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A demo version or demo of a song (shortened from the word "demonstration") is one recorded for reference rather than for release. A demo is a way for a musician to approximate their ideas on tape or disc, and provide an example of those ideas to record labels, producers or other artists. Musicians often use demos as quick sketches to share with bandmates or arrangers; in other cases a songwriter might make a demo to send to artists in hopes of having the song professionally recorded, or a music publisher may need a simple recording for publishing or copyright purposes.

Many unsigned bands and artists record demos in order to obtain a recording contract. These demos are usually sent to record labels in hopes that the artist will be signed onto the label's roster and allowed to record a full-length album in a professional recording studio. However, large record labels usually ignore unsolicited demos that are sent to them by mail; artists generally must be more creative about getting the demos into the hands of the people who make decisions for the record company.

Songwriters' and publishers' demos are recorded with minimal instrumentation - usually just an acoustic guitar or piano, and the vocalist. Both Elton John and Donovan gained studio experience early in their careers by recording publishers' demos for other artists, since their managers also handled music publishing.

Many signed bands and artists record demos of new songs before recording an album. The demos may allow the artist to provide sketches for sharing ideas with bandmates, or to explore several alternate versions of a song, or to quickly record many proto-songs before deciding which ones merit further development. Most demos often include one or two songs, often no more.

Demos are typically recorded on relatively crude equipment such as "boom box" cassette recorders, small four-track or eight-track machines, or on personal computers with software such as Audacity, but sometimes they capture the feeling or intent of the artist better than the final version of the song, after the input of managers, producers and sound engineers. Lou Reed sought out a studio in the late 1980s to record his New York album, where the polished sound would satisfy him as much as that of the rough cassettes he'd been making at home. (The B-side to the album's single was actually a transferred home tape.)^{[citation needed]}

Demo recordings are seldom heard by the public, although some artists do eventually release rough demos in rarities compilation albums or box sets. Other demo versions have been unofficially released as bootleg recordings, such as The Beatles' The Beatles Bootleg Demos. Several artists have eventually made official releases of demo versions of their songs as albums or companion pieces to albums. The event of a demo tape appearing on eBay has happened in the past, with the recordings being leaked onto the internet.

In more underground forms of music, such as noise music, black metal or punk, demos are often distributed by bands to fans as self-releases, or sold at a very low price.

References[link]

External links[link]

• Collection of Demo Covers
• Music From the Demo Scene

Look up demo or demo- in Wiktionary, the free dictionary.

Demo may refer to:

• Demonstration (teaching)
• Product demonstration, a sales or marketing presentation
• Exhibition game or demo, a sporting event with no competitive value to any competitor
• Demolition, the destruction of buildings and other structures

Computing and technology[link]

• Demo (computer programming), a non-interactive multimedia presentation
• Game demo, a freely-distributed version of a video game
• Technology demo, a prototype version of a technology product
• Demo mode, a feature found in consumer electronics

Music[link]

• Demo (music), a song recorded for reference rather than release
• Demo 2004, a 2004 demo by Year of No Light
• Demo (Miss May I album) (2008)

Other uses[link]

• DEMO, a proposed experimental nuclear fusion reactor
• Demo (comics), a comic book series by Brian Wood and Becky Cloonan
• DEMOs, a business process design methodology by Jan Dietz
• Demo, a daughter of Celeus and Metaneira
• Demo, an annual conference held by Network World

See also[link]

• Demoware, software that users can test in a limited fashion before buying
• Demo #2, a Neutral Milk Hotel demo tape
• Demos (disambiguation)
• Democrat (disambiguation)
• Demographic
• Demolition (disambiguation)
• Demonstration (disambiguation)
• Demoscene, collectively, the digital artists who create demos

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Music
A painting on an Ancient Greek vase depicts a music lesson (c. 510 BC).
Medium	Sound
Originating culture	various
Originating era	Paleolithic

Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses").^[1]

The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within "the arts", music may be classified as a performing art, a fine art, and auditory art. There is also a strong connection between music and mathematics.^[2]

To many people in many cultures, music is an important part of their way of life. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound."^[3] Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "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."^[4]

History[link]

Prehistoric eras[link]

Prehistoric music can only be theorized based on findings from paleolithic archaeology sites. Flutes are often discovered, carved from bones in which lateral holes have been pierced; these are thought to have been blown at one end like the Japanese shakuhachi. The Divje Babe flute, carved from a cave bear femur, is thought to be at least 40,000 years old. Instruments such as the seven-holed flute and various types of stringed instruments have been recovered from the Indus Valley Civilization archaeological sites.^[5] India has one of the oldest musical traditions in the world—references to Indian classical music (marga) are found in the Vedas, ancient scriptures of the Hindu tradition.^[6] The earliest and largest collection of prehistoric musical instruments was found in China and dates back to between 7000 and 6600 BC.^[7] The Hurrian song, found on clay tablets that date back to approximately 1400 BC, is the oldest surviving notated work of music.

Ancient Egypt[link]

Musicians of Amun, Tomb of Nakht, 18th Dynasty, Western Thebes.

The ancient Egyptians credited one of their gods Thoth with the invention of music, which Osiris in turn used as part of his effort to civilize the world. The earliest material and representational evidence of Egyptian musical instruments dates to the Predynastic period, but the evidence is more securely attested in the Old Kingdom when harps, flutes and double clarinets were played.^[8] Percussion instruments, lyres and lutes were added to orchestras by the Middle Kingdom. Cymbals^[9] frequently accompanied music and dance, much as they still do in Egypt today. Egyptian folk music, including the traditional Sufi dhikr rituals, are the closest contemporary music genre to ancient Egyptian music, having preserved many of its features, rhythms and instruments.^[10][11]

References in the Bible[link]

"David with his harp" Paris Psalter,
c. 960, Constantinople

Music and theatre scholars studying the history and anthropology of Semitic and early Judeo-Christian culture have discovered common links in theatrical and musical activity between the classical cultures of the Hebrews and those of later Greeks and Romans. The common area of performance is found in a "social phenomenon called litany," a form of prayer consisting of a series of invocations or supplications. The Journal of Religion and Theatre notes that among the earliest forms of litany, "Hebrew litany was accompanied by a rich musical tradition:"^[12]

"While Genesis 4.21 identifies Jubal as the “father of all such as handle the harp and pipe,” the Pentateuch is nearly silent about the practice and instruction of music in the early life of Israel. Then, in I Samuel 10 and the texts that follow, a curious thing happens. “One finds in the biblical text,” writes Alfred Sendrey, “a sudden and unexplained upsurge of large choirs and orchestras, consisting of thoroughly organized and trained musical groups, which would be virtually inconceivable without lengthy, methodical preparation.” This has led some scholars to believe that the prophet Samuel was the patriarch of a school, which taught not only prophets and holy men, but also sacred-rite musicians. This public music school, perhaps the earliest in recorded history, was not restricted to a priestly class—which is how the shepherd boy David appears on the scene as a minstrel to King Saul."^[12]

Antiquity[link]

Western cultures have had a major influence on the development of music. The history of the music of the Western cultures can be traced back to Ancient Greece times.

