
  10. “Gunslinger”
  11. “Unholy Confessions”
  12. “A Little Piece of Heaven”

  Diamonds in the Rough (CD)
   1. “Demons” – 6:17
   2. “Girl I Know” – 4:26
   3. “Crossroads” – 4:33
   4. “Flash of the Blade” (Iron Maiden cover) – 4:05
   5. “Until the End” – 4:46
   6. “Tension” – 4:51
   7. “Walk” (Pantera cover) – 5:24
   8. “The Fight” – 4:09
   9. “Dancing Dead” – 5:54
  10. “Almost Easy” (CLA Mix) – 3:57
  11. “Afterlife” (Alternate version) – 5:55

Download Here :  Click Here


6.Nightmare (2010)


List : 
  1. Nightmare
  2. Welcome To The Family
  3. Danger Line
  4  Buried Alive
  5  Natural Born Killer
  6. So Far Away
  7. God Hates Us
  8. Victim
  9. Tonight The World Dies
 10. Fiction
 11. Save Me

     Bonus Track:
 Nightmare
Lost It All (Non-Album Track) 

Download Here : Click Here

Enjoy !!!!!!
READ MORE - Download All About Avanged Sevenvold

All About Avenged Sevenfold







Avenged Sevenfold (often abbreviated A7X) is an American heavy metal band from Huntington Beach, California. Formed in 1999, the group consists of M. Shadows (vocalist), Synyster Gates (lead guitarist), Zacky Vengeance (rhythm guitarist), & Johnny Christ (bassist).
They are known for their diverse rock sound, dramatic imagery in album covers and t-shirts.[1][2][3][4] Avenged Sevenfold emerged with a metalcore sound on their debut Sounding the Seventh Trumpet but their style had evolved by their third album and first major label release, City of Evil into a hard rock/heavy metal sound. The band continued to explore new sounds with their self-titled release and enjoyed continued mainstream success before their drummer, James "The Rev" Sullivan, died in 2009. Despite his death, the band continued on with help of now-former Dream Theater drummer Mike Portnoy and released and toured in support of their fifth album Nightmare in 2010 which debuted on the top spot of the Billboard 200, their first number one debut.[5]
To date, Avenged Sevenfold has released five studio albums, one live album/compilation/DVD, and eighteen singles and sold more than four million albums worldwide.[6] The band has received much credit for their worldwide mainstream success and were featured as second place on Ultimate Guitar's Top Ten Bands of the Decade.

Contents

History

Formation and early years (1999–2002)

The band was formed in 1999 in Huntington Beach, California with original members M. Shadows, Zacky Vengeance, The Rev and Matt Wendt. M Shadows came up with the name as a reference to the story of Cain and Abel from The Bible, which can be found in Genesis 4:24, although they are not a religious band.[7] Upon its formation, each member of the band also took on a pseudonym which were already nicknames of theirs from high school.[8]
Before the release of their debut album, the band recorded two demos in 1999 and 2000. Avenged Sevenfold's debut album, Sounding the Seventh Trumpet, was recorded when the band members were just eighteen years old and in high school. It was originally released on their first label, Good Life Recordings in 2001.[9] After lead guitarist Synyster Gates joined the band, at the end of 1999 when he was 18 at the introductory track "To End the Rapture" was re-recorded featuring a full band element. The album was subsequently re-released on Hopeless Records in 2002. The band started to receive recognition, performing with bands such as Mushroomhead and Shadows Fall and playing on the Take Action Tour.[10][11]

Line-up stability and chart success (2003–2006)

