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What's your favorite kind of music?

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Premium Member
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Discussion Starter #241

Indietronica combines the melody and directness of Indie Pop songs with the sonic experimentation of electronica. It began in the early to mid 1990s with Rock-rooted bands like Stereolab and Broadcast who were influenced by Krautrock, Synthpop, and other past or contemporary forms of Electronic music. For instrumentation, artists were typically limited to cheap, affordable equipment. After the early 2000s, the number of artists grew exponentially thanks to the convenience of home recording and software synthesizers. Further examples of the genre are múm, Lali Puna, and Schneider TM.


  1. The Postal Service - Give Up (2003)
  2. Broadcast - Tender Buttons (2005)
  3. The Go! Team - Thunder, Lightning, Strike (2004)
  4. The Notwist - Neon Golden (2002)
  5. múm - Finally We Are No One (2002)
Subgenre: Chillwave

Chillwave is a style of Indietronica music, which originated predominantly from America in the summer of 2009. Chillwave artists emulate lo-fi aesthetics, such as extensive reverb, often centering on a vocalist's Pop melodies. The ways these lo-fi aesthetics and pop melodies manifest can be reminiscent of Dream Pop, Noise Pop, and/or Sunshine Pop, but chillwave artists are distinctive in their variability of recording methods and use of recent technology (e.g., laptops, samplers, etc.).


George Clanton - Slide (2018)

Minimal Wave

Minimal wave was coined as a genre name in retrospect. It makes reference to the most electronic and minimal forms of New Wave, Coldwave, Synthpop and Post-Punk. In its most purely electronic and synth-driven form, it is called Minimal Synth. It is also referred to as synth wave and minimal electronics (instrumental minimal synth).

In comparison to mainstream synthpop, the minimal wave sound is sparse, amateurish, stripped down and lo-fi, using analog synthesizers, drum machines and pre-MIDI electronics. The singing is unconventional, with detached and cold vocals. Minimal wave was mainly developed during the years 1979-85, especially in Belgium, France and Germany. Most bands kept a low profile and a DIY ethic, sometimes releasing self-published cassettes or limited editions by private labels. Since the mid-2000s, the interest in the genre has become more widespread, with several reissues and new releases by labels such as Minimal Wave and Anna Logue Records.

Minimal Synth

In its most common form Minimal Synth is entirely based on analog synthesizers and drum machines.

Minimal Synth golden era was from late 1970s to mid 1980s, obviously it never was aimed for MTV/VH1 play and has remained underground. The genre is characterised by dark and moody tones. It has a bleak stripped down sound, with raw analog synths, a pulsating drum beat, and cold/detached vocals. This same sort of music without the vocals is also referred to as Minimal Electronics.

Minimal Synth records tend to show a DIY quality, some are pretty experimental when compared to other forms of pop music. The overarching genre of most early '80s synth pop is New Wave, the same applies for minimal synth, the umbrella genre is New Wave in its minimal form: Minimal Wave. The Minimal Synth features explained in this description are often favoured by dark wavers and the avant-garde pop and electronic music fans.

Many Minimal Synth records were released in very limited quantities at the time, so have become collectors’ items and 7"s can go for several hundred dollars at online auction sites. Even current acts, such as The Phone and Jonni Mogul, and releases by labels such as Attractive! Co-ordinates and Anna Logue Records are increasingly sought after.

Some examples of influential artists are John Foxx, Kraftwerk, Visage, Brian Eno, YMO, The Human League, David Bowie, and Soft Cell. Some noteworthy minimal synth artists include: Nini Raviolette, Jeff & Jane Hudson, ADN' Ckrystall, Guyer's Connection, The Short Wave Mystery, Oviformia-SCI and Napalm Babies.


  1. Solid Space - Space Museum (1982, cassette)
  2. Monoton - Monotonprodukt 07 (1982)
  3. November Növelet - Magic (2007)

Premium Member
37,336 Posts
Discussion Starter #242
Progressive Electronic

Progressive Electronic is a genre that began at the end of the 1960s. Its sound is marked by use of synthesizers and it draws influence from Progressive Rock, Classical Music and Ambient.

This genre should not be applied to progressive Electronic Dance Music, such as Progressive House and Progressive Trance.


  1. Manuel Göttsching - E2-E4 (1984)
  2. Jean Michel Jarre - Oxygène (1976)
  3. Heldon - Stand By (1979)
  4. Disasterpeace - FEZ (2012)
Subgenre: Berlin School

This genre receives its name from having been pioneered in Berlin in the 1970s by Progressive Electronic artists such as Tangerine Dream, Klaus Schulze and Ashra, and pioneering was much in connection with Krautrock. Much prominence is placed on evolving, often multi-layered sequencer textures, from atmospheric to hypnotic, at the expense of percussion-based rhythms. An affinity for analog synthesizers and definite lead melodies serve to distinguish the genre from more rhythmic forms of Ambient, although the border is quite fluid.


  1. Klaus Schulze - "X" (1978)
  2. Tangerine Dream - Phaedra (1974)

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37,336 Posts
Discussion Starter #243

Intelligent Dance Music, most commonly known as IDM, is a term invented in the early 1990s to describe the sound of a number of electronic musicians who sought to develop dance music beyond the clubs and more into the realm of home listening. The term itself has been the subject of intense criticism, with many citing the "Intelligent" portion as elitist in nature. Aphex Twin, an artist frequently cited as a pioneer of the scene, stated in a 1997 interview: “I just think it's really funny to have terms like that. It's basically saying 'this is intelligent and everything else is stupid.' It's really nasty to everyone else's music.” Regardless of the arguments surrounding its label, many acts enjoyed a strong underground following after the inception of the term, with Sheffield’s Warp Records introducing acts like Autechre, The Orb’s Dr. Alex Paterson, and B12 on its famed Artificial Intelligence compilation, as well as a number of artists who would enjoy critical acclaim during the second half of the decade, such as Boards of Canada and Prefuse 73.