Ancient Greece[link]

Music was an important part of social and cultural life in Ancient Greece. Musicians and singers played a prominent role in Greek theater. Mixed-gender choruses performed for entertainment, celebration, and spiritual ceremonies.^[13] Instruments included the double-reed aulos and a plucked string instrument, the lyre, principally the special kind called a kithara. Music was an important part of education, and boys were taught music starting at age six. Greek musical literacy created a flowering of music development. Greek music theory included the Greek musical modes, that eventually became the basis for Western religious and classical music. Later, influences from the Roman Empire, Eastern Europe, and the Byzantine Empire changed Greek music. The Seikilos epitaph is the oldest surviving example of a complete musical composition, including musical notation, from anywhere in the world.

The Middle Ages[link]

The medieval era (476 A.D. to 1400 A.D.) started with the introduction of chanting into Roman Catholic Church services. Western Music then started becoming more of an art form with the advances in music notation. The only European Medieval repertory that survives from before about 800 is the monophonic liturgical plainsong of the Roman Catholic Church, the central tradition of which was called Gregorian chant. Alongside these traditions of sacred and church music there existed a vibrant tradition of secular song. Examples of composers from this period are Léonin, Pérotin and Guillaume de Machaut. From the Renaissance music era, much of the surviving music of 14th century Europe is secular. By the middle of the 15th century, composers and singers used a smooth polyphony for sacred musical compositions. Prominent composers from this era are Guillaume Dufay, Giovanni Pierluigi da Palestrina, Thomas Morley, and Orlande de Lassus.

The Renaissance[link]

Allegory of Music, by Filippino Lippi

Renaissance music (c. 1400 A.D. to 1600 A.D.) was more focused on secular themes. Around 1450, the printing press was invented, and that helped to disseminate musical styles more quickly and across a larger area. Thus, music could play an increasingly important role in daily life. Musicians worked for the church, courts and towns. Church choirs grew in size, and the church remained an important patron of music. However, musical activity shifted to the courts. Kings and princes competed for the finest composers.

Many leading important composers came from Holland, Belgium, and northern France, called the Franco-Flemish composers. They held important positions throughout Europe, especially in Italy. Other countries with vibrant musical lives include Germany, England, and Spain.

The Baroque[link]

J.S.Bach Toccata und Fuge

During the Baroque music expanded in range and complexity. The era of Baroque music (1600 to 1750) began when the first operas were written and when contrapuntal music became prevalent. German Baroque composers wrote for small ensembles including strings, brass, and woodwinds, as well as choirs, pipe organ, harpsichord, and clavichord. During the Baroque period, several major music forms were defined that lasted into later periods when they were expanded and evolved further, including the fugue, the invention, the sonata, and the concerto.^[14] The late Baroque style was polyphonically complex and ornamental and rich in its melodies. Composers from the Baroque era include Johann Sebastian Bach, George Frideric Handel, and Georg Philipp Telemann.

Classicism[link]

W.A. Mozart Symphony 40 g-moll

The music of the Classical Period (1750 A.D. to 1830 A.D.) looked to the art and philosophy of Ancient Greece and Rome, to the ideals of balance, proportion and disciplined expression. It has a lighter, clearer and considerably simpler texture, and tended to be almost voicelike and singable. New genres were discovered. The main style was the homophony,^[15] where prominent melody and accompaniment are clearly distinct.

Importance was given to instrumental music. It was dominated by further evolution of musical forms initially defined in the Baroque period: the sonata, the concerto, and the symphony. Others main kinds were trio, string quartet, serenade and divertimento. The sonata was the most important and developed form. Although Baroque composers also wrote sonatas, the Classical style of sonata is completely distinct. All of the main instrumental forms of the Classical era were based on the dramatic structure of the sonata.

One of the most important evolutionary steps made in the Classical period was the development of public concerts. The aristocracy would still play a significant role in the sponsorship of musical life, but it was now possible for composers to survive without being its permanent employees. The increasing popularity led to a growth in both the number and range of the orchestras. The expansion of orchestral concerts necessitated large public spaces. As a result of all these processes, symphonic music (including opera and oratorio) became more extroverted.

The best known composers of the Classicism are Carl Philipp Emanuel Bach, Christoph Willibald Gluck, Johann Christian Bach, Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven and Franz Schubert. Beethoven and Schubert are also considered to be composers in evolution towards the Romanticism.

Romanticism[link]

R. Wagner Die Walküre

Romantic Music (c. 1810 A.D. to 1900 A.D.) turned the rigid styles and forms of the Classical era into more passionate and expressive pieces. It attempted to increase emotional expression and power to describe deeper truths or human feelings. The emotional and expressive qualities of music came to take precedence over technique and tradition. Romantic composers grew in idiosyncrasy, and went further in the syncretism of different art-forms (such as literature), history (historical figures), or nature itself with music. Romantic love was a prevalent theme in many works composed during this period. In some cases the formal structures from the classical period were preserved, but in many others existing genres, forms, and functions were improved. Also, new forms were created that were deemed better suited to the new subject matter.

In 1800, the music developed by Ludwig van Beethoven and Franz Schubert introduced a more dramatic, expressive style. In Beethoven's case, motifs, developed organically, came to replace melody as the most significant compositional unit. Later Romantic composers such as Pyotr Ilyich Tchaikovsky, Antonín Dvořák, and Gustav Mahler used more elaborated chords and more dissonance to create dramatic tension. They generated complex and often much longer musical works. During Romantic period tonality was at its peak. The late 19th century saw a dramatic expansion in the size of the orchestra, and in the role of concerts as part of urban society.

Asian cultures[link]

Indian classical music is one of the oldest musical traditions in the world.^[16] The Indus Valley civilization has sculptures that show dance^[17] and old musical instruments, like the seven holed flute. Various types of stringed instruments and drums have been recovered from Harrappa and Mohenjo Daro by excavations carried out by Sir Mortimer Wheeler.^[18] The Rigveda has elements of present Indian music, with a musical notation to denote the metre and the mode of chanting.^[19] Indian classical music (marga) is monophonic, and based on a single melody line or raga rhythmically organized through talas. Hindustani music was influenced by the Persian performance practices of the Afghan Mughals. Carnatic music popular in the southern states, is largely devotional; the majority of the songs are addressed to the Hindu deities. There are a lot of songs emphasising love and other social issues.

Asian music covers the music cultures of Arabia, Central Asia, East Asia, South Asia, and Southeast Asia. Chinese classical music, the traditional art or court music of China, has a history stretching over around three thousand years. It has its own unique systems of musical notation, as well as musical tuning and pitch, musical instruments and styles or musical genres. Chinese music is pentatonic-diatonic, having a scale of twelve notes to an octave (5 + 7 = 12) as does European-influenced music. Persian music is the music of Persia and Persian language countries: musiqi, the science and art of music, and muzik, the sound and performance of music (Sakata 1983). See also: Music of Iran, Music of Afghanistan, Music of Tajikistan, Music of Uzbekistan.

20th and 21st century music[link]

Double bassist Reggie Workman, tenor saxophone player Pharoah Sanders, and drummer Idris Muhammad performing in 1978

With 20th century music, there was a vast increase in music listening as the radio gained popularity and phonographs were used to replay and distribute music. The focus of art music was characterized by exploration of new rhythms, styles, and sounds. Igor Stravinsky, Arnold Schoenberg, and John Cage were all influential composers in 20th century art music. The invention of sound recording and the ability to edit music gave rise to new sub-genre of classical music, including the acousmatic ^[20] and Musique concrète schools of electronic composition.