Having settled on their fourth bassist, Johnny Christ, they released Waking the Fallen on Hopeless Records in August 2003. The album featured a more refined and mature sound production in comparison to their previous album. The band received profiles in Billboard and The Boston Globe, and played in the Vans Warped Tour.[12][13] In 2004, Avenged Sevenfold toured again on the Vans Warped Tour and recorded a video for their song "Unholy Confessions" which went into rotation on MTV2's Headbanger's Ball.[14] Shortly after the release of Waking the Fallen, Avenged Sevenfold left Hopeless Records and were signed to Warner Bros. Records.
City of Evil, the band's third album and major label debut, was released on June 7, 2005 and debuted at No.30 on the Billboard 200 chart, selling over 30,000 copies in its first week of release.[15][16] It utilized a more classic metal sound than Avenged Sevenfold's previous albums, which had been grouped into the metalcore genre.[17][18] The album is also notable for the absence of screamed and growled vocals; M. Shadows worked with vocal coach Ron Anderson—whose clients have included Axl Rose and Chris Cornell—for months before the album's release to achieve a sound that had "grit while still having the tone".[17][19] The album received steller reviews from several magazines and websites and is credited for propelling the band into international popularity.
After playing Ozzfest in 2006, Avenged Sevenfold memorably beat out R&B Singers Rihanna and Chris Brown, Panic! at the Disco, Angels & Airwaves and James Blunt for the title of Best New Artist at the MTV Video Music Awards, thanks in part to their Fear and Loathing in Las Vegas-inspired song “Bat Country.”[20]
They returned to the Vans Warped Tour, this time headlining and then continued on their own "Cities of Evil Tour."[21] In addition, their lead single "Bat Country" reached No.2 on Billboard's Mainstream Rock Charts, No.6 on Billboard's Modern Rock Charts and the accompanying video made it to No.1 on MTV's Total Request Live.[22] Propelled by this success, the album sold well and became Avenged Sevenfold's first gold record.[23] It was later certified platinum in August 2009.

Self-titled album and death of "The Rev" (2007–2009)

Avenged Sevenfold's was invited to join Ozzfest tour on the main stage, alongside other well known hard rock and heavy metal acts DragonForce, Lacuna Coil, Hatebreed, Disturbed and System of a Down for the first time in 2006.[24] That same year they also completed a worldwide tour, including the US, The United Kingdom (as well as mainland Europe), Japan, Australia and New Zealand. After a sixteen month promotion of City of Evil, the band announced that they were cancelling their Fall 2006 tour to record new music.[25] In the interim, the band released their first DVD titled All Excess on July 17, 2007.[26] All Excess, which debuted as the No.1 DVD in the USA, included live performances and backstage footage that spanned the band's eight year career. Two tribute albums, Strung Out on Avenged Sevenfold: Bat Wings and Broken Strings and Strung Out on Avenged Sevenfold: The String Tribute were also released in October 2007.
Avenged Sevenfold, the band's fourth album, was released on October 30, 2007, debuting at No.4 on the Billboard 200 with over 90,000 copies sold.[27] Two singles, "Critical Acclaim" and "Almost Easy" were released prior to the album's debut. In December 2007, an animated video was made for "A Little Piece of Heaven." Due to the song's controversial subject matter, however, Warner Brothers only released it to registered MVI users over the internet. The third single, "Afterlife" and its video was released in January 2008. Their fourth single, "Dear God", was released on June 15, 2008. Although critical reception was generally mixed the self-titled album went on to sell over 500,000 copies and was awarded "Album of the Year" at the Kerrang! Awards.[28]
Avenged Sevenfold headlined the 2008 Taste of Chaos tour with Atreyu, Bullet for My Valentine, Blessthefall and Idiot Pilot.[29] They used the footage from their last show in Long Beach for Live in the LBC & Diamonds in the Rough, a two-disc B-sides CD and live DVD which was released on September 16, 2008. They also recorded numerous covers, including Pantera's "Walk", Iron Maiden's "Flash of the Blade" and Black Sabbath's "Paranoid".[29][30][31]
In January 2009, M. Shadows confirmed that the band was writing the follow-up to their self-titled fourth album within the upcoming months.[32] They also announced that they will be playing at Rock on the Range, from May 16–17, 2009.[33] On April 16, they performed a version of Guns N' Roses' "It's So Easy" onstage with Slash, at the Nokia Theater in Los Angeles.[34] On December 28, 2009, drummer James "The Rev" Sullivan was found dead at his home at the age of 28.[35] Autopsy results were inconclusive,[36] but on June 9, 2010, the cause of death was revealed to have been an "acute polydrug intoxication due to combined effects of Oxycodone, Oxymorphone, Diazepam/Nordiazepam and ethanol".[37] In a statement by the band, they expressed their grief over the passing of The Rev and later posted a message from Sullivan's family which expressed their gratitude to his fans for their support.[38][39]

Nightmare and recent events (2010–present)