By the mid-nineties, IDM’s style tended to veer away from the Techno and House sound that inspired it, with a number of the key figures either choosing to go further down the path of experimentation or employing a much more beat-focused approach to their work. Squarepusher, another one of Warp’s biggest names, combined his typically reckless style of Drum and Bass with a number of techniques more commonly found on Jazz Fusion records, further stretching IDM as a useful descriptor of a particular sound, and making it more of an umbrella term. Attempts have been made to alter the name of the genre and shake off the negative connotations, with Aphex Twin’s “braindance” description of his own music and Warp’s “electronic listening music” proving somewhat popular. Regardless, IDM remains a strong modern scene, with artists like Richard Devine and Arovane continuing this often difficult-to-define style of music.


  1. Boards of Canada - Music Has the Right to Children (1998)
  2. Flying Lotus - Cosmogramma (2010)
  3. Autechre - Tri repetae (1995)
  4. Ed Harrison - Neotokyo (2009)
  5. Culprate - Deliverance (2014)
  6. Clark - Body Riddle (2006)
  7. Gridlock - Formless (2003)

Premium Member
37,336 Posts
Discussion Starter #244
IDM subgenres:


An extreme form of electronic music which uses cut-up breakbeats and atonal noise, often sequenced at incredibly high tempos, to create a harsh and often unsettling sound. Use of the Amen Break is common, though not necessarily a requirement. Pioneers of the genre include Venetian Snares, Shitmat and The Flashbulb.


  1. Venetian Snares - Rossz csillag alatt született (2005)
  2. Christoph de Babalon - If You're Into It, I'm Out of It (1997)
Drill and Bass

Drill and bass is a rhythmically complex subgenre of IDM that utilizes intricate, speedy drum patterns derived from traditional Drum and Bass patterns. Aphex Twin, Squarepusher, µ-Ziq, and Venetian Snares pioneered this complicated style in the mid 1990s.

The term 'drill and bass' is sometimes used as an alternative name for Breakcore. However, there are a few key qualities that differentiate the two genres. Breakcore has a prominent Hardcore [EDM] influence that is completely absent from drill and bass, and also tends to rely heavily on sampling, whereas drill and bass producers most often veer away from it in favor of traditional synths.


Squarepusher - Hard Normal Daddy (1997)

Premium Member
37,336 Posts
Discussion Starter #245 (Edited)

Emerging from London, England, during the early 2000s, Grime is a musical style heavily influenced by a wide range of urban genres, most noticeably UK Garage, as well as Drum and Bass, Dancehall and Hip Hop. It is typically characterised by dark, fast paced, often aggressive beats (generally around 140bpm), as well as lyrical themes that range from social commentary to insults aimed towards rival emcees.


Dizzee Rascal - Boy in da Corner (2003)


Psybient is a type of Electronic music also widely known as psychill. While not a direct descendant of Psytrance or Goa Trance, psybient draws heavy influence from both and emphasizes atmosphere and timbre in a similar manner as Ambient music.

The style has its roots in the trend of artists in psytrance and goa trance scenes composing slower and calmer chillout tracks that were often put at the end of a release. Although several full psybient albums had been released already, the 1998 Shpongle album Are You Shpongled? is considered to be the most notable in popularizing the genre.


  1. Carbon Based Lifeforms - World of Sleepers (2006)
  2. Shpongle - Nothing Lasts... But Nothing Is Lost (2005)
Dungeon Synth

Dungeon synth is an Electronic genre which emerged in the early 1990s, stylistically related to orchestral soundtracks/scores and Ambient music. Where the purpose of a film score is to set the mood accompanying visual scenery, dungeon synth can be considered a similar concept using sound only, making it a score without a film. In this sense, the genre is a highly narrative form of music, with "scenes" that are played out in almost theatrical fashion. Synthesisers and keyboards are the primary instruments of choice, with vocals, samples and acoustic instruments also frequently used.

Pioneered by artists such as Mortiis and Pazuzu, the intention of dungeon synth is generally to evoke settings of fantasy and adventure, drawing inspiration from European mythology, fantasy writers such as J.R.R. Tolkien, fairy tales, as well as role-playing games like Dungeons and Dragons. Dark Ambient music, Western Classical Music, Black Metal and Darkwave are often cited as influences for the mood and atmosphere of dungeon synth.


  1. Secret Stairways - Enchantment of the Ring (1997, cassette)
  2. Depressive Silence II (1996, cassette)
Horror Synth

Horror synth is a music genre that originated in horror film scores from the 1970s and 80s, such as those composed by John Carpenter and Goblin. These synthesizer-heavy scores utilized sharp, abrasive electronic sounds as well as eerie, haunting synth pads to create atmospheres that accentuated the dark, unnerving, violent or ghostly themes of their films.

Using modern computer technology as well as classic synthesizers, contemporary horror synth artists are influenced by and draw their inspiration from John Carpenter, Goblin and other composers of 70s and 80s horror synth film scores. These contemporary horror synth artists (such as GosT, Zombi, Défago, Tommy Creep, Umberto and Werewolves in Siberia) create music that retains the dark mood, atmosphere and cinematic style of the early horror synth composers but many also incorporate faster, highly danceable tempos into their compositions.


Fred Myrow & Malcolm Seagrave - Phantasm (1979)

Premium Member
37,336 Posts
Discussion Starter #246
Nu Jazz

Like the terms electronica and jazz, nu jazz is a loosely defined umbrella musical style. It ranges from combining live instrumentation with beats of jazz house (exemplified by the French St Germain, the German Jazzanova and Fila Brazillia from the UK) to more band-based improvised jazz with electronic elements (such as that of the The Cinematic Orchestra from the UK, the Belgian PhusionCulture, Mexican duo Kobol, nu jazz improvisation collective, the Norwegian "future jazz" style pioneered by Bugge Wesseltoft, Jaga Jazzist, Nils Petter Molvær, and others.)