Jazz evolved and became an important genre of music over the course of the 20th century, and during the second half of that century, rock music did the same. Jazz is an American musical artform that originated in the beginning of the 20th century in African American communities in the Southern United States from a confluence of African and European music traditions. The style's West African pedigree is evident in its use of blue notes, improvisation, polyrhythms, syncopation, and the swung note.^[21] From its early development until the present, jazz has also incorporated music from 19th and 20th century American popular music.^[22] Jazz has, from its early 20th century inception, spawned a variety of subgenres, ranging from New Orleans Dixieland (1910s) to 1970s and 1980s-era jazz-rock fusion.

Rock music is a genre of popular music that developed in the 1960s from 1950s rock and roll, rockabilly, blues, and country music. The sound of rock often revolves around the electric guitar or acoustic guitar, and it uses a strong back beat laid down by a rhythm section of electric bass guitar, drums, and keyboard instruments such as organ, piano, or, since the 1970s, analog synthesizers and digital ones and computers since the 1990s. Along with the guitar or keyboards, saxophone and blues-style harmonica are used as soloing instruments. In its "purest form," it "has three chords, a strong, insistent back beat, and a catchy melody."^[23] In the late 1960s and early 1970s, it branched out into different subgenres, ranging from blues rock and jazz-rock fusion to heavy metal and punk rock, as well as the more classical influenced genre of progressive rock and several types of experimental rock genres.

Performance[link]

Chinese Naxi musicians

Performance is the physical expression of music. Often, a musical work is performed once its structure and instrumentation are satisfactory to its creators; however, as it gets performed, it can evolve and change. A performance can either be rehearsed or improvised. Improvisation is a musical idea created without premeditation, while rehearsal is vigorous repetition of an idea until it has achieved cohesion. Musicians will sometimes add improvisation to a well-rehearsed idea to create a unique performance.

Many cultures include strong traditions of solo and performance, such as in Indian classical music, and in the Western art-music tradition. Other cultures, such as in Bali, include strong traditions of group performance. All cultures include a mixture of both, and performance may range from improvised solo playing for one's enjoyment to highly planned and organised performance rituals such as the modern classical concert, religious processions, music festivals or music competitions. Chamber music, which is music for a small ensemble with only a few of each type of instrument, is often seen as more intimate than symphonic works.

Aural tradition[link]

Many types of music, such as traditional blues and folk music were originally preserved in the memory of performers, and the songs were handed down orally, or aurally (by ear). When the composer of music is no longer known, this music is often classified as "traditional." Different musical traditions have different attitudes towards how and where to make changes to the original source material, from quite strict, to those that demand improvisation or modification to the music. A culture's history may also be passed by ear through song.

Ornamentation[link]

In a score or on a performer's music part, this sign indicates that the musician should perform a trill—a rapid alternation between two notes.  Play (help·info)

The detail included explicitly in the music notation varies between genres and historical periods. In general, art music notation from the 17th through the 19th century required performers to have a great deal of contextual knowledge about performing styles. For example, in the 17th and 18th century, music notated for solo performers typically indicated a simple, unadorned melody. However, performers were expected to know how to add stylistically appropriate ornaments, such as trills and turns. In the 19th century, art music for solo performers may give a general instruction such as to perform the music expressively, without describing in detail how the performer should do this. The performer was expected to know how to use tempo changes, accentuation, and pauses (among other devices) to obtain this "expressive" performance style. In the 20th century, art music notation often became more explicit and used a range of markings and annotations to indicate to performers how they should play or sing the piece.

In popular music and jazz, music notation almost always indicates only the basic framework of the melody, harmony, or performance approach; musicians and singers are expected to know the performance conventions and styles associated with specific genres and pieces. For example, the "lead sheet" for a jazz tune may only indicate the melody and the chord changes. The performers in the jazz ensemble are expected to know how to "flesh out" this basic structure by adding ornaments, improvised music, and chordal accompaniment.

Production[link]

Jean-Gabriel Ferlan performing at a 2008 concert at the collège-lycée Saint-François Xavier

Music is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace. Amateur musicians compose and perform music for their own pleasure, and they do not derive their income from music. Professional musicians are employed by a range of institutions and organisations, including armed forces, churches and synagogues, symphony orchestras, broadcasting or film production companies, and music schools. Professional musicians sometimes work as freelancers, seeking contracts and engagements in a variety of settings.

There are often many links between amateur and professional musicians. Beginning amateur musicians take lessons with professional musicians. In community settings, advanced amateur musicians perform with professional musicians in a variety of ensembles and orchestras. In some cases, amateur musicians attain a professional level of competence, and they are able to perform in professional performance settings. A distinction is often made between music performed for the benefit of a live audience and music that is performed for the purpose of being recorded and distributed through the music retail system or the broadcasting system. However, there are also many cases where a live performance in front of an audience is recorded and distributed (or broadcast).

Composition[link]

An old songbook showing a composition

"Composition" is often classed as the creation and recording of music via a medium by which others can interpret it (i.e., paper or sound). Many cultures use at least part of the concept of preconceiving musical material, or composition, as held in western classical music. Even when music is notated precisely, there are still many decisions that a performer has to make. The process of a performer deciding how to perform music that has been previously composed and notated is termed interpretation. Different performers' interpretations of the same music can vary widely. Composers and song writers who present their own music are interpreting, just as much as those who perform the music of others or folk music. The standard body of choices and techniques present at a given time and a given place is referred to as performance practice, whereas interpretation is generally used to mean either individual choices of a performer, or an aspect of music that is not clear, and therefore has a "standard" interpretation.

In some musical genres, such as jazz and blues, even more freedom is given to the performer to engage in improvisation on a basic melodic, harmonic, or rhythmic framework. The greatest latitude is given to the performer in a style of performing called free improvisation, which is material that is spontaneously "thought of" (imagined) while being performed, not preconceived. Improvised music usually follows stylistic or genre conventions and even "fully composed" includes some freely chosen material. Composition does not always mean the use of notation, or the known sole authorship of one individual. Music can also be determined by describing a "process" that creates musical sounds. Examples of this range from wind chimes, through computer programs that select sounds. Music from random elements is called Aleatoric music, and is associated with such composers as John Cage, Morton Feldman, and Witold Lutosławski.

Music can be composed for repeated performance or it can be improvised: composed on the spot. The music can be performed entirely from memory, from a written system of musical notation, or some combination of both. Study of composition has traditionally been dominated by examination of methods and practice of Western classical music, but the definition of composition is broad enough to include spontaneously improvised works like those of free jazz performers and African drummers such as the Ewe drummers.

Notation[link]

Sheet music is written representation of music. This is a homorhythmic (i.e., hymn-style) arrangement of a traditional piece entitled "Adeste Fideles", in standard two-staff format for mixed voices.  Play (help·info)

Notation is the written expression of music notes and rhythms on paper using symbols. When music is written down, the pitches and rhythm of the music is notated, along with instructions on how to perform the music. The study of how to read notation involves music theory, harmony, the study of performance practice, and in some cases an understanding of historical performance methods. Written notation varies with style and period of music. In Western Art music, the most common types of written notation are scores, which include all the music parts of an ensemble piece, and parts, which are the music notation for the individual performers or singers. In popular music, jazz, and blues, the standard musical notation is the lead sheet, which notates the melody, chords, lyrics (if it is a vocal piece), and structure of the music. Scores and parts are also used in popular music and jazz, particularly in large ensembles such as jazz "big bands."

