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  2. 4′33″ - Wikipedia

    en.wikipedia.org/wiki/4′33″

    As suggested by the title, the composition lasts four minutes and 33 seconds. It is marked by silence except for ambient sound, which is intended to contribute to the performance. 4′33″ was conceived around 1947–48, while Cage was working on the piano cycle Sonatas and Interludes.

  3. The Sound of the Crowd - Wikipedia

    en.wikipedia.org/wiki/The_Sound_of_the_Crowd

    "The Sound of the Crowd" is a song by the British synth-pop group The Human League. It became the band's commercial breakthrough, reaching #12 on the UK singles chart in May 1981. [ 5 ]

  4. List of longest non-repetitive piano pieces - Wikipedia

    en.wikipedia.org/wiki/List_of_longest_non...

    Inner Cities 1–14: Alvin Curran: 6 hours Premiered and recorded by Daan Vandewalle. November: Dennis Johnson: 6 hours 6 (manuscript) [13] Premiered by the composer, recorded by R. Andrew Lee. The Well-Tuned Piano: La Monte Young: 5-6 hours Premiered and recorded by the composer. [14] The History of Photography in Sound: Michael Finnissy: 5½ ...

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  6. Walla - Wikipedia

    en.wikipedia.org/wiki/Walla

    In American radio, film, television, and video games, walla is a sound effect imitating the murmur of a crowd in the background. [1] A group of actors brought together in the post-production stage of film production to create this murmur is known as a walla group.

  7. Huey "Piano" Smith - Wikipedia

    en.wikipedia.org/wiki/Huey_"Piano"_Smith

    Huey Pierce "Piano" Smith (January 26, 1934 – February 13, 2023) was an American R&B pianist and session musician whose sound was influential in the development of rock and roll. [ 1 ] [ 2 ] His piano playing incorporated the boogie-woogie styles of Pete Johnson , Meade Lux Lewis , and Albert Ammons , the jazz style of Jelly Roll Morton and ...

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  9. An Hour for Piano - Wikipedia

    en.wikipedia.org/wiki/An_Hour_for_Piano

    Tom Johnson's An Hour for Piano was written in 1971. [1] The piece began as a series of short, improvisatory sketches in 1967 when Johnson was accompanying a modern dance class at New York University. Johnson gradually expanded these sketches and added transitions between them, writing a piece that is to be played in exactly one hour.