  1. Amon Tobin - Permutation (1998)
  2. The Cinematic Orchestra - Man With a Movie Camera (2003)
  3. Skalpel (2004)
  4. Nils Petter Molvær - Khmer (1997)

Also known as: Laptop Folk 😃

Folktronica is a style of Electronic music which incorporates the sounds of acoustic instrumentation, with elements of Contemporary Folk or various Traditional Folk Music traditions and particularly the acoustic guitars and other stringed instruments central to these folk styles. These are commonly blended with the compositional sensibilities of IDM and Glitch-inspired editing and manipulation, as well as the tempo and atmosphere of Downtempo. Although electronic producers had experimented with using acoustic elements through the 1990s, the style would become prominent in the early 2000s as the term was coined to describe the early works of Four Tet and Manitoba, as well as groups like The Books and Tunng. Despite remaining underground, folktronica is stylistically diverse, with some artists using more traditional song structures or live instrumentation whereas others work exclusively with samples in a more experimental direction. However, folktronica in all its forms is unified by this blend of electronic and acoustic instrumentation and the textures that contrast provides.


  1. Four Tet - Rounds (2003)
  2. Mid-Air Thief - Crumbling (2018)
  3. The Books - The Lemon of Pink (2003)
  4. Juana Molina - Un día (2008)

Premium Member
37,336 Posts
Discussion Starter #247

A type of relaxed, low intensity Electronic music which emerged from the Ibiza club scene. Often instrumental, it features slower tempos than House or Techno and tends to be more groove-driven than Ambient.


  1. AIR - Moon Safari (1998)
  2. Madonna - Ray of Light (1998)
  3. Goldfrapp - Felt Mountain (2000)
  4. Moby - Play (1999)
  5. Röyksopp - Melody A.M. (2001)
  6. Ulrich Schnauss - A Strangely Isolated Place (2003)
Trip Hop

Trip Hop is a style of Downtempo music that grew out of the Bristol underground in the early 90s. The term was originally coined by Mixmag in a review of DJ Shadow but it wasn't until the mid 90s that the term's definition was solidified to define the emerging Bristolian scene of downtempo from groups such as Massive Attack and Portishead, both of which went on to have large commercial success in the UK.

While it shares the constant and repetitive beats of downtempo, trip hop is texturally a little more busy often using a wide array of samples of both live and electronic instrumentals, with offbeat turntable scratches and vocal melodies whilst almost always maintaining a mellow tempo in 4/4. The beats often invoke a surreal, trippy, dreamy and yet slightly dark atmosphere.

While some (particularly earlier) trip hop was instrumental or used rapped vocals that shared traits with Hip Hop, most trip hop uses female vocals taking influence from Contemporary R&B and Soul that normally sound light and ethereal with lyrical themes being abstract and metaphorical.

The trip hop movement has had a considerably broad influence on the mainstream and has become a popular style both in and outside the UK. No longer considered regionally-centric, trip hop has been a term used to describe a plethora of acts that have melded the trip hop sound with different genres and music scenes, but all are still derivative of the early Bristolian sound.


  1. Portishead - Dummy (1994)
  2. Massive Attack - Mezzanine (1998)
  3. Tricky - Maxinquaye (1995)
  4. UNKLE - Psyence Fiction (1998)

Premium Member
37,336 Posts
Discussion Starter #248 (Edited)

Ambient is a style that describes a large spectrum of music. Ambient music puts more emphasis on actual sound than musical structure, aimed at forming a particular atmosphere or mood with the help of conventional and unconventional instruments, sound clips, and sometimes vocal clips. Singing in ambient music can be done, although a good deal of ambient is instrumental.

Ambient music is not limited to any particular mood or sound, but rather embraces the idea that any mood or atmosphere can be achieved through sound alone, rather than needing to rely on music composition or song structure. Ambient has been incorporated into a large amount of various already-existing musical genres, due to its extremely compatible usage and versatility.


  1. Tim Hecker - Harmony in Ultraviolet (2006)
  2. Stars of the Lid - The Tired Sounds Of (2001)
  3. C418 - Minecraft: Volume Alpha (2011)
  4. GAS - Pop (2000)
  5. Grouper - A I A: Alien Observer (2011)
  6. Biosphere - Substrata (1997)
  7. Global Communication - 76:14 (1994)
I have a Grouper album called Dragging a Dead Deer Up a Hill (2008) that is not quite "ambient" yet but very atmopsheric so I'm not surprised she evolved into a more radical - or chemically sublime - formula.

Tribal Ambient

Tribal ambient combines the theory and atmosphere of Ambient music with traditional instruments and sounds. The use of percussion is the genre's most common feature, with a distinctly hypnotic sound created by drums from the Traditional Folk Music of regions such as West Africa, South East Asia and the Greater Antilles. These include congas, tablas, djembe, bongos and gourd, goblet and Taos drums, whilst more global instruments, percussion or otherwise, are also often used, such as bells, sticks, chimes, flutes and pipes. Together with the usage of Nature Recordings and calming, meditative drones, these lend the style a naturalistic, peaceful mood. Conversely, the style has also been blended with Dark Ambient by artists such as Muslimgauze and :zoviet*france:, producing a more unnerving atmosphere. Vocals are used sparingly, if at all, and often lend a "shamanic" or spiritual feel to the music. Due to mixing live traditional instrumentation with sequenced synth, tribal ambient sometimes shares similarities and overlaps with forms of New Age music.

Steve Roach was an important figure in pioneering the sound with the milestone release Dreamtime Return in the late 1980s, incorporating a heavy Indigenous Australian Music influence. However, the style was developed earlier by various other artists around the turn of the decade, for example, Jon Hassell (initially with Brian Eno on Fourth World Vol. 1: Possible Musics) and Bryn Jones of Muslimgauze. Other notable tribal ambient musicians include Vidna Obmana, Robert Rich, Ulf Söderberg and Antonio Testa.