Zacky Vengeance and Synyster Gates live in 2011
The band members admitted in a number of interviews that they considered disbanding at this point of time. However, on February 17, 2010, Avenged Sevenfold stated that they had entered the studio, along with now-former Dream Theater drummer Mike Portnoy, to drum for the record, in place of the Rev.[40]
The single "Nightmare" was digitally released on May 18, 2010.[41][42] A preview for the song was released on May 6, 2010 on Amazon.com, but was removed soon after for unknown reasons.[42][43] Mixing for the album had been completed in New York City, and Nightmare was finally released worldwide on July 27, 2010.[44] It met with mixed to positive reviews from music critics but was well received by the fans. Nightmare beat sales projections easily, debuting at number one on the Billboard 200 with sales of 163,000 units in its first week.[45] After finishing recording, in December, Portnoy and the band posted simultaneous statements on their websites stating that he will not be their replacement for The Rev. However, Portnoy did travel with the band overseas in December 2010 for three shows in Iraq and Kuwait sponsored by the USO. They played for US Soldiers at Camp Adder, Camp Beuhring, and Balad Air Base.[46] On January 20, 2011, Avenged Sevenfold announced via Facebook that former Confide drummer Arin Ilejay will tour with them starting this year. Whether or not he will be joining the band on a permanent basis has not been decided yet.[47][48]
Avenged Sevenfold performed at the Rock am Ring and Rock im Park festivals on June 3–5, 2011 alongside other bands such as Alter Bridge, System of a Down, and In Flames.[49] On April 2011, the band headlined the Golden God Awards held by Metal Hammer. The same night the band won three awards for "Best Vocalist" (M. Shadows), "Epiphone Best Guitarist(s)" (Synyster Gates and Zacky Vengeance) and "Affliction’s Album of The Year: " for Nightmare, while Mike Portnoy won the award for "Drum Workshop’s Best Drummer" for his work on the album.
In May 2011, it was confirmed that the band had written a new song to be included in the Escalation DLC pack for Call of Duty: Black Ops.[50] The song is the first time developers Treyarch have commissioned an outside band to contribute a song since the franchise began.[51] The song, titled "Not Ready to Die", was released on iTunes on May 2, 2011.
In August 2011, vocalist M. Shadows stated the band would finish the Uproar Festival then go home to take a break for six to seven months before starting a new record.[52] He also roughly stated that Arin Ilejay and the band are getting along great, but that they have to make sure he's comfortable writing music with them, but also that he hopes everything works out.
Avenged Sevenfold headlined the 2011 Uproar Festival with supporting acts Three Days Grace, Seether, Bullet For My Valentine, Escape The Fate, among others.[citation needed]
The band will be touring in November and December on their "Buried Alive" tour with supporting acts Hollywood Undead, Asking Alexandria, and Black Veil Brides.[citation needed]

Style and influences

The band has cited bands such as Bad Religion, Guns N' Roses, Iron Maiden, Pantera, Dream Theater, Metallica, NOFX, Alice in Chains, Black Flag, Corrosion of Conformity, The Misfits, Slayer, The Vandals, Rage Against the Machine, Korn, Deftones and AFI as their artistic influences.[53]
Avenged Sevenfold's material spans multiple genres and has evolved over the band's entire career. Initially, the band's debut album Sounding the Seventh Trumpet consisted almost entirely of metalcore sound; however, there were several deviations to this genre, most notably in "Streets" which adopts a punk style and "Warmness on the Soul," which is a piano-oriented ballad.[54] On Waking the Fallen, the band displayed the contemporary metalcore style once more, but added more clean vocals as well as more mature and intricate musical elements. In the band's DVD All Excess, producer Andrew Mudrock explained this transition: "When I met the band after Sounding the Seventh Trumpet had come out before they had recorded Waking the Fallen, M. Shadows said to me 'This record is screaming. The record we want to make is going to be half-screaming half-singing. I don't want to scream anymore. And the record after that is going to be all singing.'"
On City of Evil, Avenged Sevenfold's third album, the band chose to abandon the metalcore genre, developing a more hard rock style. Avenged Sevenfold's self-titled album, again, consists of several deviations to less consistent genres and styles from the album's main hard rock and heavy metal songs, most notably in "Dear God", which adopts a country style and "A Little Piece of Heaven", which is circled within the influence of Broadway show tunes, using primarily brass instruments and stringed orchestra to take over most of the role of the lead and rhythm guitar. Nightmare contains further deviations, including a piano ballad called "Fiction" and a brief return to their metalcore roots on "God Hates Us". The band has changed considerably since their first album, in which during that time they have been characterized as a heavy band with a screamed and growled vocal style combined with clean vocals, chugging guitar riffs and breakdowns that one can expect from the metalcore genre.

