A measure on how popular the track is on Spotify. This metric is calculated mostly on how many plays have been recently, so a very popular song from the past will have a lower popularity score than a recent track with many plays. If you click on the 1% underlined to the right, it will take you to Musicstax Metrics which tracks popularity over time.
A measure on how intense a track sounds, through measuring the dynamic range, loudness, timbre, onset rate and general entropy. 0% indicates low energy, 100% indicates high energy.
A measure on how suitable a track could be for dancing to, through measuring tempo, rhythm, stability, beat strength and overall regularity. Tracks near 0% are least danceable, whereas tracks near 100% are more suited for dancing to.
A measure how positive, happy or cheerful track is. Values near 0% suggest a sad or angry track, where values near 100% suggest a happy and cheerful track.
A measure on the presence of spoken words. Values below 33% suggest it is just music, values between 33% and 66% suggest both music and speech (such as rap), values above 66% suggest there is only spoken word (such as a podcast).
A measure on how likely it is the track has been recorded in front of a live audience instead of in a studio. This is measured by detecting the presence of an audience in the track. Values over 80% suggest that the track was most definitely performed in front of a live audience.
A measure on how likely the track is acoustic. The higher the number, the more likely it is there is no electronic instruments and that the instruments in the track are created through acoustic instruments.
A measure on how likely the track does not contain any vocals. Values over 50% indicate an instrumental track, values near 0% indicate there are lyrics.
Discover songs similar to Salome, Op. 54, TrV 215 / Scene 4: O über dies geile Weib, die Tochter Babylons
Richard Wagner -
Lohengrin, Act III: Prelude
41% popularity • 94 bpm • G Maj • 02:31 • 4/4
Ottorino Respighi -
Suite No. 3, P. 172: I. Italiana: Andant...
48% popularity • 94 bpm • A# Maj • 02:46 • 3/4
Jean Sibelius -
Sonatina No. 1, Op. 67: III. Allegro mod...
42% popularity • 94 bpm • F# Maj • 01:41 • 4/4
Léo Delibes -
Le roi s'amuse: Final
55% popularity • 94 bpm • A min • 01:04 • 3/4
Richard Strauss -
Elektra: Vi. Was heulst du?
1% popularity • 94 bpm • C# Maj • 02:15 • 4/4
César Franck -
Violin Sonata in A major, FWV 8: IV. All...
52% popularity • 94 bpm • A Maj • 06:04 • 4/4
Georges Bizet -
L’arlésienne Suite No. 1, Op. 23bis, ...
39% popularity • 94 bpm • G# Maj • 02:44 • 4/4
Gerald Finzi -
Love's Labour's Lost, Op. 28a: II. Longa...
39% popularity • 94 bpm • D min • 01:40 • 3/4
Frédéric Chopin -
24 Préludes, Op. 28: No. 15 in D-Flat M...
31% popularity • 95 bpm • C# Maj • 04:51 • 4/4
Edward Elgar -
Elgar: Cello Concerto in E Minor, Op. 85...
31% popularity • 93 bpm • A# Maj • 05:18 • 3/4
Richard Strauss -
Strauss, R: 6 Lieder, Op. 17: No. 2, St�...
18% popularity • 94 bpm • F# Maj • 02:34 • 4/4
Alexander Borodin -
Prince Igor (Knyaz Igor): Act II: Dance ...
35% popularity • 95 bpm • F Maj • 02:20 • 4/4
Frederick Delius -
3 Small Tone Poems: No. 3. Spring Mornin...
30% popularity • 95 bpm • A Maj • 07:24 • 3/4
Johann Sebastian Bach -
St. Matthew Passion, BWV 244 / Part Two:...
22% popularity • 93 bpm • B min • 07:01 • 3/4
Salome, Op. 54, TrV 215 / Scene 4: O über dies geile Weib, die Tochter Babylons is a song by Richard Strauss, released on 1971-01-01. It is track number 22 in the album Strauss, R.: Salome. Salome, Op. 54, TrV 215 / Scene 4: O über dies geile Weib, die Tochter Babylons has a BPM/tempo of 94 beats per minute, is in the key of F min and has a duration of 2 minutes, 28 seconds.
Salome, Op. 54, TrV 215 / Scene 4: O über dies geile Weib, die Tochter Babylons is currently not very popular on Spotify, being rated in the bottom 10% of songs popular on Spotify right now, and it has been released more than two weeks ago meaning it is likely the tracks popularity score may remain fairly stable, is fairly energetic and is somewhat easy to dance to.