Like most ambient styles, tribal ambient is commonly used in soundtracks. Its organic feel naturally lends itself to nature and wildlife documentaries, whilst also being used in video games (for example, Oddworld: Abe's Oddysee and Fallout: The Soundtrack).


  1. Jon Hassell - Fourth World Volume Two: Dream Theory in Malaya (1981)
  2. Muslimgauze - Mullah Said (1998)

Premium Member
37,336 Posts
Discussion Starter #249 (Edited)
Space Ambient

Space ambient refers to a form of flowing and relaxing Ambient music often dubbed 'space music'. The style typically employs sequencers along with cosmic synthesizers which are played in a sweeping and gradual manner (akin to and often utilising aspects of Drone). The successive ascending and descending rhythms are enhanced by almost imperceptible patterns in order to create a resonating, distant psychedelic sound. The ethereal, dreamlike effect of the synthesizer pads and additional sound effects is commonly coupled with artists and releases using space and general science fiction themes on artwork and track titles. Space ambient's usual aim is to provide the listener with both meditative background music and to 'transport' them on an aural journey, stimulating the imagination.

Emerging in the early 1970s from the ambient side of Berlin School and other Progressive Electronic music, pioneering artists Tangerine Dream and Klaus Schulze developed the style on releases such as Zeit and Irrlicht respectively. Like other ambient styles, its relaxing, unobtrusive atmosphere lends itself to soundtracks (notable examples being Brian Eno's Apollo: Atmospheres & Soundtracks and Vangelis's Blade Runner) and therapeutic work. There was a large degree of overlap with and influence of New Age music in the later development of the genre, seen in the works of Constance Demby and Jonn Serrie.


  1. Steve Roach - Structures From Silence (1984)
  2. Michael Stearns - Planetary Unfolding (1981)
New Age

New age is a genre of music that tends to focus on peaceful, meditative, and relaxing melodies. New age can take many forms: electronic new age uses soft synths, long, sustained notes, and simple drum beats, while acoustic new age uses instruments such as flutes, piano, and guitar to create a calm atmosphere (though sometimes even these acoustic instruments are digital samples). Mike Oldfield, Enigma, Popol Vuh, and Vangelis are some of the most prominent artists in the genre.

Some artists have even blended specific types of folk music into their own to create very distinct sounds. Examples of this include Enya and Clannad, who mixed together new age and Celtic Folk Music to make Celtic New Age, and Cusco and Medwyn Goodall, whose South American influences stylized Andean New Age.


  1. Stephan Micus - Implosions (1977)
  2. Peter Davison - Glide (1981)
Celtic New Age

Celtic New Age music is represented in its most known style by haunting songs, which are interpreted by renowned female vocalists like Enya and Loreena McKennitt. With the support of their voices these songs become a mysterious blend of subliminal sounds, ambient beats, angelic and ethereal vocals, resulting in a captivating sound that mixes elements of Celtic Folk Music and contemporary music. These New Age compositions evoke pastoral imagery and abstract romantic sentiments, talking in some cases about scenes from the fairies Celtic lore. There are also instrumental compositions which rely on stripped-down arrangements of harps, whistles, fiddles, violins and keyboards in a variety of combination. Other major acts are Clannad, Llewellyn, Gary Stadler, Secret Garden and Dagda.


  1. Loreena McKennitt - The Mask and Mirror (1994)
  2. Enya - Watermark (1988)
Neoclassical New Age

A subgenre of New Age music strongly influenced by and sometimes also based upon early music and the Baroque Music or Classical Period.


  1. Popol Vuh - Hosianna Mantra (1972)
Ambient and New Age are two different genres, and they're different from Electronic as well. They just don't show in the poll so there was not any option for them.

I'm not big on New Age, on a side note, but find that Popol Vuh album beautiful. Sometime you wonder if you prefer the visuals or the music, as the music seems to drown you in.

Premium Member
37,336 Posts
Discussion Starter #250

Soundtracks are pieces of music that are used for the purpose of accompanying another type of entertainment (e.g. movies, video games). Soundtracks exist in many different genres, often depending on the context they are used in. A soundtrack can either be composed for the sole purpose of being used in e.g. a movie, but it can also be a piece of music that already existed and was not made specifically for the type of entertainment it accompanies.

Video Game Music

Any of the musical pieces or soundtracks found in video games. ✍ ----> for further essay please write to Dr Obvious

Here's a Top of the most famous / hailed Video Game Musics. I never played any video game in my life, so don't expect any knowledgeable comment from me. :giggle:



  1. Akira Yamaoka - Silent Hill 2: Original Soundtrack (2001)
  2. Hirokazu Tanaka & Keiichi Suzuki - Mother 2 (1994)
  3. Yasunori Mitsuda - "Chrono Trigger" Original Sound Version (1995)
  4. David Wise - Donkey Kong Country 2: Diddy's Kong Quest (1995)
  5. Nobuo Uematsu - Final Fantasy VI Original Sound Version (1994)
  6. Koji Kondo - The Legend of Zelda: Majora's Mask (2000)
  7. Keiichi Okabe, Kakeru Ishihama, Keigo Hoashi & Takafumi Nishimura - NieR Gestalt & RepliCant Original Soundtrack (2010)
  8. Shoji Meguro - Persona5 Original Soundtrack (2017)
  9. Yu Miyake - Katamari Damacy Soundtrack: Katamari Fortissimo Damacy (2004)
  10. Ko Otani - Wander and the Colossus: Roar of the Earth (2005)
Half of this non-exhaustive selection belongs to an Electronic genre called Bit Music (soundtracks 2, 3, 4, 5 & 6). Bit Music itself has at least four subgenres: 16-bit, Chiptune, FM Synthesis and Sequencer & Tracker.

