Drums in the context of Đông Sơn drum

Grunge (originally known as the Seattle Sound) is an alternative rock genre and subculture that emerged during the mid-1980s in the U.S. state of Washington, particularly in Seattle and Olympia, and other nearby cities. Grunge fuses elements of punk rock and heavy metal, and features the distorted electric guitar sound used in both genres, as well as bass guitar, drums, and vocals. Grunge also incorporates influences from indie rock bands such as Sonic Youth, Pixies, and Dinosaur Jr. Lyrics are typically angst-filled and introspective, often addressing themes such as social alienation, self-doubt, abuse, neglect, betrayal, social isolation and emotional isolation, addiction, psychological trauma, and a desire for freedom.

The early grunge movement revolved around Seattle's independent record label Sub Pop and the region's underground music scene, with local bands such as Green River, the Melvins, and Mudhoney playing key roles in the genre's development. Sub Pop marketed the style shrewdly, encouraging media outlets to describe the Seattle sound as "grunge"; the style became known as a hybrid of punk and metal. By the early 1990s, its popularity had spread, with similar sounding bands appearing in California, then emerging in other parts of the United States and Australia, building strong followings and signing major record deals. Grunge broke through into the mainstream in the early-to-mid-1990s, led by Nirvana's Nevermind in 1991, and followed by other crossover successes including Pearl Jam's Ten, Soundgarden's Badmotorfinger, and Alice in Chains' Dirt. The success of these bands boosted the popularity of alternative rock, eventually making grunge the most popular form of hard rock music during the 1990s.

In music performances, rhythm guitar is a guitar technique and role that performs a combination of two functions: to provide all or part of the rhythmic pulse in conjunction with other instruments from the rhythm section (e.g., drum kit, bass guitar); and to provide all or part of the harmony, i.e. the chords from a song's chord progression, where a chord is a group of notes played together. The basic technique of rhythm guitar is to hold down a series of chords with the fretting hand while strumming or fingerpicking rhythmically with the other hand. More developed rhythm techniques include arpeggios, damping, riffs, chord solos, and complex strums.

In ensembles or bands playing within the acoustic, country, blues, rock or metal genres (among others), a guitarist playing the rhythm part of a composition plays the role of supporting the melodic lines and improvised solos played on the lead instrument or instruments, be they strings, wind, brass, keyboard or even percussion instruments, or simply the human voice, in the sense of playing steadily throughout the piece, whereas lead instruments and singers switch between carrying the main or countermelody and falling silent. In big band music, the guitarist is considered part of the rhythm section, alongside bass and drums.

The continent of Africa and its music is vast and highly diverse, with different regions and nations maintaining distinct musical traditions. African music includes genres such as makwaya, highlife, mbube, township music, jùjú, fuji, jaiva, afrobeat, afrofusion, mbalax, Congolese rumba, soukous, ndombolo, makossa, kizomba, and taarab, among others. African music also uses a wide variety of instruments from across the continent. The music and dance traditions of the African diaspora, shaped to varying degrees by African musical traditions, include American genres such as Dixieland jazz, blues, and jazz, as well as Caribbean styles such as calypso (see kaiso), and soca. Latin American music genres including cumbia, salsa, son cubano, rumba, conga, bomba, samba, and zouk developed from the music of enslaved Africans and have, in turn, influenced contemporary African popular music.

Like the music of Asia, India, and the Middle East, African music is highly rhythmic. Its complex rhythmic patterns often involve one rhythm played against another to create a polyrhythm. A common example is the three-against-two rhythm, comparable to a triplet played against straight notes. Sub-Saharan African music traditions frequently rely on a wide array of percussion instruments, including xylophones, djembes, drums, and tone-producing instruments such as the mbira or "thumb piano".

The Toyota Partner Robots are a series of humanoid robots developed by Toyota. They debuted playing music on drums and trumpets at the 2005 World EXPO in Aichi, Japan.There are 5 robots in all, most of which have different movement systems. The 5 robots are: Version 1 (bipedal robot), Version 2 (Segway-like wheels), Version 3 (Segway-like wheels), Version 4 (unique wire system) and the i-Foot (mountable with 2 legs).In July 2009, Toyota released a video of the running and standing skills of their partner robot. The robot reaches 7 km/hour, however walking and running can only be achieved on flat surfaces. In 2017, Toyota released its third-generation of humanoid robots, T-HR3, which will be used in space travel.

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  The walking type playing the trumpet.
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  The wire type.
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  The i-Foot.
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  TPR-ROBINA.

Ultras are a type of association football fans who are known for their fanatical support. The term originated in Italy, but is used worldwide to describe predominantly organised fans of association football teams. The behavioural tendency of ultras groups includes singing football chants, playing musical instruments such as drums, their use of flares and smoke bombs (primarily in tifo choreography), frequent use of elaborate displays, vocal support in large groups and the displaying of flags and banners at football stadiums, all of which are designed to create an atmosphere which encourages their own team and intimidates the opposing players and their supporters. These groups also commonly organise trips to attend away games.

Ultras groups have been responsible for many cases of football hooliganism and violence, although differently from hooligan firms, ultras do not have the explicit objective of fighting other fans. Ultras groups are also in some cases directly linked to ideologies like neo-Nazism and other forms of far-right politics, and sometimes far-left politics. In some instances, hooliganism and/or this politicisation goes to the point where support for their team is relegated to a secondary feature of the phenomenon.