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The Grammy Award for Best Contemporary Instrumental Album (previously: Best Pop Instrumental Album) is an award presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, [1] to recording artists for quality instrumental albums in the pop music genre.
In theory, any style of music is eligible for this category, but winning compositions are usually in the jazz or film score genres. The Grammy is awarded to the composer(s) of the music, not to the performing artist, except if the artist is also the composer. There have been several minor changes to the name of the award:
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Musical improvisation (also known as musical extemporization) is the creative activity of immediate ("in the moment") musical composition, which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians. [1]
A significant portion of Zappa's discography consists of instrumental works, but many of these could be classified as modern classical or avant-garde music rather than rock. "Peaches en Regalia" (Hot Rats, 1969) "Eat That Question" (The Grand Wazoo) Sleep Dirt (1979 - reissues of this album featured overdubbed vocals on several tracks)
Instrumental rock was most popular from the mid-1950s to mid-1960s, with artists such as Bill Doggett Combo, The Fireballs, The Shadows, The Ventures, Johnny and the Hurricanes and The Spotnicks. Surf music had many instrumental songs. Many instrumental hits had roots from the R&B genre. The Allman Brothers Band feature several instrumentals.
Thanks to podcasts, self-publishing, YouTube and streaming, Black artists who aren’t considered “commercial” enough can still get their music to the masses. As Houston artist Soulliaa Rae ...
This is a list of ambient music artists. This includes artists who have either been very important to the genre or have had a considerable amount of exposure (such as those who have been on a major label). This list does not include little-known local artists.
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