16-bit (from 2 to 5 in the list above) refers to music created using video game consoles with 16-bit audio hardware, most notably the Super Nintendo Entertainment System (and subsequent devices and applications which emulate these 16-bit sounds). The sound and technology is more advanced than 8-bit Chiptune, with an assortment of clearer and cleaner textures which are closer in tone to their approximated instruments, often being sample-based. While the audio quality is higher, 16-bit still maintains a distinctive synthetic sound, mostly due to its palpable aural limitations.

Notable composers include Yasunori Mitsuda, Nobuo Uematsu and David Wise, exemplified by the Chrono Trigger, Final Fantasy VI and Donkey Kong Country soundtracks respectively.

Chiptune, 16-bit and other more advanced Bit Music are often used in combination with other synths and beats to create Bitpop.

Bitpop is a style that fuses Bit Music with additional synths, beats, guitars and modern production values, emphasising highly catchy melodies and relatively fast tempos.

Emerging most prominently in the early 2000s, the style developed from the late 1980s/early 1990s Demoscene, a subculture where computer programmers would create tech demos featuring both graphics and sound clips. The particular 'bleeps' and 'bloops' of the bit music in these demos results from the limitations of the hardware used. Artists typically drew sounds from 8-bit (or Chiptune) and 16-bit video game consoles (including the Commodore 64, Game Boy, Atari 2600 and Nintendo Entertainment System), as well as Sequencer & Tracker textures. Early blueprints for bitpop were set by Synthpop group Yellow Magic Orchestra who utilised chiptune in some of their early releases, as well as later work by Welle: Erdball, who also incorporated elements of EBM into their sound.

In Japan, a frantic, often child-like variant called Picopop is seen as a spiritual successor to the Shibuya-kei movement of the 1990s.

Video Game Music isn't only Bit Music, though. Top 1 of the list is Ambient, Top 7 is Modern Classical, Top 8 is Acid Jazz / Lounge / Jazz-Funk, Top 10 is Orchestral / Cinematic Classical. Why Video Game Music belongs to Soundtracks in the first place, as bolded at the start of this post: "pieces of music that are used for the purpose of accompanying another type of entertainment". So do Film Soundtracks and Television Music.

Premium Member
37,336 Posts
Discussion Starter #251
Television Music


  1. Angelo Badalamenti - Soundtrack From Twin Peaks (1990)
  2. Yoko Kanno / Seatbelts - Cowboy Bebop CD-Box Original Soundtrack (2002)
  3. The Blasting Company - Over the Garden Wall (2016)
  4. Kevin Penkin - Made in Abyss Original Soundtrack (2017)
I never watched any of this, not even Twin Peaks. Other tags are dark jazz (1), jazz / pop / bebop (2), ragtime / chamber folk (3), and modern classical / ambient (4).

Film Soundtrack


  1. Curtis Mayfield - Superfly (1972)
  2. The Rocky Horror Picture Show (1975)
  3. Phantom of the Paradise (1974)
  4. The Sound of Music (1965)
After a bit of listen I would say that The Rocky Horror Picture Show didn't age well. 🤭

Premium Member
37,336 Posts
Discussion Starter #252
Film Score

Music within a film, typically written by a composer or occasionally music compiled from previously written musical compositions. The purpose being to help create the mood in the scenes it accompanies. This is opposed to songs written by or licensed from typical recording artists.

A film score is typically a composition for instruments (e.g. orchestra). However since the 1950's, a growing number of scores are electronic, or a combination of orchestral and electronic. Also many low budget films use digital samples to imitate the sound of real live instruments.

Top albums, Part 1



  1. Ennio Morricone - Il buono, il brutto, il cattivo (1966)
  2. John Williams - Star Wars: The Empire Strikes Back (1980)
  3. Howard Shore - The Lord of the Rings: The Fellowship of the Ring (2001)
  4. Geinoh Yamashirogumi - Symphonic Suite AKIRA (1988)
  5. Shiro Sagisu - The End of Evangelion (1997)
  6. Joe Hisaishi - Mononoke-hime (1997)
  7. Basil Poledouris - Conan the Barbarian (1982)
  8. Bernard Herrmann - Vertigo (1958)
  9. Nino Rota - The Godfather (1972)
  10. Danny Elfman - Tim Burton's The Nightmare Before Christmas (1993)
Comments: my preferences go to Morricone and Hermann. I'm not a fan of the big orchestras of Williams or Poledouris. Always difficult to know if those soundtracks would have got the same success without the movies, and same for the movies without the soundtracks... At any rate, for having the Morricone soundtrack on CD, I can tell you it totally rules without the movie. (y)

Premium Member
37,336 Posts
Discussion Starter #253
Top Film Score albums, Part 2



  1. Jerry Goldsmith - The Omen (1976)
  2. Kenji Kawai - Ghost in the Shell: Original Soundtrack (1995)
  3. James Newton Howard - The Village (2004)
  4. Maurice Jarre - Lawrence of Arabia (1962)
  5. Hans Zimmer - The Thin Red Line (1999)
  6. Kensuke Ushio - Girls, Dance, Staircase (2018)
  7. John Barry - On Her Majesty's Secret Service (1969)
  8. Alain Goraguer - La planète sauvage (1973)
  9. James Horner - The Land Before Time (1988)
  10. Wojciech Kilar - Bram Stoker's Dracula (1992)

6,332 Posts
hilarious thing with Solid Space. It's one of my first music memories ever. Before I even started learning English. There was a synthpop game a long time ago on MTF and I wanted to send "New Statue". But I didn't know the artist or the name of the song (I wasn't such a snob like now and didn't even know Rate Your Music), so I was typing out lyrics as I remembered them, thinking it's something famous. I did find it, but I also found out they didn't even have a wiki page (they have now) and the cassette was published only in a very small amount! It still ended up in Poland on the public radio somewhere in the late 80s / early 90s lol.

Later I found out that album is actually an underground classic in places like RYM.