In popular music, guitarists and electric bass players often read music notated in tablature (often abbreviated as "tab"), which indicates the location of the notes to be played on the instrument using a diagram of the guitar or bass fingerboard. Tabulature was also used in the Baroque era to notate music for the lute, a stringed, fretted instrument. Notated music is produced as sheet music. To perform music from notation requires an understanding of both the rhythmic and pitch elements embodied in the symbols and the performance practice that is associated with a piece of music or a genre.

Improvisation[link]

Musical improvisation is the creation of spontaneous music. Improvisation is often considered an act of instantaneous composition by performers, where compositional techniques are employed with or without preparation. Improvisation is a major part of some types of music, such as blues, jazz, and jazz fusion, in which instrumental performers improvise solos and melody lines. In the Western art music tradition, improvisation was an important skill during the Baroque era and during the Classical era; solo performers and singers improvised virtuoso cadenzas during concerts. However, in the 20th and 21st century, improvisation played a smaller role in Western Art music.

Theory[link]

Music theory encompasses the nature and mechanics of music. It often involves identifying patterns that govern composers' techniques and examining the language and notation of music. In a grand sense, music theory distills and analyzes the parameters or elements of music – rhythm, harmony (harmonic function), melody, structure, form, and texture. Broadly, music theory may include any statement, belief, or conception of or about music.^[24] People who study these properties are known as music theorists. Some have applied acoustics, human physiology, and psychology to the explanation of how and why music is perceived. Music has many different fundamentals or elements. These are, but are not limited to: pitch, beat or pulse, rhythm, melody, harmony, texture, allocation of voices, timbre or color, expressive qualities (dynamics and articulation), and form or structure.

Pitch is a subjective sensation, reflecting generally the lowness or highness of a sound. Rhythm is the arrangement of sounds and silences in time. Meter animates time in regular pulse groupings, called measures or bars. A melody is a series of notes sounding in succession. The notes of a melody are typically created with respect to pitch systems such as scales or modes. Harmony is the study of vertical sonorities in music. Vertical sonority refers to considering the relationships between pitches that occur together; usually this means at the same time, although harmony can also be implied by a melody that outlines a harmonic structure. Notes can be arranged into different scales and modes. Western music theory generally divides the octave into a series of 12 notes that might be included in a piece of music. In music written using the system of major-minor tonality, the key of a piece determines the scale used. Musical texture is the overall sound of a piece of music commonly described according to the number of and relationship between parts or lines of music: monophony, heterophony, polyphony, homophony, or monody.

Timbre, sometimes called "Color" or "Tone Color" is the quality or sound of a voice or instrument.^[25] Expressive Qualities are those elements in music that create change in music that are not related to pitch, rhythm or timbre. They include Dynamics and Articulation. Form is a facet of music theory that explores the concept of musical syntax, on a local and global level. Examples of common forms of Western music include the fugue, the invention, sonata-allegro, canon, strophic, theme and variations, and rondo. Popular Music often makes use of strophic form often in conjunction with Twelve bar blues. Analysis is the effort to describe and explain music.

Cognition[link]

A chamber music group consisting of stringed instrument players, a flautist, and a harpsichordist perform in Salzburg

The field of music cognition involves the study of many aspects of music including how it is processed by listeners. Rather than accepting the standard practices of analyzing, composing, and performing music as a given, much research in music cognition seeks instead to uncover the mental processes that underlie these practices. Also, research in the field seeks to uncover commonalities between the musical traditions of disparate cultures and possible cognitive "constraints" that limit these musical systems. Questions regarding musical innateness, and emotional responses to music are also major areas of research in the field.

Deaf people can experience music by feeling the vibrations in their body, a process that can be enhanced if the individual holds a resonant, hollow object. A well-known deaf musician is the composer Ludwig van Beethoven, who composed many famous works even after he had completely lost his hearing. Recent examples of deaf musicians include Evelyn Glennie, a highly acclaimed percussionist who has been deaf since age twelve, and Chris Buck, a virtuoso violinist who has lost his hearing. This is relevant because it indicates that music is a deeper cognitive process than unexamined phrases such as, "pleasing to the ear" suggests. Much research in music cognition seeks to uncover these complex mental processes involved in listening to music, which may seem intuitively simple, yet are vastly intricate and complex.

University of Montreal researcher Valorie Salimpoor and her colleagues have now shown that the pleasurable feelings associated with emotional music are the result of dopamine release in the striatum--the same anatomical areas that underpin the anticipatory and rewarding aspects of drug addiction.^[26]

Sociology[link]

This Song Dynasty (960–1279) painting, entitled the "Night Revels of Han Xizai," shows Chinese musicians entertaining guests at a party in a 10th century household.

Music is experienced by individuals in a range of social settings ranging from being alone to attending a large concert. Musical performances take different forms in different cultures and socioeconomic milieus. In Europe and North America, there is often a divide between what types of music are viewed as a "high culture" and "low culture." "High culture" types of music typically include Western art music such as Baroque, Classical, Romantic, and modern-era symphonies, concertos, and solo works, and are typically heard in formal concerts in concert halls and churches, with the audience sitting quietly in seats.

Other types of music—including, but not limited to, jazz, blues, soul, and country—are often performed in bars, nightclubs, and theatres, where the audience may be able to drink, dance, and express themselves by cheering. Until the later 20th century, the division between "high" and "low" musical forms was widely accepted as a valid distinction that separated out better quality, more advanced "art music" from the popular styles of music heard in bars and dance halls.

However, in the 1980s and 1990s, musicologists studying this perceived divide between "high" and "low" musical genres argued that this distinction is not based on the musical value or quality of the different types of music.^{[citation needed]} Rather, they argued that this distinction was based largely on the socioeconomics standing or social class of the performers or audience of the different types of music.^{[citation needed]} For example, whereas the audience for Classical symphony concerts typically have above-average incomes, the audience for a rap concert in an inner-city area may have below-average incomes.^{[citation needed]} Even though the performers, audience, or venue where non-"art" music is performed may have a lower socioeconomic status, the music that is performed, such as blues, rap, punk, funk, or ska may be very complex and sophisticated.

When composers introduce styles of music that break with convention, there can be a strong resistance from academic music experts and popular culture. Late-period Beethoven string quartets, Stravinsky ballet scores, serialism, bebop-era jazz, hip hop, punk rock, and electronica have all been considered non-music by some critics when they were first introduced.^{[citation needed]} Such themes are examined in the sociology of music. The sociological study of music, sometimes called sociomusicology, is often pursued in departments of sociology, media studies, or music, and is closely related to the field of ethnomusicology.

Media and technology[link]

The music that composers make can be heard through several media; the most traditional way is to hear it live, in the presence, or as one of the musicians. Live music can also be broadcast over the radio, television or the Internet. Some musical styles focus on producing a sound for a performance, while others focus on producing a recording that mixes together sounds that were never played "live." Recording, even of essentially live styles, often uses the ability to edit and splice to produce recordings considered better than the actual performance.