Accolades

Year Nominated work Award Result
2011 Mike Portnoy on Nightmare Golden God Awards: Best Drummer[55] Won
Synyster Gates & Zacky Vengeance on Nightmare Golden God Awards: Best Guitarists[55] Won
M. Shadows on Nightmare Golden God Awards: Best Vocalist[55] Won
Nightmare Golden God Awards: Album of the Year[55] Won
"Buried Alive" Revolver Magazine's Song of the Year 2011[56] Nominated

Band members

The band members occasionally play instruments other than their primary instruments listed below.
Current members
Former members
  • The Revdrums, piano, backing vocals (1999–2009)
  • Matt Wendt – bass (1999–2000)
  • Justin Sane – bass (2000–2002)
  • Dameon Ash – bass (2002–2003)
Session and touring members

Timeline


Discography

Studio albums
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Bob Marley & Wailers – Discography (1970-2010)



Bob Marley & Wailers – Discography (1970-2010)
Genre: Reggae | Albums, Remixes | MP3 VBR~320 kbps | 4.36 GB
Bob Marley & The Wailers were a Jamaican reggae, ska and rocksteady band formed by Bob Marley, Peter Tosh and Bunny Wailer in 1963. Additional members were Junior Braithwaite, Beverley Kelso, Cherry Smith and Aston and Carlton Barrett. The band came to an end with the death of Bob Marley in 1981.
http://en.wikipedia.org/wiki/Bob_Marley_%26_The_Wailers

Albums
17-th annual Bob Marley festival (2010) 192 kbps
Bob Marley and The Wailers – Jungle dub (2001) 192 kbps
Bob Marley and The Wailers – Legend (1995) 320 kbps
Bob Marley and The Wailers – Legend (Rarities edition) (2010) 180-210 kbps
Bob Marley and The Wailers – Mellow moods (2007) 320 kbps
Bob Marley and The Wailers – Reggae legends (2008) 320 kbps
Chris Goldfinger – Bob Marley special live (2008) 184 kbps
From the vaults (2003) 320 kbps
Lively up yourself (1996) 320 kbps
MTV history (2000) 192 kbps
Music for pleasure (2010) 320 kbps
No sympathy (2006) ABR 130 kbps
Small axe (2005) 100-180 kbps
Thank you lord (2004) 192 kbps
The complete Bob Marley and The Wailers (1967-72) 250-260 kbps
The dub collection (2005) 110-180 kbps
The early years (Original dub masters) (2005) 128 kbps
The lion of reggae (2007) 320 kbps
The platinum collection (1999) 160-210 kbps
Touch me (2004) 110-180 kbps

Remixes
Bob Marley – Dreams of freedom. Ambient translations of Bob Marley in dub (1997) 256 kbps
Bob Marley and The Wailers – Remix revolution greats (1999) 320 kbps
A rebel’s dream (1999) 256 kbps
B is for Bob (2009) 320 kbps
No woman no cry (Tony Cash mix) (2009) 256 kbps
DJ war. The best of Bob Marley. Crown me the king of reggae (2010) 224 kbps

Best of…
Bob Marley and The Wailers – The best of the early years (2001) 320 kbps
Bob Marley and The Wailers – Playlist: The best of the early years (2009) 190-220 kbps
Bob Marley vs Lee Scratch Perry – The best of the upsetter years (1970-71) 192 kbps
The very best of (2009) 320 kbps

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Definition of music

How to define music has long been the subject of debate; philosophers, musicians, and, more recently, various social and natural scientists have argued about what constitutes music. The definition has varied through history, in different regions, and within societies. Definitions vary as music, like art, is a subjectively perceived phenomenon. Its definition has been tackled by philosophers of art, lexicographers, composers, music critics, musicians, semioticians or semiologists, linguists, sociologists, and neurologists. Music may be defined according to various criteria including organization, pleasantness, intent, social construction, perceptual processes and engagement, universal aspects or family resemblances, and through contrast or negative definition.


