100% ChatGPT Generated Songs

Era: 9th-century steppe soundscape Genre: Nomadic Central Asian overtone chant fused with early animist ceremonial folk Mood: Primal · Meditative · Windswept · Mythic Vocal Style: Male overtone throat singing (khöömei) alternating with breath-based whisper chants; vocals fluctuate between guttural drone and falsetto spirals Instrumentation: Prominent jaw harp and bowed horsehead fiddle (morin khuur), accompanied by bone flutes and resonant hide drums; percussion is sparse, using ambient hoof rhythms and wind chimes from horn fragments; occasional overtone harmonics layered over deep rhythmic pulse Tempo: Slow to very slow, variable pacing led by breath and chant cycles; long pauses integral to structure, ‑modern instruments (e, ‑g, ‑piano, ‑guitar, ‑synths), ‑western harmonic progression, ‑fixed bar structures, ‑digital effects, ‑studio polish, ‑and pop-style choruses, ‑Exclude any English or globalized lyrical phrasing, ‑Do not use equal temperament, ‑Avoid clean vocal tone or bel canto delivery, ‑No lush strings, ‑pads, ‑or ambient reverb textures, ‑Exclude handclaps, ‑snaps, ‑or modern percussion, ‑Avoid chromatic transitions and melody lines that resemble Western folk or cinematic tropes, ‑No EDM, ‑rock, ‑or cinematic layering, ‑Do not normalize dynamics or tighten pacing, ‑Avoid verse-chorus symmetry and refrain from structured hooks

2101 post-linguistic composition using harmonic body response and memory noise, No lyrics, Voice is not spoken or sung, but used as resonance source: throat tremor, sub-vocal hum, jaw tension, breath feedback, and occasional laryngeal pulse, Composition includes low-bandwidth memory artifacts (glitches, failed data calls, neural feedback tones) layered over soft biosignal percussion, Instruments include tactile synthesis pads, gut-tone subdrums, and body-conductive drones, Rhythmic content is irregular and emerges from tension-release cycles, Sonic movement is internal: from bone to air to silence, Production is dry, stereo-minimal, with frequency overlaps simulating interpersonal attunement, There is no melody, No harmony, Only layered responses, Ideal for inducing shared presence, bodily recollection, and emotional tuning beyond verbal cognition, ‑sung vocals, ‑language, ‑lyrics, ‑spoken word, ‑traditional instruments, ‑tonal structures, ‑or rhythm grids, ‑Do not introduce cultural motifs, ‑melodies, ‑scales, ‑or recognizable musical patterns, ‑No reverb washes, ‑no harmonic movement, ‑no chord changes, ‑Avoid external storytelling, ‑Only sound that emerges from within

1492 pre-Columbian ritual chant from the Valley of Mexico, performed in Nahuatl, Male youth voice delivered in short, rising syllables with nasal resonance and open-throat sustain, Vocal rhythm is breath-driven, with intervals of repetition and free-tempo fluctuation, Instrumentation limited to huehuetl (vertical drum), teponaztli (slit drum), and bird-bone whistle, Background ambience includes wind, occasional water sounds, and distant marketplace murmur, Chant is circular, not linear — no verse-chorus structure, Melody centers on 3–5 note motifs repeated with variation in pitch inflection, Harmonically unanchored, with microtonal pitch drift, Vocal breaks (intake of breath, trilled glottal stops) are part of the rhythm, Ideal for trance induction, communal memory, and invocation of animal-spirits through body-resonant frequency, No linguistic lyrics required — voice is vibration, not language, ‑European tuning systems, ‑harmony, ‑lyrical progression, ‑and fixed tempo, ‑No string instruments, ‑no piano, ‑no melodic Western intervals, ‑No modern recording effects, ‑no quantization, ‑Keep recording texture dry, ‑present, ‑and cyclical, ‑No storytelling, ‑no climax

1879 Southern African field-recorded vocal folk lament in isiXhosa, Female lead vocal delivered in soft mid-low register with deep emotional restraint, layered over stamping feet, hand claps, and kalimba pulses, Phrasing is repetitive but elastic, with slight delay before resolution, Background vocals follow a call-and-response structure using harmonic minor thirds and open fifths, Vocal texture includes breath sounds, glottal stops, and consonantal clicks typical of isiXhosa, Field ambience includes wind, faint animal sounds, and occasional distant voices, Rhythmic flow is foot-driven: no metric quantization, just lived tempo, The production feels raw and immediate, with room for silence and vocal tremor, Harmonies float without western tonality; tone center shifts naturally with emotional narrative, Ideal for themes of absence, ancestral memory, and longing uttered through body rhythm, ‑modern percussion, ‑melodic instrumentation, ‑western chordal harmony, ‑digital reverb, ‑and studio-clean vocals, ‑Do not impose western pop structure or quantized rhythm, ‑No autotune, ‑no sustained synths, ‑no background pad layers, ‑Let rhythm emerge from voice and body, ‑and preserve space for air and silence

1979 pre-revolutionary Iranian classical-folk fusion with female vocal lead, Performed in Dastgāh-e Homayoun, blending traditional radif vocal ornamentation with contemporary poetic lyricism, Female vocals are intimate, vibrato-rich, and modally fluid — drifting between legato laments and speechlike melismatic phrasing, Instrumentation includes târ (plucked Persian lute), ney (reed flute), tombak (goblet drum), and subtle bowed kamancheh, Production feels analog and fragile: soft tape hiss, distant reverb, and gentle microphone proximity, Tempo is free-time or loosely cyclic (similar to avaz), with emotionally guided pauses and vocal rubato, The mood is longing, twilight, and emotionally suspended — evoking personal farewell under political dusk, Harmonies are modal, microtonal, and culturally rooted, Backing textures may include room tone, fabric rustle, or barely audible breath, Ideal for themes of memory, separation, and internal resistance through melody, ‑Western scales, ‑modern rhythmic quantization, ‑electronic instruments, ‑and polished vocal tuning, ‑Do not use drums with sharp attack or any standard chord progressions, ‑Keep the vocal front and human; allow fragility and instability, ‑No choruses or western pop hooks — this is sung as story, ‑not structure