As talking pictures emerged in the early 20th century, with their prerecorded musical tracks, an increasing number of moviehouse orchestra musicians found themselves out of work.^[27] During the 1920s live musical performances by orchestras, pianists, and theater organists were common at first-run theaters.^[28] With the coming of the talking motion pictures, those featured performances were largely eliminated. The American Federation of Musicians (AFM) took out newspaper advertisements protesting the replacement of live musicians with mechanical playing devices. One 1929 ad that appeared in the Pittsburgh Press features an image of a can labeled "Canned Music / Big Noise Brand / Guaranteed to Produce No Intellectual or Emotional Reaction Whatever"^[29]

Since legislation introduced to help protect performers, composers, publishers and producers, including the Audio Home Recording Act of 1992 in the United States, and the 1979 revised Berne Convention for the Protection of Literary and Artistic Works in the United Kingdom, recordings and live performances have also become more accessible through computers, devices and Internet in a form that is commonly known as Music-On-Demand.

In many cultures, there is less distinction between performing and listening to music, since virtually everyone is involved in some sort of musical activity, often communal. In industrialized countries, listening to music through a recorded form, such as sound recording or watching a music video, became more common than experiencing live performance, roughly in the middle of the 20th century.

Sometimes, live performances incorporate prerecorded sounds. For example, a disc jockey uses disc records for scratching, and some 20th century works have a solo for an instrument or voice that is performed along with music that is prerecorded onto a tape. Computers and many keyboards can be programmed to produce and play Musical Instrument Digital Interface (MIDI) music. Audiences can also become performers by participating in karaoke, an activity of Japanese origin centered on a device that plays voice-eliminated versions of well-known songs. Most karaoke machines also have video screens that show lyrics to songs being performed; performers can follow the lyrics as they sing over the instrumental tracks.

Internet[link]

The advent of the Internet has transformed the experience of music, partly through the increased ease of access to music and the increased choice. Chris Anderson, in his book The Long Tail: Why the Future of Business is Selling Less of More, suggests that while the economic model of supply and demand describes scarcity, the Internet retail model is based on abundance. Digital storage costs are low, so a company can afford to make its whole inventory available online, giving customers as much choice as possible. It has thus become economically viable to offer products that very few people are interested in. Consumers' growing awareness of their increased choice results in a closer association between listening tastes and social identity, and the creation of thousands of niche markets.^[30]

Another effect of the Internet arises with online communities like YouTube and MySpace, a social networking service. Such sites simplify connecting with other musicians, and greatly facilitate the distribution of music. Professional musicians also use YouTube as a free publisher of promotional material. YouTube users, for example, no longer only download and listen to MP3s, but also actively create their own. According to Don Tapscott and Anthony D. Williams, in their book Wikinomics, there has been a shift from a traditional consumer role to what they call a "prosumer" role, a consumer who both creates and consumes. Manifestations of this in music include the production of mashes, remixes, and music videos by fans.^[31]

Business[link]

The music industry refers to the business industry connected with the creation and sale of music. It consists of record companies, labels and publishers that distribute recorded music products internationally and that often control the rights to those products. Some music labels are "independent," while others are subsidiaries of larger corporate entities or international media groups. In the 2000s, the increasing popularity of listening to music as digital music files on MP3 players, iPods, or computers, and of trading music on file sharing sites or buying it online in the form of digital files had a major impact on the traditional music business. Many smaller independent CD stores went out of business as music buyers decreased their purchases of CDs, and many labels had lower CD sales. Some companies did well with the change to a digital format, though, such as Apple's iTunes, an online store that sells digital files of songs over the Internet.

Education[link]

Non-professional[link]

A Suzuki violin recital with students of varying ages.

The incorporation of music training from preschool to post secondary education is common in North America and Europe. Involvement in music is thought to teach basic skills such as concentration, counting, listening, and cooperation while also promoting understanding of language, improving the ability to recall information, and creating an environment more conducive to learning in other areas.^[32] In elementary schools, children often learn to play instruments such as the recorder, sing in small choirs, and learn about the history of Western art music. In secondary schools students may have the opportunity to perform some type of musical ensembles, such as choirs, marching bands, concert bands, jazz bands, or orchestras, and in some school systems, music classes may be available. Some students also take private music lessons with a teacher. Amateur musicians typically take lessons to learn musical rudiments and beginner- to intermediate-level musical techniques.

At the university level, students in most arts and humanities programs can receive credit for taking music courses, which typically take the form of an overview course on the history of music, or a music appreciation course that focuses on listening to music and learning about different musical styles. In addition, most North American and European universities have some type of musical ensembles that non-music students are able to participate in, such as choirs, marching bands, or orchestras. The study of Western art music is increasingly common outside of North America and Europe, such as the Indonesian Institute of the Arts in Yogyakarta, Indonesia, or the classical music programs that are available in Asian countries such as South Korea, Japan, and China. At the same time, Western universities and colleges are widening their curriculum to include music of non-Western cultures, such as the music of Africa or Bali (e.g. Gamelan music).

Academia[link]

Musicology is the study of the subject of music. The earliest definitions defined three sub-disciplines: systematic musicology, historical musicology, and comparative musicology or ethnomusicology. In contemporary scholarship, one is more likely to encounter a division of the discipline into music theory, music history, and ethnomusicology. Research in musicology has often been enriched by cross-disciplinary work, for example in the field of psychoacoustics. The study of music of non-western cultures, and the cultural study of music, is called ethnomusicology. Students can pursue the undergraduate study of musicology, ethnomusicology, music history, and music theory through several different types of degrees, including a B.Mus, a B.A. with concentration in music, a B.A. with Honors in Music, or a B.A. in Music History and Literature. Graduates of undergraduate music programs can go on to further study in music graduate programs.

Graduate degrees include the Master of Music, the Master of Arts, the Doctor of Philosophy (PhD) (e.g., in musicology or music theory), and more recently, the Doctor of Musical Arts, or DMA. The Master of Music degree, which takes one to two years to complete, is typically awarded to students studying the performance of an instrument, education, voice or composition. The Master of Arts degree, which takes one to two years to complete and often requires a thesis, is typically awarded to students studying musicology, music history, or music theory. Undergraduate university degrees in music, including the Bachelor of Music, the Bachelor of Music Education, and the Bachelor of Arts (with a major in music) typically take three to five years to complete. These degrees provide students with a grounding in music theory and music history, and many students also study an instrument or learn singing technique as part of their program.

The PhD, which is required for students who want to work as university professors in musicology, music history, or music theory, takes three to five years of study after the Master's degree, during which time the student will complete advanced courses and undertake research for a dissertation. The DMA is a relatively new degree that was created to provide a credential for professional performers or composers that want to work as university professors in musical performance or composition. The DMA takes three to five years after a Master's degree, and includes advanced courses, projects, and performances. In Medieval times, the study of music was one of the Quadrivium of the seven Liberal Arts and considered vital to higher learning. Within the quantitative Quadrivium, music, or more accurately harmonics, was the study of rational proportions.

Zoomusicology is the study of the music of non-human animals, or the musical aspects of sounds produced by non-human animals. As George Herzog (1941) asked, "do animals have music?" François-Bernard Mâche's Musique, mythe, nature, ou les Dauphins d'Arion (1983), a study of "ornitho-musicology" using a technique of Nicolas Ruwet's Langage, musique, poésie (1972) paradigmatic segmentation analysis, shows that bird songs are organised according to a repetition-transformation principle. Jean-Jacques Nattiez (1990), argues that "in the last analysis, it is a human being who decides what is and is not musical, even when the sound is not of human origin. If we acknowledge that sound is not organised and conceptualised (that is, made to form music) merely by its producer, but by the mind that perceives it, then music is uniquely human."