Etymology

The word music comes from the Greek mousikê (tekhnê) by way of the Latin musica. It is ultimately derived from mousa, the Greek word for muse. In ancient Greece, the word mousike was used to mean any of the arts or sciences governed by the Muses. Later, in Rome, ars musica embraced poetry as well as instrument-oriented music. In the European Middle Ages, musica was part of the mathematical quadrivium: arithmetics, geometry, astronomy and musica. The concept of musica was split into four major kinds by the fifth century philosopher, Boethius: musica universalis, musica humana, musica instrumentalis, and musica divina. Of those, only musica instrumentalis referred to music as performed sound.
Musica universalis or musica mundana referred to the order of the universe, as God had created it in "measure, number and weight". The proportions of the spheres of the planets and stars (which at the time were still thought to revolve around the earth) were perceived as a form of music, without necessarily implying that any sound would be heard—music refers strictly to the mathematical proportions. From this concept later resulted the romantic idea of a music of the spheres. Musica humana, designated the proportions of the human body. These were thought to reflect the proportions of the Heavens and as such, to be an expression of God's greatness. To Medieval thinking, all things were connected with each other—a mode of thought that finds its traces today in the occult sciences or esoteric thought—ranging from astrology to believing certain minerals have certain beneficiary effects.
Musica instrumentalis, finally, was the lowliest of the three disciplines and referred to the manifestation of those same mathematical proportions in sound—be it sung or played on instruments. The polyphonic organization of different melodies to sound at the same time was still a relatively new invention then, and it is understandable that the mathematical or physical relationships in frequency that give rise to the musical intervals as we hear them, should be foremost among the preoccupations of Medieval musicians.

Translations

The languages of many cultures do not include a word for or that would be translated as music. Inuit and most North American Indian languages do not have a general term for music. Among the Aztecs, the ancient Mexican theory of rhetorics, poetry, dance, and instrumental music, used the Nahuatl term In xochitl-in kwikatl to refer a complex mix of music and other poetic verbal and non-verbal elements, and reserve the word Kwikakayotl (or cuicacayotl) only for the sung expressions (Leon-Portilla 2007, 11). In Africa there is no term for music in Tiv, Yoruba, Igbo, Efik, Birom, Hausa, Idoma, Eggon or Jarawa. Many other languages have terms which only partly cover what Europeans mean by the term music (Schafer). The Mapuche of Argentina do not have a word for music, but they do have words for instrumental versus improvised forms (kantun), European and non-Mapuche music (kantun winka), ceremonial songs (öl), and tayil (Robertson 1976, 39).
Some languages in West Africa have no term for music but the speakers do have the concept (Nettl 1989,[page needed]). Musiqi is the Persian word for the science and art of music, muzik being the sound and performance of music (Sakata 1983,[page needed]), though some things European influenced listeners would include, such as Quran chanting, are excluded. Actually, there are varying degrees of "musicness"; Quran chanting and Adhan is not considered music, but classical improvised song, classical instrumental metric composition, and popular dance music are.
However, most Indian languages have specific words that mean music or in some way denote it, for example 'Sangeeth' in Hindi and 'Sangeetham' in Malayalam both mean music.

Definitions

Organized sound

An often-cited definition of music, coined by Edgard Varèse, is that it is "organized sound" (Goldman 1961, 133). The fifteenth edition of the Encyclopædia Britannica describes that "while there are no sounds that can be described as inherently unmusical, musicians in each culture have tended to restrict the range of sounds they will admit."
"Organization" also seems necessary because it implies purposeful and thus human organization.[citation needed] This human organizing element seems crucial to the common understanding of music. Sounds produced by non-human agents, such as waterfalls or birds, are often described as "musical", but rarely as "music". See zoomusicology.
Additionally, Schaeffer (1968, 284) describes that the sound of classical music "has decays; it is granular; it has attacks; it fluctuates, swollen with impurities—and all this creates a musicality that comes before any 'cultural' musicality." Yet the definition according to the esthesic level does not allow that the sounds of classical music are complex, are noises, rather they are regular, periodic, even, musical sounds. Nattiez (1990, 47—48): "My own position can be summarized in the following terms: just as music is whatever people choose to recognize as such, noise is whatever is recognized as disturbing, unpleasant, or both." (see "music as social construct" below)

Language

Many definitions of music implicitly hold that music is a communicative activity which conveys to the listener moods, emotions, thoughts, impressions, or philosophical, sexual, or political concepts or positions. "Musical language" may be used to mean style or genre, while music may be treated as language without being called such, as in Fred Lerdahl or others' analysis of musical grammar. Levi R. Bryant defines music not as a language, but as a marked-based, problem-solving method such as mathematics (Ashby 2004, 4).