Year: 1941 Genre & Traits: Orchestral war-time ballad in the style of mid-WWII British military broadcasts, Cinematic and martial in tone, with sweeping string lines and brass fanfare elements, Mood: Heroic, mournful, determined Vocal Type: Male solo voice with mid-tenor range, classic bel canto-influenced projection typical of wartime songs Instrumentation (in order): String section, military snare drums, solo trumpet, brass ensemble, upright piano, low woodwinds Tempo: Moderate march tempo (around 80–88 BPM), with rubato phrasing in verses and rigid timing in refrains Performance Notes: Full, clear projection; vibrato on sustained tones; emotional resolve in phrasing, ‑• Electric guitars, ‑synthesizers, ‑or electronic amplification • Crooning or jazz inflections associated with post-war pop • Modern harmonies (no power chords or blues-rock patterns) • Studio layering or stereo imaging • American-style swing or jive rhythms • Contemporary slang or emotional framing (e, ‑g, ‑therapy language, ‑irony) • Any deviation from strict military or orchestral instrumentation • Intimate mic technique — vocals should project for a hall, ‑not a studio

Year: 1997 Genre & Traits: Late-1990s acoustic-based adult alternative, Subdued, lyric-driven songcraft with a strong singer-songwriter identity, Mood: Quietly reflective, wistful, and lightly ironic, Vocal Type: Female solo voice with intimate delivery — breathy but clear, maintaining tonal control, Instrumentation (in order): Acoustic guitar, brushed snare kit, ambient electric guitar swells, upright piano, light fretless bass, Tempo: Slow-mid tempo (68–72 BPM) with syncopated phrasing and open, atmospheric pauses, Performance Notes: Emotive phrasing with slight vibrato at line endings, Whispery in verses, fuller tone in the chorus, ‑• Electronic dance elements (Eurodance, ‑trance, ‑house) • Studio vocal layering beyond basic harmony • Auto-tune or digital pitch correction • Hyper-modern slang or Gen Z phrasing • Direct references to real Eurovision performances or artists • Vocal power ballad delivery (common in Eurovision but not appropriate for this tone) • Synth strings or orchestral bombast • Melodrama — keep emotions understated and true to the peripheral frame

1980 Brabant carnival anthem from Den Bosch, blending festive brass band instrumentation with pub-style singalong vocals, Male chorus leads the melody with raw, unpolished enthusiasm — accented by sousaphone, snare drum, trumpet, accordion, and tuba, Mid-tempo (around 90 BPM), structured in couplets with a repeatable refrain, Melody uses traditional Dutch major-mode phrasing but allows for blue notes or theatrical vocal breaks, The delivery is spirited, slightly nasal, and clearly intended for audience participation, ideally after several beers, ‑• Electronic instruments or disco influences (not traditional for carnaval brass songs) • Polished studio harmonies or pop ballad vocals • Standardized pop structure (e, ‑g, ‑Verse-Pre-Chorus-Chorus-Bridge) • Anachronistic humor (e, ‑g, ‑modern internet jokes or Gen Z irony) • Overly poetic metaphors — focus on punchy, ‑local imagery • Use of non-Dutch languages unless part of a pun

Late 15th-century Italian folk ballad with sacred undertones, The melody is carried by a clear, unornamented male tenor voice, accompanied by lute and vielle, with interludes by recorder and small frame drum, Slow tempo in triple meter (around 60 BPM), with a plaintive, circular modal melody (Dorian mode), The vocal line is smooth and introspective, with minimal vibrato, Performance favors legato phrasing and open vowels, suitable for a contemplative village song near Florence, untouched by court intrigue, ‑• Polyphonic complexity beyond two voices • Opera-like vibrato or dramatic projection • Piano, ‑guitar, ‑or harmonium (anachronistic) • Protestant references or Reformation themes (too early) • Spanish-style rhythms or lyrics (not relevant to setting) • Abstract modern metaphors or internal psychoanalysis • Rhyming couplets in strict iambic (not vernacular)

1849 – A sorrowful folk ballad rooted in Central European traditions, especially Hungarian laments, Minor key, slow 3/4 tempo, Male solo voice with natural vibrato and open-chested delivery, Accompanied by cimbalom, tárogató, acoustic guitar, and faint bowed strings, Melody is modal (Dorian), marked by mournful descending lines, Occasional folk ornamentation in the vocals, Rhythm flows like a dirge, slightly rubato, Emotional tone is nostalgic, wounded, and proud, The arrangement is sparse but emotionally rich, with soft tremolo in the background strings and subtle harmonic drones to evoke distance and longing, ‑Modern pop chord structures or progressions Electric instruments or studio effects Percussion beyond hand-played folk frame drums Jazz, ‑gospel, ‑or blues inflections American country or Western folk idioms Breathy pop vocals or falsetto phrasing Refrains or loops inconsistent with 19th-century Hungarian folk English idioms, ‑slang, ‑or political commentary from later eras

1969 – Psychedelic Folk Rock / Protest Ballad Evocative fusion of acoustic folk, blues-rock, and psychedelia, reflecting the countercultural spirit of 1969, Warm male vocals with natural vibrato and raw emotional delivery, backed by acoustic guitar, Hammond organ, electric bass, minimalist drums, and sustained vocal harmonies, Occasional electric guitar solos with wah or fuzz, Lyrics carry themes of peace, disillusionment, and longing for change, Tempo is moderate and fluid, often fluctuating with emotion, Vocal delivery is unfiltered and intimate, sometimes semi-spoken or shouted, Imperfections are embraced as authenticity, ‑Synthesized instruments (pre-Moog mainstream adoption) Autotune, ‑compression, ‑or polished studio effects Pop structures with predictable four-chord cycles Rap phrasing, ‑electronic beats, ‑or modern vocal fry Excessive chorus repetition (radio-formulaic hooks) Modern slang, ‑irony, ‑or post-2000s metaphors Gospel choirs, ‑R&B melismas, ‑EDM drops, ‑trap hats

Late 1950s rhythm & blues-infused soul ballad with gospel roots and doo-wop harmonies, Male lead vocal with rich, emotive delivery—resonant chest voice, light vibrato, occasional falsetto slips on emotional peaks, Backed by a harmony group (TTBB) with close-voiced block chords and call-and-response flourishes, Instrumentation: electric guitar with clean amp tone, upright piano, brushed drums, walking double bass, subtle saxophone lines, Tempo: ~72 BPM in 12/8 time, Expressive yet restrained, evoking longing, resilience, and sincerity in a segregated but musically vibrant America, Ideal for a dimly lit corner stage or crackling AM radio broadcast, ‑Synthesizers, ‑electronic drums, ‑or electric bass Modern vocal stylings (e, ‑g, ‑melisma-heavy R&B runs, ‑whispered phrasing, ‑autotune) Post-1970s harmonies or lush cinematic arrangements Compressed vocal mixing or stereo sound Lyrics referencing digital tech, ‑casual modern slang, ‑or post-1960s liberation movements Pop song structures relying on post-verse breakdowns, ‑drops, ‑or bridges with harmonic modulation Female lead vocals in male-dominated street-corner soul styles of this period