Music theory is the study of music, generally in a highly technical manner outside of other disciplines. More broadly it refers to any study of music, usually related in some form with compositional concerns, and may include mathematics, physics, and anthropology. What is most commonly taught in beginning music theory classes are guidelines to write in the style of the common practice period, or tonal music. Theory, even of music of the common practice period, may take many other forms. Musical set theory is the application of mathematical set theory to music, first applied to atonal music. Speculative music theory, contrasted with analytic music theory, is devoted to the analysis and synthesis of music materials, for example tuning systems, generally as preparation for composition.

Ethnomusicology[link]

Ethnomusicologist Frances Densmore recording Blackfoot chief Mountain Chief for the Bureau of American Ethnology (1916)

Ethnomusicology

In the West, much of the history of music that is taught deals with the Western civilization's art music. The history of music in other cultures ("world music" or the field of "ethnomusicology") is also taught in Western universities. This includes the documented classical traditions of Asian countries outside the influence of Western Europe, as well as the folk or indigenous music of various other cultures. Popular styles of music varied widely from culture to culture, and from period to period. Different cultures emphasised different instruments, or techniques, or uses for music. Music has been used not only for entertainment, for ceremonies, and for practical and artistic communication, but also for propaganda.

There is a host of music classifications, many of which are caught up in the argument over the definition of music. Among the largest of these is the division between classical music (or "art" music), and popular music (or commercial music – including rock music, country music, and pop music). Some genres do not fit neatly into one of these "big two" classifications, (such as folk music, world music, or jazz music).

As world cultures have come into greater contact, their indigenous musical styles have often merged into new styles. For example, the United States bluegrass style contains elements from Anglo-Irish, Scottish, Irish, German and African instrumental and vocal traditions, which were able to fuse in the United States' multi-ethnic society. Genres of music are determined as much by tradition and presentation as by the actual music. Some works, like George Gershwin's Rhapsody in Blue, are claimed by both jazz and classical music, while Gershwin's Porgy and Bess and Leonard Bernstein's West Side Story are claimed by both opera and the Broadway musical tradition. Many current music festivals celebrate a particular musical genre.

Indian music, for example, is one of the oldest and longest living types of music, and is still widely heard and performed in South Asia, as well as internationally (especially since the 1960s). Indian music has mainly three forms of classical music, Hindustani, Carnatic, and Dhrupad styles. It has also a large repertoire of styles, which involve only percussion music such as the talavadya performances famous in South India.

Music therapy[link]

Music therapy is an interpersonal process in which the therapist uses music and all of its facets—physical, emotional, mental, social, aesthetic, and spiritual—to help clients to improve or maintain their health. In some instances, the client's needs are addressed directly through music; in others they are addressed through the relationships that develop between the client and therapist. Music therapy is used with individuals of all ages and with a variety of conditions, including: psychiatric disorders, medical problems, physical handicaps, sensory impairments, developmental disabilities, substance abuse, communication disorders, interpersonal problems, and aging. It is also used to: improve learning, build self-esteem, reduce stress, support physical exercise, and facilitate a host of other health-related activities.

One of the earliest mentions of music therapy was in Al-Farabi's (c. 872 – 950) treatise Meanings of the Intellect, which described the therapeutic effects of music on the soul.^{[33][verification needed]} Music has long been used to help people deal with their emotions. In the 17th century, the scholar Robert Burton's The Anatomy of Melancholy argued that music and dance were critical in treating mental illness, especially melancholia.^[34] He noted that music has an "excellent power ...to expel many other diseases" and he called it "a sovereign remedy against despair and melancholy." He pointed out that in Antiquity, Canus, a Rhodian fiddler, used music to "make a melancholy man merry, ...a lover more enamoured, a religious man more devout." ^[35][36][37] In November 2006, Dr. Michael J. Crawford^[38] and his colleagues also found that music therapy helped schizophrenic patients.^[39] In the Ottoman Empire, mental illnesses were treated with music.^[40]

See also[link]

Music portal

• Wikipedia Books: Wikipedia:Books/Music
• Music-specific disorders
• Lists of musicians

References[link]

Further reading[link]

• Colles, Henry Cope (1978). The Growth of Music : A Study in Musical History, 4th ed., London ; New York : Oxford University Press. ISBN 0-19-316116-8 (1913 edition online at Google Books)
• Harwood, Dane (1976). "Universals in Music: A Perspective from Cognitive Psychology". Ethnomusicology 20 (3): 521–33. DOI:10.2307/851047. 
• Small, Christopher (1977). Music, Society, Education. John Calder Publishers, London. ISBN 0-7145-3614-8

External links[link]

Find more about Music on Wikipedia's sister projects:
	Definitions and translations from Wiktionary
	Images and media from Commons
	Learning resources from Wikiversity
	News stories from Wikinews
	Quotations from Wikiquote
	Source texts from Wikisource
	Textbooks from Wikibooks

• BBC Blast Music For 13–19-year-olds interested in learning about, making, performing and talking about music.
• The Virginia Tech Multimedia Music Dictionary, with definitions, pronunciations, examples, quizzes and simulations
• The Music-Web Music Encyclopedia, for musicians, composers and music lovers
• Dolmetsch free online music dictionary, complete, with references to a list of specialised music dictionaries (by continent, by instrument, by genre, etc.)
• Musical Terms – Glossary of music terms from Naxos
• "On Hermeneutical Ethics and Education: Bach als Erzieher", a paper by Prof. Miguel Ángel Quintana Paz in which he explains the history of the different views hold about music in Western societies, since the Ancient Greece to our days.
• Monthly Online Features From Bloomingdale School of Music, addressing a variety of musical topics for a wide audience
• Arts and Music Uplifting Society towards Transformation and Tolerance Articles meant to stimulate people’s awareness about the peace enhancing, transforming, communicative, educational and healing powers of music.
• Scientific American, Musical Chills Related to Brain Dopamine Release

Mike Shinoda
Background information
Birth name	Michael Kenji Shinoda
Born	(1977-02-11) February 11, 1977 (age 35)[1] Agoura Hills, California, U.S.
Genres	Nu metal, hip Hop, rap rock, rap metal, alternative rock, alternative metal
Occupations	Rapper, musician, producer, graphic designer, visual artist
Instruments	Vocals, guitar, keyboard, piano, sampler, organ, Percussion
Years active	1994–present
Labels	Machine Shop/Warner Bros.
Associated acts	Linkin Park, Fort Minor, The Raid: Redemption
Website	www.mikeshinoda.com
Notable instruments
PRS Guitars Ibanez Guitars Gibson Guitars Fender Guitars

Michael Kenji "Mike" Shinoda (born February 11, 1977)^[1][2] is a Japanese American musician, record producer, and artist. He is best known as the rapper, principal songwriter, keyboardist, vocalist and rhythm guitarist of the rock band Linkin Park. Shinoda is also noted as a solo rapper in his side-project, Fort Minor. He also provides artwork, production, and mixing for both projects.