Subjective experience

This view of music is most heavily criticized by proponents of the view that music is a social construction (directly below), defined in opposition to "unpleasant" "noise", though this view may be subsumed in the one below in that a listener's idea of pleasant sounds may be considered socially constructed. A subjective definition of music need not, however, be limited to traditional ideas of music as pleasant or melodious. This approach to the definition focuses not on the construction but on the experience of music. Thus, music could include "found" sound structures—produced by natural phenomena or algorithms—as long as they are interpreted by means of the aesthetic cognitive processes involved in music appreciation. This approach permits the boundary between music and noise to change over time as the conventions of musical interpretation evolve within a culture, to be different in different cultures at any given moment, and to vary from person to person according to their experience and proclivities. It is further consistent with the subjective reality that even what would commonly be considered music is experienced as nonmusic if the mind is concentrating on other matters and thus not perceiving the sound's essence as music (Clifton 1983, 9).

Social construct

Post-modern and other theories argue that, like all art, music is defined primarily by social context. According to this view, music is what people call music, whether it is a period of silence, found sounds, or performance. Cage, Kagel, Schnebel, and others, according to Nattiez (1987, 43), "perceive [certain of their pieces] (even if they do not say so publicly) as a way of "speaking" in music about music, in the second degree, as it were, to expose or denounce the institutional aspect of music's functioning."Cultural background is a factor in determining music from noise or unpleasant experiences. The experience of only being exposed to a particular type of music influences perception of any music. Cultures of European descent are largely influenced by music making use of the Diatonic scale.
It might be added that as well as cultural background, historical era is also a determining factor in what is regarded as music. What would today be accepted as music in the west without the blinking of an eye, would have been ridiculed in the 17th century.[citation needed] Many people do, however, share a general idea of music. The Websters definition of music is a typical example: "the science or art of ordering tones or sounds in succession, in combination, and in temporal relationships to produce a composition having unity and continuity" (Webster's Collegiate Dictionary, online edition). There are a number of potential objections to such a definition.[vague]
The composer John Cage challenged traditional ideas about music in his 4' 33", which is notated as three movements, each marked Tacet (that is, "do not play").

Musical universals

Often a definition of music lists the aspects or elements that make up music under that definition. However, in addition to a lack of consensus, Jean Molino (1975, 43) also points out that "any element belonging to the total musical fact can be isolated, or taken as a strategic variable of musical production." Nattiez gives as examples Mauricio Kagel's Con Voce [with voice], where a masked trio silently mimes playing instruments.
Following Wittgenstein, cognitive psychologist Eleanor Rosch proposes that categories are not clean cut but that something may be more or less a member of a category (Rosch 1973, 328). As such the search for musical universals would fail and would not provide one with a valid definition (Levitin 2006, 136–39).

Specific definitions

Clifton

In his 1983 book, Music as Heard, which sets out from the phenomenological position of Husserl, Merleau-Ponty, and Ricœur, Thomas Clifton defines music as "an ordered arrangement of sounds and silences whose meaning is presentative rather than denotative. . . . This definition distinguishes music, as an end in itself, from compositional technique, and from sounds as purely physical objects." More precisely, "music is the actualization of the possibility of any sound whatever to present to some human being a meaning which he experiences with his body—that is to say, with his mind, his feelings, his senses, his will, and his metabolism" (Clifton 1983, 1). It is therefore "a certain reciprocal relation established between a person, his behavior, and a sounding object" (Clifton 1983, 10).
Clifton accordingly differentiates music from nonmusic on the basis of the human behavior involved, rather than on either the nature of compositional technique or of sounds as purely physical objects. Consequently, the distinction becomes a question of what is meant by musical behavior: "a musically behaving person is one whose very being is absorbed in the significance of the sounds being experienced." However, "It is not altogether accurate to say that this person is listening to the sounds. First, the person is doing more than listening: he is perceiving, interpreting, judging, and feeling. Second, the preposition 'to' puts too much stress on the sounds as such. Thus, the musically behaving person experiences musical significance by means of, or through, the sounds" (Clifton 1983, 2).
In this framework, Clifton finds that there are two things that separate music from nonmusic: (1) musical meaning is presentative, and (2) music and nonmusic are distinguished in the idea of personal involvement. "It is the notion of personal involvement which lends significance to the word ordered in this definition of music" (Clifton 1983, 3–4). This is not to be understood, however, as a sanctification of extreme relativism, since "it is precisely the 'subjective' aspect of experience which lured many writers earlier in this century down the path of sheer opinion-mongering. Later on this trend was reversed by a renewed interest in 'objective,' scientific, or otherwise nonintrospective musical analysis. But we have good reason to believe that a musical experience is not a purely private thing, like seeing pink elephants, and that reporting about such an experience need not be subjective in the sense of it being a mere matter of opinion" (Clifton 1983, 8–9).
Clifton's task, then, is to describe musical experience and the objects of this experience which, together, are called "phenomena," and the activity of describing phenomena is called "phenomenology" (Clifton 1983, 9). It is important to stress that this definition of music says nothing about aesthetic standards.
Music is not a fact or a thing in the world, but a meaning constituted by human beings. . . . To talk about such experience in a meaningful way demands several things. First, we have to be willing to let the composition speak to us, to let it reveal its own order and significance. . . . Second, we have to be willing to question our assumptions about the nature and role of musical materials. . . . Last, and perhaps most important, we have to be ready to admit that describing a meaningful experience is itself meaningful. (Clifton 1983, 5–6)