Anthemic stadium rock-pop track in the style of mid-1980s global benefit concerts, The music blends echoing guitar riffs, layered vocal harmonies, analog synth textures, and grand piano, Male lead vocal in high tenor range, slightly raspy and passionate, supported by backing vocals in call-and-response style, The arrangement builds from rhythmic verses to powerful, emotional choruses with dramatic crescendos, Instrumentation includes delay guitar, gated drums, analog synths, upright piano, and live bass, Mood is bold, urgent, and unifying — meant to inspire a worldwide audience during a live broadcast, ‑Avoid soft singer-songwriter or acoustic ballad tropes, ‑Do not include modern compression, ‑vocal fry, ‑or digital production tricks, ‑No trap beats, ‑hip-hop phrasing, ‑or post-2000 harmonic complexity, ‑Do not imitate Coldplay, ‑Muse, ‑or Imagine Dragons — this is firmly rooted in 1985, ‑Avoid whispery vocals or lo-fi aesthetics, ‑No auto-tune or cinematic underscoring, ‑Do not flatten dynamics; embrace theatrical crescendos and multi-part choruses, ‑Lyrics must reflect 1980s phrasing: universal, ‑sincere, ‑hopeful — not ironic or abstract, ‑Avoid verses that feel like diary entries or introspective indie

1965 Hollywood musical showtune, performed in full orchestral grandeur with theatrical flair, Bright and melodic, with a mix of sung dialogue and expressive solo lines, Vocal style is classic Broadway: clear, belted, mid-Atlantic accent with crisp diction, Female lead in mezzo-soprano range, accompanied by lush orchestration: full strings, woodwinds, harp flourishes, pizzicato moments, upright bass, piano, and brass fanfare, Tempo is medium-fast with dynamic shifts to highlight narrative emotion, Lyrics are witty and optimistic, matching the golden era tone, The music supports on-screen choreography and emotional beats — think The Sound of Music or My Fair Lady era style, ‑Avoid modern vocal fry, ‑whispering, ‑or R&B/pop vocal techniques, ‑No breathy phrasing, ‑melisma, ‑or casual modern inflections, ‑Exclude synthesizers, ‑drum kits, ‑electric bass or guitar, ‑and modern mixing, ‑No contemporary slang or informal speech — use elevated, ‑theatrical English, ‑Avoid minimalism or modernist harmony, ‑Do not use spoken word unless styled as sung dialogue, ‑No digital effects, ‑no background choirs unless era-appropriate, ‑Keep to 1960s Broadway/Hollywood musical tradition: tonal, ‑vibrant, ‑clear, ‑and character-driven

Ancient Cretan ceremonial chant from around 400 BCE, performed in a sacred courtyard or hillside temple setting, Vocal style is monophonic male chanting with occasional group antiphony, The emotional tone is reverent and trance-like, evoking nature, harvest, and the divine feminine, Lead vocals by a baritone male, steady and resonant, without vibrato, Accompaniment features a lyra (three-string bowed instrument), aulos (double-reeded pipe), and frame drum (played softly with fingertips), Tempo is slow and steady, guided by ritual movement, Minimal melodic variation, focusing instead on breath and phrasing, Subtle call-and-response echoes may occur in the background to simulate communal participation, ‑Avoid any modern harmony, ‑chordal accompaniment, ‑or polyphony, ‑Do not include tonal centers beyond basic modal scales (e, ‑g, ‑Dorian, ‑Phrygian), ‑Exclude Western classical techniques, ‑piano, ‑guitar, ‑or string sections, ‑Avoid modern vocal techniques such as breathy sighs, ‑pop phrasing, ‑or melismatic embellishments, ‑No studio reverb, ‑layering effects, ‑or contemporary production, ‑Avoid anachronistic themes (e, ‑g, ‑Christianity, ‑urban love stories, ‑or technology), ‑Do not include any instruments introduced after the Roman period, ‑Ensure vocal pronunciation follows a stylized approximation of ancient Greek, ‑avoiding English articulation and diphthongs, ‑No female leads unless specified for choral background in religious rituals, ‑Avoid rhyme or modern verse/chorus song structure

1929 – Italian Popular Street Song with Mandolin and Accordion A sentimental yet lightly playful Italian street song, performed by a male tenor with an emotive, nasal vibrato typical of cantastorie and early gramophone recordings, The melody is simple and lilting, with a bittersweet undertone, Instrumentation includes mandolin (with tremolo and arpeggios), accordion, and upright bass (pizzicato), possibly accompanied by soft foot percussion (heel taps or tamburello), Tempo is moderate waltz-time (3/4), swaying gently, Vocal delivery is melodic but unpolished, giving it a raw, sincere street flavor, Suitable for performance in piazzas or local osterie, ‑Avoid microphones, ‑modern vocal clarity, ‑or lush orchestral arrangements, ‑Do not include jazz harmonies, ‑crooner techniques, ‑scat, ‑or swing rhythms, ‑No English words, ‑electronic instruments, ‑or studio effects, ‑Avoid references to 20th-century travel (planes, ‑telephones, ‑cinema) or modern slang, ‑Keep structure simple—no complex bridges or pop choruses, ‑Do not imply mass media fame; the singer is local, ‑personal, ‑intimate

1900 – Italian Verismo Aria in the Style of Puccini A dramatic Italian soprano solo in the verismo tradition, evoking raw human emotion with operatic grandeur, The vocal line is soaring, expressive, and rich in dynamic contrast, performed with full vibrato and emotional urgency, Instrumentation includes full late-romantic orchestra: lush strings, harp, solo oboe, French horns, and timpani, with sudden modulations and sweeping crescendos, The tempo is rubato, allowing expressive flexibility and breath-driven phrasing, The aria is structured with a lyrical opening, a climactic high point, and a soft, tragic resolution, Ideal for a concert setting or operatic insert scene, ‑Avoid microphones, ‑modern cinematic scoring, ‑background choirs, ‑pop-style choruses, ‑or English/other languages, ‑No modern harmony such as jazz chords or polytonality, ‑Do not include casual phrasing, ‑spoken lines, ‑or concepts like personal freedom in a contemporary sense, ‑Avoid gender-neutral or mixed vocal harmonies, ‑Refrain from referencing anything post-1900: telephones, ‑jazz clubs, ‑war references, ‑or contemporary psychology, ‑All expression must emerge through operatic emotion, ‑not conversational realism