My anthemic morning song. Love it.

Dutch minimal wave, 1985

Premium Member
37,336 Posts
Discussion Starter #256 (Edited)
Another field absent from the poll, that could be joined to Classical Music / Film Score:

Musical Theatre and Entertainment

The music from a range of styles of theatre individually popular in the United States or in various countries in Europe, mostly from the 19th century to the mid-20th century. The term also covers music composed in one of these styles independently from any theatrical production or for revivals of one of these styles.

The theatrical styles share a commonality of all containing substantial elements of variety entertainment - it was typical for these performances to contain non-musical entertainment, such as comedy, alongside the music. All of these styles were considered mass entertainment and the earlier styles evolved from Traditional Folk Music or Western Classical Music - for instance Cabaret evolved from informal performances of Opera arias, and Music Hall evolved from English Folk Music.

Despite this most of the styles, with a few exceptions like Cuplé, soon became very distinct from their roots and occupied a music niche very clearly distinct from those of Traditional Folk Music or Western Classical Music, being neither the art music of the rich or part of the oral traditions of the countryside - but rather the music of mass entertainment of the cities.

The most successful genre of the field is called Show Tunes.

As the name implies, show tunes are songs originally composed to forward the story or enhance the characters or other plot elements of Broadway productions and other stage musicals. Popular composers include Rodgers & Hammerstein, Jerome Kern, George & Ira Gershwin and Leonard Bernstein. Many show tunes have progressed from their stage origins and have entered the realm of Standards.


  1. Sweeney Todd: The Demon Barber of Fleet Street [Original Broadway Cast] (1979)
  2. Les Misérables [Original London Cast] (1985)
  3. West Side Story (1961)
  4. Justin Hurwitz - La La Land (Original Motion Picture Soundtrack) (2016)
  5. Fiddler on the Roof [Original Broadway Cast] (1964)
Notes: Sweeney Todd was written and composed by Stephen Sondheim, and it's apparently his most appreciated work. Sondheim also wrote the lyrics of West Side Story but not the music. Leonard Bernstein composed West Side Story but didn't like the movie version selected here (the most famous, starring Natalie Wood). He favoured the original Broadway Cast version from 1957.


A hybrid of light opera and musical theatre which was popular from the late 1800s thru the early-to-mid 1900s.


Sänger Freies Berlin / Wilhelm Brückner-Rüggeberg / Lotte Lenya
Die Dreigroschenoper (1982, reissue)

This version of Die Dreigroschenoper was first recorded and released in 1958, then reissued in 1970, with a different cover art (above is the CD version).


It is probably best known in English as The Threepenny Opera, which was also a movie in 1931. It gave the standard "Mack the Knife". I didn't know four poems of François Villon (French poet of the 15th century) were adapted to the original play of 1928. You learn everyday!


Cabaret is a form of entertainment featuring comedy, song, dance and theatre.


Cabaret (1972)

This famous movie version stars Liza Minelli. There was a stage version in 1966, adapted from a 1951 play called I Am a Camera, itself adapted from a 1939 short novel called Goodbye to Berlin. Looks like the world of Musical Theatre and Entertainment is of world of adaptations. :whistle: ------> hey, let's adapt that whistling!

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Discussion Starter #257
Western Classical Music

The term Classical is used to cover a broad range of art music that originated in Europe around 500 AD, including the Medieval Classical Music, Renaissance Music, Baroque Music, Classical Period, Romanticism, and Modern Classical eras.

Although there are notable exceptions, particularly in the early and later periods, Western Classical music can be characterized by its tonal system and harmonic language, dodecaphonic tuning system, fixed notational system, standard musical forms, and instrumentation. When compared broadly to other traditions of music, Western Classical Music tends to place more emphasis on harmony and less on rhythm, and relies more on fixed performance rather than improvisation.

The genre has changed radically over time, and two pieces picked from different periods may sound vastly different; however, the gradual development, its evolutionary lineage, and its history lends cohesiveness to the many individual styles and movements within the genre.

Medieval Classical Music

Medieval classical music refers to Western Classical Music composed during the Middle Ages (476 to 1492 AD). The predominance of Christian Liturgical Music and the invention of modern musical notation by Guido d'Arezzo are two fundamental aspects of this period.

Before the advent of feudalism (9th century), classical music from Western and Central Europe was scarce in comparison with Byzantine Music, which is thought to have flourished following the fall of Rome. From ca. 900 to 1150, Gregorian Chant was the hegemonic musical form in Europe. Notable composers of Gregorian chant and other forms of Plainsong include Hildegard von Bingen and Odo of Cluny. Between ca. 1150 and 1450, Medieval music experienced a remarkable evolution that can be divided in three main phases: Ars antiqua (old art), Ars nova (new art) and Ars subtilior (more subtle art). The development of Medieval classical music included increasingly complex rhythmic structures, the appearance of polyphonic textures, and the combination of elements from secular and sacred music. By the late 15th century, early Renaissance Music had already expanded through Europe whereas Medieval music had fallen out of fashion. During the 20th century, some Modern Classical composers such as Carl Orff revived Medieval forms with a modernist approach.


Sequentia - Canticles of Ecstasy (1994) Hildegard von Bingen

Renaissance Music

The Renaissance period encompasses European classical music from roughly 1400 to 1600.


  1. La Capella Reial / Jordi Savall - Vespro della Beata Vergine (1989) Claudio Monteverdi
  2. The Tallis Scholars / Peter Phillips - Spem in alium (1985) Thomas Tallis
Baroque Music

The era of the Baroque period of classical music took place from about 1600-1750 CE. In this time, most works possessed certain major characteristics. First is a constant rhythmic flow, or a steady motion all throughout. Next, each piece or movement generally focuses on a single melodic idea which is thoroughly developed. Lastly, almost all Baroque works included some form of counterpoint - two or more musical lines that go their separate ways, yet intersect and interact at certain spots.