Nattiez

"Music, often an art/entertainment, is a total social fact whose definitions vary according to era and culture," according to Jean Molino (1975, 37). It is often contrasted with noise. According to musicologist Jean-Jacques Nattiez: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus.... By all accounts there is no single and intercultural universal concept defining what music might be" (Nattiez 1990, 47–8 and 55). Given the above demonstration that "there is no limit to the number or the genre of variables that might intervene in a definition of the musical," (Molino, 1987, 42)[citation needed] an organization of definitions and elements is necessary.
Nattiez (1990, 17; see sign (semiotics)) describes definitions according to a tripartite semiological scheme similar to the following:
Poietic Process Esthesic Process
Composer (Producer) Sound (Trace) Listener (Receiver)
There are three levels of description, the poietic, the neutral, and the esthesic:
  • " By 'poietic' I understand describing the link among the composer's intentions, his creative procedures, his mental schemas, and the result of this collection of strategies; that is, the components that go into the work's material embodiment. Poietic description thus also deals with a quite special form of hearing (Varese called it 'the interior ear'): what the composer hears while imagining the work's sonorous results, or while experimenting at the piano, or with tape."
  • "By 'esthesic' I understand not merely the artificially attentive hearing of a musicologist, but the description of perceptive behaviors within a given population of listeners; that is how this or that aspect of sonorous reality is captured by their perceptive strategies." (Nattiez 1990, 90)
  • The neutral level is that of the physical "trace", (Saussere's sound-image, a sonority, a score), created and interpreted by the esthesic level (which corresponds to a perceptive definition; the perceptive and/or "social" construction definitions below) and the poietic level (which corresponds to a creative, as in compositional, definition; the organizational and social construction definitions below).
Table describing types of definitions of music (Nattiez 1990, 46):

poietic level
(choice of the composer)
neutral level
(physical definition)
esthesic level
(perceptive judgment)
music musical sound sound of the
harmonic
spectrum
agreeable sound
non music noise
(nonmusical)
noise
(complex sound)
disagreeable
noise
Because of this range of definitions, the study of music comes in a wide variety of forms. There is the study of sound and vibration or acoustics, the cognitive study of music, the study of music theory and performance practice or music theory and ethnomusicology and the study of the reception and history of music, generally called musicology.

Xenakis

Composer Iannis Xenakis in "Towards a Metamusic" (chapter 7 of Xenakis 1971) defined music in the following way:
  1. It is a sort of comportment necessary for whoever thinks it and makes it.
  2. It is an individual pleroma, a realization.
  3. It is a fixing in sound of imagined virtualities (cosmological, philosophical, . . ., arguments)
  4. It is normative, that is, unconsciously it is a model for being or for doing by sympathetic drive.
  5. It is catalytic: its mere presence permits internal psychic or mental transformations in the same way as the crystal ball of the hypnotist.
  6. It is the gratuitous play of a child.
  7. It is a mystical (but atheistic) asceticism. Consequently expressions of sadness, joy, love and dramatic situations are only very limited particular instances.
(Xenakis 1971, 181)

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