1792 – Revolutionary Folk Chant with Military Drum Cadence An impassioned French male vocal performance, sung in a declamatory folk style, The song combines a stirring patriotic tone with communal urgency, reflecting the revolutionary fervor of late 18th-century France, Lead vocals are male (baritone), occasionally reinforced by a small group of male voices (militia-style chorus), Instrumentation includes fife, snare drum, tambour de basque, and hurdy-gurdy, all performed acoustically, The tempo is steady and march-like (around 88 BPM), invoking a sense of collective movement and readiness, Vocal delivery is direct, minimal in ornamentation, but rich in conviction and rhythmically synchronized with the percussion, Slight vocal flourishes ("ah!", "allons!") appear at natural cadence points, ‑Avoid modern harmony (no parallel thirds or jazz-like chords), ‑studio effects, ‑electric instruments, ‑and concepts such as democracy as we understand it today, ‑Do not include romantic lyrics or introspective balladry, ‑Avoid female solo vocals in militant settings (not plausible for 1792 France), ‑No English phrases, ‑American folk motifs, ‑or Christian liturgical melodies, ‑Refrain from referencing national flags, ‑radio, ‑electricity, ‑or terms like “liberty for all” in a modern context, ‑Keep phrasing consistent with revolutionary vernacular of the late 18th century

Year: 1989 – Eastern European dark synth crossover (NL Top 40) Mood: yearning · introspective · quietly defiant Vocal style: male soloist, slight Slavic accent, soft delivery with emotional restraint Instrumentation: Yamaha DX7, Russian Polivoks synth, tape delay, drum machine with gated reverb, Moody minor-key bassline Tempo: ca, 92 BPM (slow-motion synth groove) Vocals should convey both hope and resignation, reflecting personal loss against a background of social change, Occasional spoken-word fragments permitted, ‑No Western-style optimism or stadium-pop gloss No rock guitars, ‑funk slap bass, ‑or hip hop samples No clear political slogans or activist calls — only veiled emotion No female backing vocals — this is a solitary voice No high-fidelity studio polish — slight analog hiss and warmth welcome No English slang or Californian pronunciation — enunciate clearly

Year: 1984 – UK synthpop crossover hit (Netherlands Top 40 #1) Mood: wistful · stylish · rhythmically propulsive Vocal style: male tenor, cool and melancholic, with British enunciation Instrumentation: Roland Jupiter-8, Oberheim OB-Xa, LinnDrum, chorused bass guitar, tape echo FX Tempo: Moderate dance (ca, 118 BPM) Vocal delivery should reflect the detached elegance of early synthpop and new wave — with strong melodic hooks, but emotionally reserved phrasing, ‑No post-1990 chord progressions (no suspended EDM-style builds) No autotune, ‑multiband compression, ‑or digital vocal edits Avoid American accent or slang No acoustic guitars, ‑piano ballads, ‑or brass sections No full gospel backing or overblown harmonies Lyrics must stay ambiguous and abstract — no explicit political or protest content

Year: 1816 – Central European Lieder-style ballad Mood: mournful · reflective · pastoral Vocal style: male solo voice, baritone, in Austrian-German dialect, delivered with restrained vibrato Instrumentation: fortepiano, violin, light bassoon, optional rain drum simulation via muffled percussion Tempo: Adagio (ca, 66 BPM) Vocal delivery is solemn and clear, meant for small parlour performance, Text painting allowed (e, g, rising on “hope”, falling on “snow”), Lyrics in coupletvorm, ‑Geen romantische bombast (pre-Schumann), ‑geen moderne strijkarrangementen, ‑Geen Engels of Frans taalgebruik — uitsluitend Duitstalig of regionaal dialect, ‑Geen kerkorgel of groot koor, ‑Geen melodramatische romantisering van natuur; houd het nuchter en landelijk, ‑Geen elektriciteit, ‑oorlog of abstracte filosofie, ‑Geen opera-invloeden of overdreven zangtechniek

Year: 1478 – Italian Renaissance court song Melancholic secular madrigal performed in a refined courtly setting, Mood: introspective · tender · restrained Vocal style: female soloist, clear and expressive, in early Tuscan dialect Instrumentation: lute, viola da gamba, light tamburello, wooden flute Tempo: Largo (slow and deliberate) Vocal delivery should be intimate, as if sung in a candlelit chamber, Slight ornamental turns permitted in vocal phrasing, matching Renaissance modal traditions, ‑Avoid all post-Renaissance harmonies and modern modulation techniques, ‑No orchestral layering or chromatic transitions, ‑No references to nationalism, ‑mass warfare, ‑or modern emotions like “depression, ‑” Do not use modern Italian — keep to early Tuscan / court vernacular phrasing, ‑No male/female vocal duets — solo voice only, ‑No pop song structures (no verse-chorus loops), ‑No anachronistic concepts (e, ‑g, ‑trains, ‑colonies, ‑cameras)

Year: 1666 CE – English Baroque Lament with Fire Motif A dramatic, theatrical English baroque air, composed in a minor key, with expressive female lead vocals and interwoven male countertenor harmonies, Mood: dramatic · penitent · infernal grace Vocal style: operatic phrasing in Early Modern English, with ornamented melismas and rhetorical delivery, Instrumentation: harpsichord, viol da gamba, lute, and theorbo, supported by timpani rolls in dramatic accents, Tempo: slow to moderate (≈60–70 BPM), rubato allowed, Vocal phrasing should mirror baroque recitative with sudden dynamic shifts, ‑Avoid tonalities or instruments not yet present (e, ‑g, ‑no piano, ‑no romantic harmonies) Avoid modern vocal runs or belting techniques No synthesizers, ‑reverb, ‑or production effects Avoid modern English or slang No rock/pop structures or chorus/refrain loops Avoid optimistic or secular party themes; focus on gravity, ‑fire, ‑judgment, ‑or reflection

Year: 1348 CE – Plague-era lament in medieval European style A sorrowful and haunting sacred lament rooted in 14th-century European monophonic tradition, performed by a lone female contralto in Latin, occasionally joined by male Gregorian-style background chant, Mood: solemn · spiritual · fatalistic Primary instrumentation: portative organ, hurdy-gurdy, and frame drum (subtly) Tempo: slow and processional (≈45–55 BPM) Vocal phrasing is modal and melismatic, evoking religious penitence and mortal dread, Some vocalizations use early polyphonic shadowing but remain stylistically conservative for 1348, ‑Avoid modern harmonies (no tonal progressions or major/minor system) No digital effects, ‑reverb, ‑pads, ‑or stereo panning Avoid modern pop structures (verse/chorus/bridge loops) No modern phrasing, ‑rhyme schemes, ‑or romantic language No languages outside Latin or vernacular medieval dialects No duet-style love ballads or optimistic themes inconsistent with the plague era

