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Period (music)
In music theory, the term period refers to forms of repetition and contrast between adjacent small-scale Musical form, formal structures such as phrases. In twentieth-century music scholarship, the term is usually used similarly to the definition in the ''Oxford Companion to Music'': "a period consists of two phrases, antecedent and consequent, each of which begins with the same basic motif (music), motif." Earlier and later usages vary somewhat, but usually refer to notions of symmetry, difference, and an open section followed by a closure. The concept of a musical period originates in comparisons between music structure and rhetoric at least as early as the 16th century. Western art music In Western art music or Classical music, a period is a group of phrase (music), phrases consisting usually of at least one antecedent phrase and one consequent phrase totaling about 8 bar (music), bars in length (though this varies depending on meter and tempo). Generally, the antecedent end ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Haydn - Feldpartita Period
Franz Joseph Haydn ( ; ; 31 March 173231 May 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the string quartet and piano trio. His contributions to musical form have led him to be called "Father of the Symphony" and "Father of the String quartet". Haydn arose from humble origins, the child of working people in a rural village. He established his career first by serving as a chorister at St. Stephen's Cathedral, Vienna, then through an arduous period as a freelance musician. Eventually he found career success, spending much of his working life as music director for the wealthy Esterházy family at their palace of Eszterháza in rural Hungary. Though he had his own orchestra there, it isolated him from other composers and trends in music so that he was, as he put it, "forced to become original". During this period his music circulated widely in publication, eventually making him the most celebrated compos ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nattiez, Jean-Jacques
Jean-Jacques Nattiez (; born December 30, 1945) is a French musicologist and ethnomusicologist active in Canada, who is seminal figure in music semiology. Professor of musicology at the Université de Montréal since 1972,. he studied semiology with Georges Mounin and Jean Molino and music semiology (doctoral) with Nicolas Ruwet. Life and career Jean-Jacques Nattiez was born on December 30, 1945, in Amiens, France. He is a noted specialist on the writings of the composer and conductor Pierre Boulez. In 1990, he was made a Member of the Order of Canada. In 2001, he was made a Knight of the National Order of Quebec. Awards *1988, Dent Medal of the Royal Musical Association *1989, Prix André-Laurendeau pour les sciences humaines from the Association canadienne française pour l'avancement des sciences *1990, Molson Prize from the Canada Council *1994, prix Léon-Gérin pour les sciences sociales du Gouvernement du Québec *1996, Fumio Koizumi Prize for Ethnomusicology ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Call And Response
Call and response is a form of interaction between a speaker and an audience in which the speaker's statements ("calls") are punctuated by responses from the listeners. This form is also used in music, where it falls under the general category of antiphony. African cultures In some African cultures, call-and-response is a widespread pattern of democratic participation—in public gatherings, in the discussion of civic affairs, in religious rituals, as well as in vocal and instrumental musical expression (see call and response in music). African bondsmen and bondswomen in the Americas continued this practice over the centuries in various forms of expression—in religious observance; public gatherings; even in children's rhymes; and, most notably, in music in its multiple forms: blues, gospel, rhythm and blues, soul, jazz, hip-hop and go-go. Many work songs sung on plantations by enslaved men and women also incorporate the call and response format. African-American women work s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cross-rhythm
In music, a cross-beat or cross-rhythm is a specific form of polyrhythm. The term ''cross rhythm '' was introduced in 1934 by the Musicology, musicologist Arthur Morris Jones (1889–1980). It refers to a situation where the rhythmic conflict found in polyrhythms is the basis of an entire musical piece. Etymology The term "cross rhythm" was introduced in 1934 by the Musicology, musicologist Arthur Morris Jones (1889–1980), who, with Klaus Wachsmann, took-up extended residence in Zambia and Uganda, respectively, as missionaries, educators, musicologists, and museologists. African music One main system African cross-rhythm is most prevalent within the greater Niger-Congo linguistic group, which dominates the continent south of the Sahara Desert. (Kubik, p. 58) Cross-rhythm was first identified as the basis of sub-Saharan rhythm by A.M. Jones. Later, the concept was more fully explained in the lectures of Ewe drumming, Ewe master drummer and scholar C.K. Ladzekpo, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Clave (rhythm)
The clave (; ) is a rhythmic pattern used as a tool for meter (music), temporal organization in Brazilian and Afro-Cuban music, Cuban music. In Spanish, ''clave'' literally means key, clef, code, or keystone. It is present in a variety of genres such as Abakuá music, Cuban rumba, rumba, conga (music), conga, son (music), son, mambo (music), mambo, Salsa music, salsa, songo music, songo, timba and Afro-Cuban jazz. The five-drum stroke, stroke clave pattern represents the structural core of many Cuban rhythms. The study of rhythmic methodology, especially in the context of Afro-Cuban jazz, Afro-Cuban music, and how it influences the Music and emotion, mood of a piece is known as clave theory. The clave pattern originated in sub-Saharan African music traditions, where it serves essentially the same function as it does in Cuba. In ethnomusicology, clave is also known as a ''key pattern'', ''guide pattern'', ''phrasing referent'', ''timeline'', or ''asymmetrical timeline''. The clav ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Son Clave 3 Side And 2 Side-B
