|the offspring of a zebra and a donkey.|
|a stew of meat, vegetables, potatoes, etc.|
|1.||an art form consisting of sequences of sounds in time, esp tones of definite pitch organized melodically, harmonically, rhythmically and according to tone colour|
|2.||such an art form characteristic of a particular people, culture, or tradition: Indian music; rock music; baroque music|
|3.||the sounds so produced, esp by singing or musical instruments|
|4.||written or printed music, such as a score or set of parts|
|5.||any sequence of sounds perceived as pleasing or harmonious|
|6.||rare a group of musicians: the Queen's music|
|7.||informal face the music to confront the consequences of one's actions|
|8.||music to one's ears something that is very pleasant to hear: his news is music to my ears|
|[C13: via Old French from Latin mūsica, from Greek mousikē (tekhnē) (art) belonging to the Muses, from Mousa|
musicn. A common extracurricular interest of hackers (compare science-fiction fandom, oriental food; see also filk). Hackish folklore has long claimed that musical and programming abilities are closely related, and there has been at least one large-scale statistical study that supports this. Hackers, as a rule, like music and often develop musical appreciation in unusual and interesting directions. Folk music is very big in hacker circles; so is electronic music, and the sort of elaborate instrumental jazz/rock that used to be called `progressive' and isn't recorded much any more. The hacker's musical range tends to be wide; many can listen with equal appreciation to (say) Talking Heads, Yes, Gentle Giant, Pat Metheny, Scott Joplin, Tangerine Dream, Dream Theater, King Sunny Ade, The Pretenders, Screaming Trees, or the Brandenburg Concerti. It is also apparently true that hackerdom includes a much higher concentration of talented amateur musicians than one would expect from a similar-sized control group of mundane types.
Jubal was the inventor of musical instruments (Gen. 4:21). The Hebrews were much given to the cultivation of music. Their whole history and literature afford abundant evidence of this. After the Deluge, the first mention of music is in the account of Laban's interview with Jacob (Gen. 31:27). After their triumphal passage of the Red Sea, Moses and the children of Israel sang their song of deliverance (Ex. 15). But the period of Samuel, David, and Solomon was the golden age of Hebrew music, as it was of Hebrew poetry. Music was now for the first time systematically cultivated. It was an essential part of training in the schools of the prophets (1 Sam. 10:5; 19:19-24; 2 Kings 3:15; 1 Chr. 25:6). There now arose also a class of professional singers (2 Sam. 19:35; Eccl. 2:8). The temple, however, was the great school of music. In the conducting of its services large bands of trained singers and players on instruments were constantly employed (2 Sam. 6:5; 1 Chr. 15; 16; 23;5; 25:1-6). In private life also music seems to have held an important place among the Hebrews (Eccl. 2:8; Amos 6:4-6; Isa. 5:11, 12; 24:8, 9; Ps. 137; Jer. 48:33; Luke 15:25).