Set in pre-war Central Europe, 1939 — a dramatic cabaret ballad evoking the final breath of a lost era, Lyrics are in German, delivered by a female vocalist with expressive vibrato and a shifting register between smoky falsetto and strong chest voice, The vocal style reflects veiled resistance and personal mourning, with theatrical phrasing, whispered asides, and spoken interjections, Instrumentation centers around upright piano and bowed double bass, with subtle clarinet motifs and brushed snare drum, The song unfolds slowly, in minor key, capturing the heaviness of looming war and the fragile defiance of late-night cabaret salons in Berlin or Vienna, A hush-filled atmosphere builds through silence and tension, shaped by pauses and phrasing more than harmonic change, Group vocals whisper occasional refrains, Tempo is slow, almost suspended, allowing grief and memory to surface, The setting is intimate, dimly lit — a velvet stage where only shadows applaud, ‑swing-era big band brass, ‑cheerful tone shifts, ‑English lyrics, ‑upbeat tempos, ‑modern reverb, ‑or polished jazz crooning, ‑No Broadway stylings or post-war optimism

1966 Brazilian-American bossa nova crossover ballad, performed by a soft female alto with breathy phrasing and lazy syncopation, Lightly accompanied by nylon-string guitar, brushed drums, upright bass, Rhodes electric piano, and soft vocal harmonies in the chorus, Tempo is slow to moderate, with swing feel and jazz phrasing, Harmonies are built on jazz extensions (maj7, 9th, 11th), typical of post-Jobim influence, with melodic phrasing reminiscent of Sérgio Mendes's arrangements, Mood is quietly nostalgic, late-night, and sun-faded — like a summer that didn’t call back, ‑Modern electronic elements, ‑autotune, ‑digital reverb tails, ‑synths, ‑modern pop chord cycles (I–V–vi–IV), ‑cinematic strings, ‑four-on-the-floor beats, ‑loud belting vocals, ‑trap hi-hats, ‑explicit lyrics, ‑or any references to technology or culture post-1966, ‑No EDM builds, ‑no rap verses, ‑no sampling, ‑Avoid cliché samba percussion loops or overproduced horn sections

2004 fantasy folk ballad in the style of in-world Azerothian music, performed by a weary male bard with gravelly tone and a steady cadence, Melodic line based on modal minor scales, with a wistful lilt, Accompaniment includes lute, frame drum, low drone fiddle, and subtle ambient textures that mimic arcane wind, Tempo is slow and trudging, like a traveller crossing forgotten roads, The song feels old, weathered, and full of memories from a world that doesn’t know adventurers are coming, ‑Modern fantasy clichés (epic choir, ‑Hollywood strings), ‑orchestral swells, ‑synth pads, ‑electric instruments, ‑real-world mythologies (Greek, ‑Norse, ‑etc, ‑), ‑modern pop structures, ‑fourth-wall breaking, ‑MMO terminology, ‑or direct references to game mechanics, ‑No cinematic Hans Zimmer-style drums, ‑No language that implies players, ‑patches, ‑or factions

1887 Meiji-era Japanese enka-like art song, performed by a female voice with narrow vibrato and restrained, nasal tone, Melody based on traditional pentatonic (yo scale), with subtle ornamentation and phrasing drawn from kabuki chant and min'yō (folk) style, Accompanied by shamisen and shakuhachi, with koto as harmonic base, Tempo is slow, rubato-driven, in free meter with breath-guided cadence, Mood is wistful and ceremonial, reflecting a woman’s quiet moment in a changing world — not yet fully touched by modernization, ‑Western harmony, ‑European instruments, ‑equal temperament tuning, ‑modern vibrato technique, ‑pop vocal runs, ‑binary rhythmic phrasing, ‑Western emotional framing (e, ‑g, ‑“freedom, ‑” “identity”), ‑male-female duet forms, ‑fixed time signatures, ‑English lyrics, ‑or anything suggesting post-war sentiment, ‑No electricity, ‑no jazz, ‑no Western chorus structure

1572 Dutch-German rural lament in Dorian mode, sung by a female folk voice with natural vibrato and rustic timbre, Accompanied by lute and hurdy-gurdy, with slow, pulsing phrasing in compound 6/8 meter, Melodic structure is simple but expressive, with descending modal motifs and sparse ornamentation, Tempo is moderate but mournful, evoking a solitary figure by the riverbank singing into wind and memory, ‑Harmony, ‑instrumental accompaniment, ‑polyphony, ‑major scale, ‑rhythmic pulse, ‑romantic vocabulary, ‑modern phrasing, ‑pop forms (verse-chorus), ‑post-1600 poetic meter, ‑references to nationalism, ‑or any vocal ornamentation beyond period-accurate modal turns

1853 Austrian Lied in courtly romantic style, composed in the manner of early Bruckner or Franz Lachner, Performed by a soft-voiced soprano (16-year-old timbre) with restrained vibrato, Harp, fortepiano, and solo cello provide a delicate and formal accompaniment, Tempo is Andante con grazia in 3/4, with occasional rubato and ornamental turns, Emotional tone: dazed awe, restrained joy, inner hesitation beneath external composure, Delivery is refined, private, and naive — suitable for an intimate recital at the Viennese Hofburg, ‑Modern song structure, ‑cinematic swells, ‑modern harmony, ‑melismatic singing, ‑adult emotional vocabulary, ‑large vocal projection, ‑pop choruses, ‑English lyrics, ‑drums or guitar, ‑modern female agency framing, ‑No overt irony, ‑no foreshadowing of her later unhappiness, ‑and no anachronistic references to freedom or identity politics

1853 Dutch salon chanson in the romantic tradition, performed by a mezzo-soprano voice with light vibrato, The piece blends sentimental folk melody with art-song refinement, Primary instrumentation includes fortepiano, violin, and clarinet, with sparse use of harp for mood, Moderate tempo in 3/4, evoking wistful observation, Lyrical delivery, occasional rubato, expressive pauses on emotional words, Style influenced by Schubertian lieder, but more provincial in tone — suitable for a drawing room in Haarlem or Leiden, ‑Electronic instruments, ‑modern harmony (jazz chords, ‑blues notes), ‑cinematic modulation, ‑slang, ‑English phrasing, ‑gospel or operatic vocals, ‑modern narrative structure, ‑percussion beyond natural string attack or piano dampers, ‑pop chorus loops, ‑studio effects, ‑or knowledge of the future significance of trains