  1. Glenn Gould - The Goldberg Variations (1982) Johann Sebastian Bach
  2. The English Concert / Simon Standage / Trevor Pinnock - Le quattro stagioni (1982) Antonio Vivaldi
Classical Period

Classical period is a term referring to the phase in Western Classical Music history between the fall of Baroque Music and rise of Romanticism, occurring from roughly 1750 to 1820.


Academy of St Martin-in-the-Fields / Neville Marriner - Amadeus (1984) Wolfgang Amadeus Mozart

Apparently, the Amadeus soundtrack is considered as a good start to get into Mozart? Well, why not!


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Discussion Starter #258

Romantic music is Western Classical Music that was initially developed in the period from 1815-1910. While predominantly practiced in Europe in the 19th century, Romantic music possesses stylistic qualities that make it more than a mere geographical or chronological category. Romantic music can be characterized by its expressive and emotional qualities, especially in terms of melody.

The approach of Romantic composers was designed to break with the rigidities of the Classical Period. In his late works, Ludwig van Beethoven pioneered a new approach to utilizing orchestras, by varying instrumentation and timbre (e.g. his use of a chorus in the Ninth Symphony). Additionally, Beethoven inspired later Romantic composers through his advanced use of harmonies that modulated keys much more drastically than in the past, and through his use of melodic motifs that extended and evolved through lengthy pieces.

Expanding on those developments, Romantic composers frequently used techniques such as chromaticism, varying tempos, and increased dissonance to create an expressive, dramatic style, as can be seen in the symphonic work of Hector Berlioz and the Opera of Giuseppe Verdi.

The fusion of drama and music was promoted through the Tone Poem of Franz Liszt and Berlioz. Tone poems were designed to tell a story or advance a theme through music. This idea was extended by Richard Wagner, who used thematic melodies (leitmotifs) and an increasingly dramatic approach to composition.

Another key ingredient of Romantic music was the influx of new melodic sources. This was primarily driven by the strengthening of nationalism in the late 19th century. Composers such as Antonín Dvořák, Johannes Brahms, Frédéric Chopin and Edvard Grieg all used elements of folk music (Czech, Hungarian, Polish, and Norwegian, respectively) in their work.

Romantic music has survived even beyond the Romantic period. Elements of Romanticism can be found in the work of late-20th century composers such as Krzysztof Penderecki and John Williams.



  1. Artur Rubinstein - The Nocturnes (1967) Frédéric Chopin
  2. Wiener Philharmoniker / Carlos Kleiber - Symphonie No. 4 (1981) Johannes Brahms
  3. Chicago Symphony Orchestra / Georg Solti - Symphony No. 9 'From the New World' (1984) Antonín Dvořák
  4. New Philharmonia Orchestra / Otto Klemperer / Christa Ludwig / Fritz Wunderlich - Das Lied von der Erde (1967) Gustav Mahler
  5. Kirov Orchestra / Valery Gergiev - The Nutcracker (1998) Pyotr Tchaikovsky
  6. Chicago Symphony / Fritz Reiner - Scheherazade (1960) Nikolai Rimsky-Korsakov
  7. Sinfonie-Orchester der Nationalen Philharmonie Warschau / Stanisław Wisłocki / Svjatoslav Richter - Klavierkonzert Nr. 2 in c-moll; 6 Preludes (1959) Sergei Rachmaninov
  8. London Symphony Orchestra / John Barbirolli / Jacqueline du Pré / Janet Baker - Cello Concerto; Sea Pictures (1965) Edward Elgar
  9. Royal Philharmonic Orchestra / Beecham Choral Society / Thomas Beecham - Peer Gynt (1958) Edvard Grieg
  10. La Chapelle Royale / Ensemble Musique Oblique / Philippe Herreweghe - Requiem (Version originale) (1988) Gabriel Fauré

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Discussion Starter #259

Symphonies are large-scale Western Classical Music works for orchestra, typically with four movements:
1) allegro, almost always in sonata-allegro form
2) a slow movement
3) scherzo or minuet
4) finale, typically allegro or rondo

Early symphonies were often only three movements, and were relatively short (10-20 minutes). The symphony evolved during the late Classical Period; by the start of the Romanticism, they were in four movements and typically 30-60 minutes long, with a few notable symphonies lasting more than an hour (such as Beethoven's ninth symphony and nearly all of Mahler's symphonies).

The symphony continues to be a popular genre among modern composers; however, the traditional four-movement structure is more frequently altered or disregarded (for example Pettersson's symphonies are usually in single movement).


  1. Berliner Philharmoniker / Herbert von Karajan - 9 Symphonien (1963) Ludwig van Beethoven
  2. London Sinfonietta / David Zinman / Dawn Upshaw - Symphony No. 3 (1992) Henryk Mikołaj Górecki
  3. Академический симфонический оркестр Московской государственной филармонии / Kirill Kondrashin - Symphony No. 5 (1964) Dmitri Shostakovich
As you can see with the presence of Górecki in this top, symphony also applies to Modern Classical. Here the category is not a genre or an era of music, but a form of music. Top 1 is a boxset of Beethoven's first nine symphonies conducted by Karajan.


Concertos are multi-movement Classical works for orchestra and one or more soloists. Concertos for solo instruments evolved in Baroque Music during the turn of the 18th century from the Concerti grossi, which include a small group of soloists called the "soli" set against a full orchestra referred to as the "tutti". Concertos intensified this distinction of part and whole, and seek to explore the relationships between individual and collective, between one and many. This remains the situation, therefore Concertos continue to be highly popular and have held a unique position in Orchestral writing in all periods including Modern Classical.

Concertos have been written for all sorts of instruments, however Concertos for pianos, violins and cellos have been the most popular.