Life and career[link]

Early life[link]

Shinoda was born and raised in the Los Angeles suburb of Agoura Hills.^[1] His father is Japanese American and his mother is Caucasian.^[3][4] He also has a younger brother, Jason. Shinoda attended Parkman Elementary and Lindero Canyon Middle School.

Following his mother's wishes, Shinoda began his classical piano training with lessons around the age of six. His enthusiasm grew eventually and at the age of thirteen, he expressed the desire to move toward playing jazz, blues, and even hip-hop.^[5] During his middle school and high school years, he added the guitar and, eventually, rap-style vocals to his repertoire.

After his teens, Mike Shinoda's rap interests found a source of encouragement in Brad Delson, with whom he started to write and record songs in a makeshift studio set up in his bedroom. Shinoda attended Agoura High School with Linkin Park bandmates Brad Delson and Rob Bourdon as well as with members of the band Hoobastank. By the end of high school, Bourdon had become involved in their musical ventures. The trio formed the band Xero, and began to make a more serious attempt to pursue a career in the music industry.

After high school, Shinoda enrolled in the Art Center College of Design to study graphic design and illustration.^[1] It was here that he made the acquaintance of DJ and turntablist Joseph Hahn, who, along with Delson's college-mate Dave "Phoenix" Farrell, was soon added to Xero's line-up. It was also here that he experienced a form of identity crisis. Years later, in an interview he said:

"I think it was probably in college that I realized that there was a difference between Japanese and Japanese-American. That's important to realize. It's not the same thing and then eventually with Linkin Park, I toured in Japan. I've been there now I think four times. I remember the first time I went, how familiar it seemed, just getting out of the plane, it smelled like my aunt's house, in the airport, it smelled like Japan. I don't know if anybody else even noticed it but I walked out of the plane and thought this is definitely familiar to me, didn't even see anything yet. And then going to Tokyo, Osaka, Kyoto, Nagoya, you just recognize things about the way people act, the small things that people do such as how you'll grab a piece of paper. There are things that are more obvious like taking somebody's business card with two hands. You don't do that in the States. When I saw somebody do that I went, "Oh yeah, my uncle always does that," you know. There are little things that culturally come from Japan but they also exist in Japanese American culture and it made me feel like the connection was there and I kind of hadn't realized how much of it was there."^[6]

Shinoda managed to graduate from college with a bachelor's degree in illustration a year in advance, securing himself a job as a graphic designer instantly.^[1] With his background as a graphic artist, Shinoda has taken it upon himself in designing all of Linkin Park's artwork with Hahn, and has even designed the album cover for Styles of Beyond's debut album, 2000 Fold. In later years he would go on to showcase his art skills;^{[citation needed]} he had his debut art showcase (Diamonds Spades Hearts & Clubs) at Gallery 1988^[7] in Los Angeles in the time leading up to Linkin Park's album Minutes to Midnight.

Linkin Park[link]

Shinoda's band brought in second vocalist Chester Bennington, replacing Mark Wakefield. From the onset, Shinoda was closely involved in the technical aspects of the band's recordings, and over the subsequent releases that role continued to expand. Shinoda, with guitarist Brad Delson, engineered and produced the band's Hybrid Theory EP, and performed similar roles in the recording of the Hybrid Theory album. Mike executively organized and oversaw the band's remix album Reanimation (2002), contributing his own production remixes that he made in his home studio for "Crawling" and "Pushing Me Away." In his spare time, he produced and performed on a song by The X-Ecutioners entitled "It's Goin' Down."

On the second Linkin Park Warner Bros. studio release Meteora (2003) Shinoda continued to expand upon his duties as a musician and studio technician/engineer. Additionally, for the backbone of the album artwork, Shinoda collaborated with graffiti artist DELTA, graphic designer Frank Maddocks, and band-mate Joe Hahn.

By the release of the Linkin Park and Jay-Z 'mash-up' album Collision Course in 2004, Shinoda's involvement in the creation of the albums continued to grow. He produced and mixed the album, which won a Grammy Award for "best rap / song collaboration" in 2006.^[8]

The band released their next album, Minutes To Midnight, on May 14, 2007. On this album, Shinoda shared a production credit with producer Rick Rubin, overseeing the musical evolution of the band's sound. This album was also the first time that Shinoda, best known for his rapping, sang a featured vocal. Mike sang in the songs "In Between" and the b-side song, "No Roads Left," as well as rapping and singing in the songs "Bleed It Out" and "Hands Held High." Despite the rarity of Shinoda-fronted singing tracks, music magazine Hit Parader ranked Mike at number 72 of the Top 100 Metal Vocalists of All Time.^[9] Mike and Rick Rubin again shared a production credit for Linkin Park's next album, A Thousand Suns, released on September 14, 2010, and Linkin Park's upcoming album, Living Things due for release on June 26, 2012.

Fort Minor[link]

Shinoda formed a side project named "Fort Minor" between 2003 and 2004 because he could not demonstrate as much of his hip-hop background in Linkin Park. He explained the name of his project in an interview:^[10]

The debut album from Fort Minor, titled The Rising Tied, was released on November 13, 2005, and includes guest appearances from Styles of Beyond, Lupe Fiasco, Common, Black Thought of The Roots, John Legend, Holly Brook, Jonah Matranga, Celph Titled, and features Jay-Z (Shawn Carter) as an executive producer.

A single was put out by the X-Ecutioners featuring Mike Shinoda, and it was called 'It's Goin Down'.

For the NBA 2006–2007 season, "Remember the Name", the second single from The Rising Tied, became the soundtrack for NBA Overtime on TNT. It was an NBA remix version, and remains the staple song for NBA on TNT to this day.^{[citation needed]} Furthermore the Big East used "Remember the Name" as its theme song for the Big East Basketball Tournament in 2006.^{[citation needed]}

He also scored a Top 10 smash with the surprise hit single "Where'd You Go", which peaked at #4 on Billboard Hot 100 chart.^[11]

Shinoda provided several original score selections to the 2005 MTV VMAs. Lil Jon also provided original music, but not on any of the same tracks^[12]

Fort Minor won an MTV VMA for "Best Ringtone" in 2006, and was featured in the following films and TV programs (2005–2006 and 2010): Entourage, Boston Legal, Gridiron Gang, Freedom Writers, Friday Night Lights (TV), The Karate Kid, and Numbers.

Shinoda has also continued his Fort Minor musical style in an executive producer role on the upcoming Styles Of Beyond album, "Reseda Beach" He is contributing music and vocals to the album, which was slated for release sometime in 2009. However, Styles of Beyond went under hiatus, and the album is only now being released in 2012.

Art and painting[link]

Mike was the youngest of his graduating class from Art Center College of Design of Pasadena in 1998, with a Bachelor of Arts in Illustration. He has had a hand in most artistic facets of Linkin Park's imagery, including album artwork, band merchandise, web design, and on-stage production art.

During time off in 2003, he did a collaborative "remix" shoe for DC Shoes, remixing the "Clientele." He reworked the colors and materials for the shoe, and additionally designed all the packaging and print advertisements.^[13] The following year, he also designed a customizable Kid Robot "Munny" doll for a charity auction.^[14]

In 2004, Shinoda created a series of ten paintings which became the basis of the Fort Minor album The Rising Tied. That series became the backbone for the packaging of the album, and was featured in Shinoda's first public art show "Diamonds Spades Hearts & Clubs."^[15] In addition to the ten Fort Minor pieces, the show also featured thirteen more original works and five collaborative pieces. “Diamonds Spades Hearts & Clubs” opened at Gallery 1988 on Sunday, November 19, 2006.