Solo male voice only, No duet, no harmonies, no background vocals, Romantic-era German Lied in the Schubert/Schumann tradition, composed in 1848, Piano (fortepiano) accompaniment only, with expressive rubato and dynamic shifts, Tempo: Andante agitato, supporting a conflicted emotional tone — between idealism and despair, Vocal phrasing is legato with rhetorical pauses, no melisma or ornamentation, Performance evokes intimacy, like a private recital in a Viennese salon or student apartment, No modern stylistic inflection or genre crossover, ‑Avoid: female voice, ‑duet vocals, ‑harmonies, ‑backing layers, ‑or echo, ‑Avoid: electric instruments, ‑drums, ‑pads, ‑synths, ‑or orchestral scoring, ‑Avoid: pop structures, ‑verse-chorus forms, ‑or rhyming couplets, ‑Avoid: modern vibrato, ‑emotional exaggeration, ‑or 20th-century vocal stylings, ‑Avoid any instrumentation or vocal interaction not plausible for 1848 Romantic Lied form

Style Prompt (English): Year: 1286, A traditional pre-colonial Aboriginal ceremonial chant, focused on the personal passage into adulthood, Solo male voice, alternating with group call-and-response, Vocal lines are rhythmic, percussive, and grounded in breath and body, Instrumentation: yidaki (didgeridoo), clapsticks (bilma), and percussive foot stomps on earth, Tempo: Moderato but pulsed by breath, not meter, Mood: respectful, grounded, ancient — a mixture of apprehension and pride, Structure reflects Dreaming Songline logic: cyclical, trance-like repetition of key images and names, Vocal delivery uses overtones and chest resonance, ‑• Western scales or harmonies • Chords, ‑polyphony, ‑or instrumental melodies • Emotional narration or internal monologue (Western individualism) • Rhyme, ‑regular verse-chorus structures • European language, ‑tuning, ‑or concepts (e, ‑g, ‑“family, ‑” “warrior, ‑” “soul”) • Any representation of Aboriginal spirituality not rooted in tradition (e, ‑g, ‑New Age overlays or “totem animals” in the modern sense)

Style Prompt (English): Year: 1501, A Ming dynasty southern zither song (qin song), performed in the Southeast literati tradition, Solo female voice, soft and controlled, in classical Chinese poetic form, Instrumentation: guqin (seven-string zither), with occasional bamboo flute interludes, Tempo: Lento, heavy use of silence (息), glissandi, and harmonic resonance, Mood: detached, meditative, lightly melancholic — a reflection of passing time more than loss, Performance: vocal lines follow the breath, not strict meter; elegant tonal inflections with naturalistic pauses, Delivery is quiet, interior, and rooted in nature metaphors, ‑• Western harmony or tonality • Percussion, ‑bowed strings, ‑or large ensembles (solo/duo only) • Dramatic emotional shifts or loud dynamics • Rhyming or symmetrical line structures • Descriptions of imperial politics or military events • Buddhist or Taoist religious framing — this is personal, ‑not spiritual • Romantic tropes or modern self-discovery narratives

Year: 1066, An early medieval Anglo-Saxon chant-lament, with monophonic male vocal in Old English or early Middle English tonality, Performed in the tradition of heroic elegy, with modal intonation and droning string accompaniment (e, g, lyre or tagelharpa), Vocal: solo male voice, deep and steady, using dorian or mixolydian mode, Tempo: Adagio, with extended tones and pauses between phrases, Mood: grave, fatalistic, sung as if in a mead hall after a lost battle, Instrumentation: bowed lyre (tagelharpa), bone flute, and skin drum (very subtle), Performance: raw, austere, non-metrical phrasing, mournful cadence, ‑• Polyphony or harmonized parts (not used in this secular context) • Harpsichord, ‑piano, ‑violin (anachronistic) • Christian liturgical framing (this is not a hymn or Gregorian chant) • Rhyme schemes or standardized meter • Post-12th-century instruments or concepts (e, ‑g, ‑“armor, ‑” “noble bloodline”) • Modern ideas of nationalism or sacrifice • Romance or internal monologue (focus on collective memory or fate)

Style Prompt (English): Year: 1536, A solemn Tudor lament, in the tradition of English courtly consort songs, Male countertenor solo with sparse viol consort accompaniment (bass viol, tenor viol, and lute), Mode: Aeolian (natural minor), with descending cadences and modal ornamentation, Tempo: Largo, with measured breath and extended phrasing, Emotional tone: tragic, reverent, austere — as if sung during a candlelit vigil in a royal chapel, Performance: unamplified, straight tone with minimal vibrato, intimate vocal lines, and modal grace notes, ‑• Baroque harmonies (not yet developed) • Female voice solos in royal public mourning contexts (uncommon in England) • Keyboard accompaniment (no harpsichord or piano) • Operatic phrasing or romantic flourishes • Rhyming couplets (Tudor lyricism favored uneven or asymmetrical phrasing) • Political commentary from a modern ethical lens • Gospel, ‑blues, ‑or folk influences • Chorus or refrain structures — form must feel continuous, ‑like a mourning prayer

Year: 1903, A melancholic English parlor ballad, in the late Victorian drawing-room tradition, blending gentle art song with folk overtones, Female voice with legato phrasing, modest vibrato, and intimate expression, Instrumentation: upright piano (dominant), cello, and subtle violin swells, Tempo: Andante, with dynamic rubato for emotional nuance, Mood: wistful, quietly resigned, Reflects introspection in a world subtly leaving her behind, Optional touches: light pedal use, breathy phrasing on final words of verses to suggest personal fragility, No theatrical projection, ‑• Any post-Edwardian harmonies or modern songwriting structures • Jazz-influenced phrasing or swing rhythm (pre-1910) • Microphones or amplified vocal dynamics • American slang, ‑20th-century feminist framing, ‑or references to flight/aviation • Gospel or blues scales • Verse-chorus pop song format — refrain must feel organic, ‑not formulaic • Emotional resolution or empowerment tropes; focus on quiet continuation