Boston Symphony Orchestra / Seiji Ozawa / Krystian Zimerman - Klavierkonzerte Nos. 1 & 2; Totentanz (1988) Franz Liszt


also known as: Lied

Lieder are a predominately German form of songs that developed during the Romanticism of the nineteenth century for a solo vocalist and piano accompaniment. The genre's most renowned composers were Franz Schubert and Robert Schumann, who began to apply poetry by famous and amateur writers alike to music.

The usual context of Lieder reflected the Romantic Period's ideal, often being about fantasy fairy tales from local folklore, the beauty of nature and passionate feelings of love. Piano accompaniments were normally simple and almost always used basic chordal phrases retaining the harmony and tempo in the left hand with brief yet recurring ostinatos in the right. The vocal layout was usually very simple but took advantage of crescendos and word painting to punctuate and highlight certain words in the text by incorporating large interval leaps, creating a broader emotional spectrum.

By the later nineteenth century Lieder began to go through a further development, some writing Lieder in their native languages and mixing it with musical traditions from their own nationalities, but Lieder continues to come back to the musical roots that arose within the fantasy of Romantic Period writers and composers.


Orchestre symphonique de la Radio de Berlin / George Szell / Elisabeth Schwarzkopf - Vier letzte Lieder; Muttertändelei; Waldseligkeit; Zueignung; Freundliche Vision; Die heiligen drei Könige (1966) Richard Strauss


Opera as a European tradition is a widely practiced art form combining music and drama within the context of Western Classical Music, usually performed as a theatrical work on stage. The development of European opera dates back to the end of the 16th century, during the transition period between Renaissance Music and Baroque Music.

Each work is made up of the libretto (the text) and the musical score. The libretto is delivered in a speech-like 'recitative' vocal or as a melodic sung 'aria', whilst the score is typically ornate, originally written for a small string orchestra. Instruments such as harpsichord, lute and basses commonly accompany solo vocal parts, whilst woodwind, brass and percussion instruments were added to the orchestra as centuries passed.

The birthplace of opera is Italy; the first documented work is Jacopo Peri and Jacopo Corsis' half-lost 1598 work Dafne (with text by Ottavio Rinuccini). Early opera was usually written and performed in courts as an extravagant entertainment method to impress highly distinguished guests and to show off the court and its capabilities. Colourful costumes, elaborate stage scenery, processions and technical effects accompanied the libretto and score, with narratives stemming from classical mythology, often comparing the ruler of the court to gods or heroes from these tales.

It soon spread across the rest of Europe, with composers such as Georg Friedrich Händel, Henry Purcell, Christoph Willibald Gluck and most famously, Wolfgang Amadeus Mozart, writing numerous operas in the 17th and 18th centuries.

With the rise of Romanticism in the 19th and early 20th century, two of the most celebrated opera composers of all time emerged, Giuseppe Verdi and Giacomo Puccini (who pioneered the realistic verismo style). Their works have become standards in the field, including La traviata and Tosca.


  1. Wilhelm Furtwängler / Ludwig Suthaus / Kirsten Flagstad - Tristan und Isolde (1953) Richard Wagner
  2. London Philharmonic Orchestra / John Alldis Choir / Zubin Mehta / Sutherland / Pavarotti / Caballé / Ghiaurov / Krause / Peter Pears - Turandot (1973) Giacomo Puccini

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Discussion Starter #260

Choir-sung classical works covering periods from medieval music (an early form being Gregorian Chant) up to present day.


Orchester der Deutschen Oper Berlin / Chor der Deutschen Oper Berlin / Eugen Jochum / Gundula Janowitz / Gerhard Stolze / Dietrich Fischer-Dieskau - Carmina Burana (1968) Carl Orff

Chamber Music

Classical music performed by a small ensemble, usually only a few performers.


  1. The Tale Quartet - String Quartets Nos. 1-3 (1990) Alfred Schnittke
  2. Quartetto Italiano - Complete Music for String Quartet (1970) Anton Webern
  3. Alban Berg Quartett / Heinrich Schiff - Quintett C-dur (1983) Franz Schubert

Impressionism is a movement of Western Classical Music that originated in late 19th to early 20th century France as a reaction to Romanticism. It was used to describe composers such as Claude Debussy and Maurice Ravel.

Like the Impressionist art movement, Impressionism in music took a greater focus on depicting different strokes of atmosphere and mood rather than fixed and specific concepts. Impressionism furthered the expressive use of dissonance of the Romanticism to a different level. Although the climaxes of the Romantic Period were far less emphasised, Impressionism further exploited progressions and scales that were atypical in modern western music such as pentatonic, modal and (in particular) the whole tone scale to develop ambiguous harmonies that emitted a dreamy and otherworldly sound, with dissonance more often sounding skittish and playful rather than aggressive and sinister.

Impressionism was normally composed for small chamber ensembles or piano, with the melodic registers of instruments being fully exploited. Solo instruments were usually more expressive than virtuosic using a wide array of articulation and ornamentation with orchestral parts often moving in parallel motion. The pulse was normally hazed and difficult to follow due to rhythmic parts being sparse with unpredictable time signature and tempo changes further adding to the dreamlike atmospheres.

Although by the 1920s Impressionism began to drop from popularity with the deaths of Claude Debussy and Erik Satie, the influence of Impressionism on modern music was evident. From the ambiguous folk-like melodies of Ralph Vaughan Williams, to members of the Jazz-inspired "Les Six" such as Francis Poulenc and Darius Milhaud and to this day Debussy's "Clair de Lune" is a worldwide renowned composition, which is often a mainstream representative of Debussy's sound.


  1. Pascal Rogé - 3 Gymnopédies & Other Piano Works · und andere Klavierstücke (1984) Erik Satie
  2. Alexis Weissenberg - Suite bergamasque; Children's Corner; Estampes; L'isle joyeuse; La fille aux cheveux de lin; La plus que lente; Etude pour les arpèges (1985) Claude Debussy
Impressionism is, without any doubt, one of my very favorite genres of Western Classical Music. It has remained so fresh and timeless to this day!
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