Additionally in 2004, Shinoda started a college scholarship at Art Center College of Design to benefit future illustration and graphic design students. Named the Michael K. Shinoda Endowed Scholarship, it is awarded based on financial need and merit. The scholarship was awarded for the first time in 2006.^[16] The scholarship fund is made possible through the sale of his original artwork on his website, art shows and his DC Shoes projects.^[15][17]

2008 has proved to be a busy year thus far artistically for Mike. On July 11, Shinoda’s second public art show “Glorious Excess (BORN)” premiered at the Japanese American National Museum in Los Angeles. The show included nine new pieces, with an exclusive signing on opening night. The show served as part one of the “Glorious Excess” two-part series, with the second installment “Glorious Excess (DIES)” due at JANM at August 22, 2009.^[18]

Concerning the inspiration behind the Glorious Excess series, Mike stated that it:

"Got to a point where the pervasiveness of “celebrity news” concerned me. It seemed like it has jumped out of its niche into places where it doesn’t belong. I would be watching the news, and thinking, “of all the things going on in the world right now, why are they covering so-and-so’s breakup?” It didn’t make sense to me. Add to that the fact that I’m supposed to somehow “belong” to that celebrity group—and I really don’t feel like I do in a lot of ways—and you can see how the topic started to become really interesting to me. The Glorious Excess (BORN) show was my way of diving into those topics, trying to find answers. It follows a central “celebrity” character, who is filthy rich, slightly violent, and famous without any particular skill or talent."

Also in 2008, Mike partnered up with DC Shoes again on a second DC Remix Series project. The project would feature a "great juxtaposition of Mike's unique influences: accomplished artist versus recording-breaking musician, American upbringing versus Japanese heritage."^[19] The MS/DC limited edition remix has two different versions – Xander and Pride. Roughly 2000 pairs of the limited edition shoes were made available for purchase when the sneaker was released on August 1, 2008.

In an interview with Sneaker Freaker Magazine, Shinoda had this to say about the latest DC Shoe project:

"This remix is a little slimmer than most of DC’s skate shoes; the Xander feels almost like the skate shoes I grew up wearing in the late 80s. But the art brings it up to date—my work is laser-etched into the panels on the side of the shoe, and the sole is a clear gum sole with a koi fish pattern, and four-color artwork beneath. That way, when you’re walking, and your foot lifts up, it’s a little surprise under there. We also took the time to add extra padding and a satin inner lining to make it as comfortable as possible. They come with three pairs of lightly waxed laces instead of two, because I like to flip up the look sometimes. Each pair also comes with a booklet of my art."^[20]

Production[link]

Shinoda produced The Rising Tied, the debut album by his side-project Fort Minor. He has also produced tracks for albums by Lupe Fiasco and Styles of Beyond, as well as producing or co-producing all of Linkin Park's non-studio albums, including Reanimation, Hybrid Theory EP, the collaborative EP with Jay-Z, Collision Course, and for the first time producing a studio album in 2007, the group's third studio release Minutes to Midnight. In 2004 Shinoda, with drumming assistance by band mate Rob Bourdon, remixed "Enjoy the Silence" by Depeche Mode. Shinoda and Bourdon again teamed up in 2008 to create an instrumental piece entitled "Lockjaw" while previewing Digidesign's Pro Tools 8 software. Some other notable production credits include:

• Styles of Beyond – "Marco Polo" (from the album 2000 Fold)
• The X-Ecutioners – "It's Goin' Down" (from the album Built from Scratch)
• Depeche Mode – "Enjoy the Silence 04" (remixed and produced)
• Lupe Fiasco – "The Instrumental" (from the album Lupe Fiasco's Food & Liquor)
• Styles of Beyond featuring Celph Titled – "You Cannot Fuck With This" (from the Razor Tag mixtape)
• Styles of Beyond – "Hard [MS Remix]" (from the Razor Tag mixtape)
• Styles of Beyond – "Second To None" (from the upcoming album Reseda Beach)
• "My December" – Linkin Park
• "High Voltage" – Linkin Park
• Reanimation – Linkin Park
• "What I've Done (Distorted Remix)" – Linkin Park
• Scored the 2005 MTV VMAs (contributed all original music)
• "Fort Minor: We Major" Mixtape – including S.C.O.M., Bloc Party, Dolla, 100 Degrees, Spraypaint & Inkpens (feat. Lupe Fiasco and Ghostface Killah)
• Busta Rhymes feat. Linkin Park – "We Made It" (co-produced with Cool & Dre)
• "L.O.A.T.R." (M. Shinoda Remix) – Linkin Park
• "Lockjaw" – Linkin Park
• "Death to Analog" (Mike Shinoda Remix) – Julien-K (from the album Death To Digital)
• "New Divide" – Linkin Park
• "Gold Guns Girls" (Mike Shinoda remix) – Metric
• "Shoot First" – Apathy
• "Resurrection" – Lupe Fiasco & Kenna
• "Never Let Me Down" – Kenna
• "Not Alone" – Linkin Park (From Download to Donate for Haiti, an initiative by Music For Relief)
• Cypress Hill – "Carry Me Away" (from the album Rise Up)
• "Linkin Park: 8-Bit Rebellion!" – composed 8-bit soundtrack
• "Issho Ni" for Download To Donate for Japan, a charity contribution for the 2011 Japan earthquake
• "Razors.Out" (with Joe Trapanese and Chino Moreno) from the movie The Raid: Redemption.
• "Suicide Music" (with Joe Trapanese and Get Busy Committee) from the movie The Raid: Redemption - also composed the score for the film with Joe Trapanese.

Other musical activities[link]

• In 2004, Mike Shinoda remixed Depeche Mode's Enjoy the Silence. The remix was the only single from Depeche Mode's album Remixes 81-04. He added Linkin Park's nu metal sound to the original song. A music video was made for the remix.
• In 2005, Mike hosted the Rock Phenomenon Mixtape CD with DJ Vlad and Roc Raida. The CD is the first (and to date, only) in DJ Vlad's Rock Phenomenon series (which itself is a spin-off of Vlad's Rap Phenomenon Mixtape series), and features a Mash-Up of Linkin Park's Papercut, and David Banner's Like a Pimp (Remix). The Mixtape was re-released on July 10, 2007, with new artwork.
• In October 2008 Mike and Mark Wakefield, former vocalist of Linkin Park back when they were named Xero, recorded and released the song "Barack Your World" under the name White Pegacorn.
• For the 2006 Grammy awards, Mike and Brad Delson assembled the mashup track of Numb/Encore and "Yesterday" by The Beatles to be performed live by Jay-Z, Linkin Park and Paul McCartney.
• Mike scored the MTV VMAs in 2005. Lil’ Jon also contributed, but they did not collaborate; The tracks were separate.^[21]
• Mike was an honorary parade marshall in Los Angeles Nisei Week, 2005.^[21]
• Mike was awarded the Japanese American National Museum’s Award of Excellence in 2006.^[21]
• Mike and Joseph Trapanese worked together to create a new score for the American release of the 2011 film The Raid.