Year: 1943, Genre: Wartime orchestral lament with elements of English military hymnody and solemn folk tradition, Emotional tone: tense, reverent, mournful, Vocal: male tenor soloist with restrained vibrato, backed by a modest male chorus (RAF-style), Instrumentation: string section, brass (muted trumpets, French horns), snare drum (brush technique), celesta, and subdued military band textures, Harmonic progression echoes Anglican church music and Elgarian melancholy, Tempo: slow and deliberate (approx, 64 BPM), with frequent dramatic pauses, The vocal delivery is grave and reflective, as if written the morning after a historic act carried both by duty and consequence, ‑American swing, ‑big band, ‑or jazz rhythms Female vocals (historically implausible for this context) Any upbeat tone or victory celebration Overly cinematic scoring or exaggerated dramatics Modern harmonic tension (no suspended synth pads or distorted elements) Emotional framing that glorifies war or dehumanizes the target Explicit technical jargon (no “Lancasters, ‑” “bouncing bomb, ‑” etc, ‑)

Year: 1972, Genre: Italian-American orchestral ballad with influence from traditional Neapolitan song (canzone napoletana) and early cinematic scoring, Emotional tone: brooding, noble, tragic, Vocal: rich male tenor, restrained yet emotionally loaded, reminiscent of Italian crooners like Mario Lanza or Claudio Villa, Instrumentation: classical guitar, accordion, mandolin, string quartet, and soft timpani, Occasional use of suspended piano chords for tension, Tempo: slow and deliberate (approx, 68 BPM), with rubato flexibility for expressive phrasing, Vocal delivery is lyrical and sorrowful, blending traditional operatic phrasing with cinematic restraint, ‑Modern pop tropes or pop songwriting structure Jazz or swing elements not associated with Italian ballads English idioms or American slang Electric guitars, ‑synths, ‑or rock percussion Broadway-style theatrical singing Overt references to organized crime clichés or gun violence Any post-1972 musical developments (no disco, ‑no power ballads)

Year: 1965, Genre: Soviet orchestral ballad with cinematic undertones, Influences include the Red Army Choir, Eduard Khil, and early science fiction film scores, Emotional tone: solemn, awe-inspired, noble, Vocal: powerful baritone male soloist with precise diction, supported by male choral harmonies in the chorus, Instrumentation: string orchestra, brass section (prominent horns), balalaika, snare drum rolls, and theremin accents to suggest the surreal vastness of space, Tempo: slow-moderate (approx, 72 BPM), with dramatic pauses and rising melodic arcs, Vocal delivery is formal, resonant, and emotionally charged, as if reporting back from the edge of the unknown, ‑Western rock influences (e, ‑g, ‑electric guitar, ‑backbeat rhythms) Casual or romantic phrasing inconsistent with Soviet formal tone Electronic sounds beyond what was available in the USSR in 1965 Female lead vocals (uncommon in Soviet heroic ballads of the time) Syncopation or jazzy phrasing Modern metaphors about identity, ‑emotion, ‑or individualism Any reference to the U, ‑S, ‑space program or pop culture irony

Year: 2025 Genre & Traits: Global pop summer hit blending modern reggaeton, Afrobeat-inspired percussion, and electro-dance production, Designed for social media virality, poolside playlists, and TikTok choreography, Mood: Flirtatious, high-energy, hypnotic Vocal Type: Male-female vocal duo, with call-and-response phrasing and alternating verses Instrumentation (in order): Synth bass, reggaeton drums, tropical mallets, chopped vocal samples, pad synths, claps/snaps Tempo: 104–108 BPM, syncopated reggaeton clave pattern with sidechained rhythmic compression Performance Notes: Smooth autotuned vocals, occasional vocal chops, chorus repetition optimized for hooks; Latin pop phrasing mixed with English chant lines, ‑• Rock instrumentation, ‑acoustic textures, ‑or organic drums • Jazz, ‑folk, ‑or classical harmony • Dramatic lyrical depth or ambiguity — keep it light, ‑physical, ‑repeatable • Slow ballad pacing or rubato phrasing • Verse–verse–verse structures — chorus must dominate • Overuse of English alone — multilingual phrasing preferred • Anti-hook formats — chorus must be instantly memorable • Harsh distortion or EDM build-drop patterns — smoother transitions preferred

Year: 1974 Genre & Traits: Swedish radio pop in the post-ABBA breakout era, influenced by schlager, glam pop, and Euro-disco precursors, Emphasizes catchy melodic hooks, upbeat rhythm sections, and clean vocal layering, Mood: Energetic, sentimental, youthful Vocal Type: Female solo with multi-track backing vocals (optionally male/female mix) Instrumentation (in order): Electric piano, rhythm guitar, electric bass, simple drum kit, analog synth accents, strings (section pads) Tempo: Upbeat (ca, 112–118 BPM), steady 4/4 rhythm with offbeat syncopation and dynamic choruses Performance Notes: Clean articulation, slight vibrato on key emotional words, natural-sounding multi-track harmonies in chorus, ‑• Disco grooves or funk-style basslines (not yet dominant in 1974 Sweden) • Punk or rock distortion — this is polished radio pop • 80s digital synths, ‑gated reverb, ‑or vocoder effects • Melismatic vocals or R&B phrasing • Complex jazz chords or chromatic progressions • Language that's too modern, ‑ironic, ‑or abstract • Verse-only structure — a strong chorus with refrain is expected • Electronic dance build/drop format

Year: 2006 Genre & Traits: Classical crossover ballad, blending operatic phrasing with pop power ballad structure, Highly cinematic, melodically direct, with lush harmonic progressions and dramatic climaxes, Mood: Grand, emotional, passionate Vocal Type: Male quartet (tenor/baritone blend) with solo + harmony structure Instrumentation (in order): String orchestra, grand piano, cinematic drums, French horns, ambient synth pad (subtle), choir (background only) Tempo: Slow–Moderate (ca, 70–75 BPM) with ritardando into chorus and climactic dynamic swells Performance Notes: Full vocal projection, expressive legato lines, heavy vibrato on sustained notes, seamless shift between solo and unison sections, ‑• Raw operatic realism (verismo), ‑folk textures, ‑or period-specific classical stylings • Intimate acoustic arrangements or solo piano-only formats • Abrupt tonal shifts or asymmetrical song structures • Complex jazz or experimental harmonies • Whispered or overly restrained vocals • Distorted guitars or R&B-style melismatics • Language too abstract or poetic — must be emotionally direct • Verse-only format — song must include a clearly defined chorus and climax