A son is a male offspring; a boy or a man in relation to his parents. The female counterpart is a daughter. From a biological perspective, a son constitutes a first degree relative. Social issues In pre-industrial societies and some current countries with agriculture-based economies, a higher value was, and still is, assigned to sons rather than daughters, giving males higher social status, because males were physically stronger, and could perform farming tasks more effectively. In China, a one-child policy was in effect until 2015 in order to address rapid population growth. Official birth records showed a rise in the level of male births since the policy was brought into law. This was attributed to a number of factors, including the illegal practice of sex-selective abortion and widespread under-reporting of female births. In patrilineal societies, sons will customarily inherit an estate before daughters. In some cultures, the eldest son has special privileges. For examp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cinquillo
A cinquillo is a typical Cuban/Caribbean rhythmic cell, used in the Cuban contradanza (the " habanera") and the danzón.Mauleón, Rebeca (1993: 51). ''Salsa Guidebook: For Piano and Ensemble''. Petaluma, California: Sher Music. The figure is also a common bell pattern found throughout sub-Saharan Africa. It consists of an eighth, a sixteenth, an eighth, a sixteenth, and an eighth note. Placing this rhythm in a 2/4 measure produces a strongly syncopated character from the sustained note which replaces an articulated one on the first quarter of the second beat. Cinquillo is an embellishment of the more basic pattern known as tresillo. Cinquillo is shown twice below. The first one merely displays the note values. The second one is a so-called orthographic notation, which gives an impression of the syncopated character. \new RhythmicStaff When followed by four unsyncopated eighth notes, it is known as the baqueteo. Like the clave, this forms a pair of measures, sync ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tresillo (rhythm)
Tresillo ( ; ) is a rhythmic pattern (shown below) used in Latin American music. It is a more basic form of the rhythmic figure known as the ''habanera''. : \new RhythmicStaff Tresillo is the most fundamental duple-pulse rhythmic cell in Cuban and other Latin American music. It was introduced in the New World through the Atlantic slave trade during the Colonial period. The pattern is also the most fundamental and most prevalent duple-pulse rhythmic cell in Sub-Saharan African music traditions. The cinquillo pattern is another common embellishment of tresillo. Cinquillo is used frequently in the Cuban contradanza (the "habanera") and the danzón. Triplet (formal usage) ''Tresillo'' is a Spanish word meaning " triplet"—three equal notes within the same time span normally occupied by two notes. In its formal usage, ''tresillo'' refers to a subdivision of the beat that does not normally occur within the given structure. Therefore, it is indicated by the number 3 between the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bell Pattern
A bell pattern is a rhythmic pattern of striking a hand-held bell or other instrument of the idiophone family, to make it emit a sound at desired intervals. It is often a ''key pattern'' (also known as a ''guide pattern'', ''phrasing referent'', ''timeline'', or ''asymmetrical timeline''Kubik, Gerhard (1999: 54) ''Africa and the Blues''. Jackson, MS: University Press of Mississippi. .), in most cases it is a metal bell, such as an agogô, gankoqui, or cowbell, or a hollowed piece of wood, or wooden claves. In band music, bell patterns are also played on the metal shell of the timbales, and drum kit cymbals. Sub-Saharan African music Gerhard Kubik notes that key patterns are not universally found in sub-Saharan Africa: "Their geographical distribution mainly covers those parts of Africa where I.A.4 (Kwa languages) and the ' western stream' of the I.A.5 (Benue–Congo languages), or ' Bantu' languages are spoken, with offshoots into the Lower Zambezi valley and the Nyasa/Ruvu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
African Diaspora
The African diaspora is the worldwide collection of communities descended from List of ethnic groups of Africa, people from Africa. The term most commonly refers to the descendants of the native West Africa, West and Central Africans who were slavery, enslaved and shipped to the Americas via the Atlantic slave trade between the 16th and 19th centuries, with their largest populations in Brazil, the United States, and Haiti. The term can also be used to refer to Demographics of Africa, African descendants who immigrated to other parts of the world. Scholars identify "four circulatory phases" of this migration out of Africa. The phrase ''African diaspora'' gradually entered common usage at the turn of the 21st century. The term ''diaspora'' originates from the Greek (''diaspora'', "scattering") which gained popularity in English in reference to the Jewish diaspora before being more broadly applied to other populations. Less commonly, the term has been used in scholarship to refe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sub-Saharan Music
In many parts of sub-Saharan Africa, the use of music is not limited to entertainment: it serves a purpose to the local community and helps in the conduct of daily routines. Traditional African music supplies appropriate music and dance for work and for religious ceremonies of birth, naming, rites of passage, marriage and funerals. The beats and sounds of the drum are used in communication as well as in cultural expression. African dances are largely participatory: there are traditionally no barriers between dancers and onlookers except with regard to spiritual, religious and initiation dances. Even ritual dances often have a time when spectators participate. Dances help people work, mature, praise or criticize members of the community, celebrate festivals and funerals, compete, recite history, proverbs and poetry and encounter gods. They inculcate social patterns and values. Many dances are performed by only males or females. Dances are often segregated by gender, reinforcing ge ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Standard Pattern
A bell pattern is a rhythmic pattern of striking a hand-held bell or other instrument of the idiophone family, to make it emit a sound at desired intervals. It is often a clave rhythm, ''key pattern'' (also known as a ''guide pattern'', ''phrasing referent'', ''timeline'', or ''asymmetrical timeline''Kubik, Gerhard (1999: 54) ''Africa and the Blues''. Jackson, MS: University Press of Mississippi. .), in most cases it is a metal bell, such as an agogô, gankoqui, or Cowbell (instrument), cowbell, or a hollowed piece of wood, or wooden claves. In band music, bell patterns are also played on the metal shell of the timbales, and drum kit cymbals. Sub-Saharan African music Gerhard Kubik notes that key patterns are not universally found in sub-Saharan Africa: "Their geographical distribution mainly covers those parts of Africa where The Languages of Africa#I. Congo–Kordofanian, I.A.4 (Kwa languages) and the 'West Benue–Congo, western stream' of the I.A.5 (Benue–Congo languages ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