Year: 1899 Genre & Traits: Late-Romantic Viennese orchestral song with dance-infused phrasing, Influenced by the stylized lightness and ornamentation of Strauss-era waltzes, but rendered in a slower, lyrical lied form, Mood: Nostalgic, refined, quietly mournful Vocal Type: Light soprano or mezzo-soprano solo Instrumentation (in order): String ensemble, solo violin, harp, French horn, celesta Tempo: Moderato in 3/4 (waltz meter), but with expressive rubato and occasional rallentando for dramatic weight Performance Notes: Gentle phrasing, expressive legato, touches of vibrato at cadence points; intimate salon projection, not theatrical operatic force, ‑• Direct references to Johann Strauss as a person • Nationalist or triumphalist tone — this is about quiet reflection, ‑not patriotic grandeur • March rhythms, ‑polka structures, ‑or festive brass fanfare • Modern harmony or chromaticism beyond late-Romantic conventions • Rhythmic irregularity — maintain elegant phrasing in triple meter • Vocal belting, ‑gospel layering, ‑or operatic histrionics • References to electricity, ‑cinema, ‑or other turn-of-century inventions • Verse-chorus structures or folk ballad simplicity

Year: 1851 Genre & Traits: Italian dramatic opera aria in the style of mid-19th-century theater, Through-composed monologue format with strong emotional modulation and orchestral accompaniment, Inspired by the structural and melodic characteristics of early Verdi arias: clear motivic development, harmonic tension, and expressive climax, Mood: Tragic, passionate, defiant Vocal Type: Dramatic soprano solo Instrumentation (in order): Full classical orchestra – strings, brass, timpani, woodwinds, harp Tempo: Flexible tempo (Adagio to Allegro moderato), following the character’s emotional arc Performance Notes: Wide dynamic range, intense vibrato, portamento between emotional peaks, use of chest and head voice for expressive shifts, ‑• Salon-style minimalism (no solo piano or chamber arrangements) • Pop or folk-based phrasing or harmonic simplicity • Crooning, ‑whispering, ‑or breathy delivery techniques • Modern vocal mixing or stereo effects • Verse-chorus structure, ‑repeated hooks, ‑or strophic form • English phrasing, ‑internal rhymes, ‑or pop idioms • Intimacy-focused tone — must project emotionally and musically • Electronic, ‑guitar-based, ‑or ambient instrumentation

2013 lo-fi indie synthpop ballad with ambient and surreal textures, Vocals are male, soft and detached, almost whispered, layered with background vocoder harmonies and tape hiss, Instrumentation features analog synth pads, toy piano, detuned electric guitar, vinyl crackle loops, and reversed textures, Tempo is slow (~74 BPM), The tone is melancholic and introspective, as if sung from a couch in a crumbling reality, Harmonies drift unpredictably through modal shifts, with ambient noise allowed to seep into the mix, The emotional weight leans into quiet disorientation — aware that everything’s unraveling, but still doing the dishes, ‑• Direct sci-fi exposition or plot summary • Guitar solos or stadium-style energy • Pop hooks or polished choruses • Comedy sound effects or parody • Orchestral swells or cinematic dynamics • Explicit Rick/Morty character names • High-production vocals or autotune • Clean harmonic resolution or hopeful framing

2019 industrial alt-rock anthem with heavy distortion, dissonant guitar riffs, and filtered male vocals, The tone is aggressive, sarcastic, and politically charged, Vocal delivery is half-sung, half-snapped, often layered with shouted background phrases and filtered megaphone textures, The instrumentation includes fuzz bass, gated drums, synth arpeggios, distorted power chords, and sudden feedback swells, Tempo is fast (~140 BPM), Melody is secondary to rhythm and tension — the structure builds like a protest chant bleeding into a collapse, Emotionally: cynical, combative, anarchic, Reflects mass-media manipulation, cult-of-celebrity worship, and systemic rot, ‑• Classic superhero motifs (brass, ‑hero themes) • Clean vocals or studio pop polish • Sentimental arcs or moral redemption • Orchestral strings or soft piano • Romantic metaphor • American patriotism or inspirational tone • Explicit references to comic book characters • Hopeful chorus resolutions

2017 grimy electro-rock cabaret with distorted carnival elements and underground punk textures, The vocal is male, nasal and frantic, alternating between sung and half-spoken delivery with sarcastic phrasing, Instrumentation includes fuzz bass, drum machine loops, warped organ, detuned guitar, toy piano, and glitchy FX stabs, Tempo is fast (~132 BPM) with sudden stops and cuts, The tone is a blend of manic cheer and urban despair, like a circus anthem gone psychotic, Embraces rhythmic chaos, sarcastic lyrics, and tonal instability — reflecting a collapsing moral order seen from a sidewalk café or back alley, ‑• Emotional sincerity or traditional balladry • High-gloss pop production or major-key optimism • Realistic vocal polish or clean phrasing • EDM drops, ‑trap beats, ‑or autotune • Comic book references or character names • Sentimentality, ‑redemption arcs, ‑or moral clarity • Smooth harmonies or lush orchestration • Predictable song structures (e, ‑g, ‑Verse-Chorus-Verse symmetry)

2016 noir-inspired dark pop ballad with blues-rock and trip-hop undertones, Female lead vocal, sultry and restrained, with subtle vibrato and midrange projection, The arrangement is moody and seductive: Rhodes electric piano, deep reverb electric guitar, sub-bass synth, dusty snares, and atmospheric pads, Tempo is slow (ca, 68 BPM), with a seductive swing, The harmonic language blends minor 7th chords with modern modal textures, Vocal delivery is conversational, sometimes whispered, suggestive of internal monologue or temptation, Ideal for a velvet-lit club setting at 2 AM in a morally gray city, ‑• Symphonic orchestration or epic film scoring • Power ballad vocals or overproduced effects • Gospel choirs or religious framing • Modern slang or internet references • Explicit comic book references or character names • EDM builds, ‑drops, ‑or synth risers • Rap, ‑punk, ‑or indie folk textures • Major-key choruses or upbeat tonal shifts

1986 British theatrical jazz-noir with cabaret-style vocals and dissonant orchestration, The mood is surreal, cerebral, and emotionally fractured, A baritone male singer delivers narrative-style lyrics with clipped phrasing and sardonic tone, reminiscent of pre-war torch songs and stage monologues, Instrumentation includes upright piano, muted trumpet, brushed drums, bass clarinet, tremolo strings, and detuned accordion, Tempo varies — moderate swing (~92 BPM) but with off-beat accents and halting transitions, The musical style alternates between smoky jazz club ambiance and fever-dream cabaret, Intended to reflect the fragmented consciousness of an unreliable narrator, ‑• Modern jazz fusion, ‑synths, ‑or rock elements • American phrasing or vocal stylings • Smooth melodies or clean production • Pop structures or sing-along choruses • Realism — the tone must allow ambiguity and surrealism • Conventional rhyme schemes (irregularity is good) • Any direct explanation of the show's narrative