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Bolero

Mon, 01 Jan 0001 00:00:00 +0000

Origins#

In Cuba, the bolero was perhaps the first great Cuban musical and vocal synthesis to win universal recognition. In time, this dance music spread to other countries, leaving behind what Ed Morales has called the “most popular lyric tradition in Latin America.” The Cuban bolero tradition originated in Santiago de Cuba in the last quarter of the 19th century; it does not owe its origin to the Spanish music and song of the same name. In the 19th century there grew up in Santiago de Cuba a group of itinerant musicians who moved around earning their living by singing and playing the guitar. Pepe Sanchez is known as the father of the trova style and the creator of the Cuban bolero. Untrained, but with remarkable natural talent, he composed numbers in his head and never wrote them down. As a result, most of these numbers are now lost, but two dozen or so survive because friends and students wrote them down. He was the model and teacher for the great trovadores who followed.

Bolero (Spanish dance)

Mon, 01 Jan 0001 00:00:00 +0000

Classical music#

During its heyday, the bolero became a popular dance in ballrooms across Spain and was performed by Spanish troupes abroad along with other dances such as the cachucha. Over time, many classical composers wrote pieces inspired in the genre: * Frédéric Chopin wrote Boléro for solo piano (Op. 19) in 1834, but its rhythms are more those of the polonaise. He was a close friend of Pauline Viardot, the daughter of the famed Spanish tenor Manuel García, who had introduced the bolero to Paris. * Clara Schumann wrote “Caprice à la Boléro” as the second movement of her 4 Pièces caractéristiques for piano, opus 5, composed 1834–1836. *Giuseppe Verdi wrote a bolero, Mercé, dilette amiche, for his 1855 opera I vespri siciliani. * Charles-Auguste de Bériot wrote a bolero in his Scène de ballet (Op. 100), 1840s, for violin and piano (or orchestra), one of his most famous pieces. * Julián Arcas wrote several bolero pieces for guitar and greatly influenced both the bolero form and guitar playing in the context of classical music. * Louis James Alfred Lefébure-Wély wrote Boléro de Concert for organ in 1865. * Hervé wrote a bolero for his operetta Chilpéric in 1868, which was immortalized in painting by Toulouse-Lautrec. * Léo Delibes wrote a bolero in Tableau 2 of Coppélia, 1870. * Camille Saint-Saëns wrote a bolero for 2 voices and orchestra, El desdichado, 1871. * Moritz Moszkowski wrote a bolero as the last of his first set of Spanish Dances (Op. 12), 1876. * César Cui’s Bolero from 1881 was composed for solo soprano voice with accompaniment of orchestra or piano, and published with Russian, Italian, and French texts. The score is available at IMSLP/Petrucci. * Friedrich Baumfelder wrote Premier Boléro for piano (Op. 317) in 1883. * Joe Morley wrote a bolero for banjo titled “El contrabandista” (c. 1920) after noted banjoist and composer Alfred Cammeyer published a bolero in time for banjo. Morley composed his as a true bolero in time. * Maurice Ravel wrote Boléro (whose working title was Fandango) as a ballet score commissioned by Ida Rubinstein in 1928, but it is now usually played as a concert piece. It has inspired other classical works such as Fumio Hayasaka’s theme for Rashomon, 1950. * Richard Aaker Trythall wrote a bolero for four percussionists in 1979. It is based on the rhythm and structure of the traditional Spanish bolero. Trythall imagined the four percussionists as four dancers, intertwining their solos, duets, and trios with moments of group ensemble work in the same way a choreographer might have done. * John Serry Sr. composed his African Bolero for accordion and flute in 1950. * Keith Emerson composed his Abaddon’s Bolero for orchestra and synthesizer in 1972. * Zbigniew Preisner’s film score for Three Colors: Red (1994) employs the bolero rhythm in several cues. * Ryuichi Sakamoto composed Blu in 2014, for piano and orchestra. The piece starts with a dreamy piano melody that is followed by a four-minute bolero part. * Barry Gray composed Zero-X, an Incidental cue, for the score of the 1966 film ‘Thunderbirds Are Go’, using a bolero rhythm. Some art music boleros are actually based on the habanera, a Cuban adaptation of the French contredanse which was often featured in French opera and Spanish zarzuela.

Bomba (Ecuador)

Mon, 01 Jan 0001 00:00:00 +0000

List of most popular bomba bands#

Edgar Gonzalon “Negrito de la Salsa”
La Banda Mocha
Marabu
Mario Polo
Mario Congo
Nery Padilla
Oro Negro
Poder Negro
Eddy More

External links#

Articles about bomba del chota as well as afro-ecuadorian music
video of “Bomba bomba” by Grupo Marabu
Short documentary about the Banda Mocha, a local variant of bomba music
Choreography of children dancing to Bomba music
Music video performer Cundi Cundi by Eddy More
Instituto Nacional de Patrimonio Cultural (INPC) y el Ministerio de Cultura y Patrimonio (MCyP) in Spanish

Bomba (Puerto Rico)

Mon, 01 Jan 0001 00:00:00 +0000

History#

The roots of the bomba tradition can be traced to the Asante people of Ghana. The word bomba is derived from the Akan and Bantu languages of Africa. Bomba was developed by West African slaves and their descendants on sugar plantations in Puerto Rico during the early European colonial period. Despite lacking a shared language due to their varied origins, they found common ground in music. Cane workers used music and dance to release feelings of sadness, anger, and resistance; they were also used to communicate and plan rebellions and were integrated into baptism and marriage celebrations. The first documentation of bomba dates to 1797, when botanist André Pierre Ledru described his impressions of inhabitants dancing and singing popular bombas in . Distinct regional styles of bomba developed across Puerto Rico, each possessing its own characteristics. For example, the style performed in Ponce is distinguished by the use of large drums which are mounted vertically. Bomba was also significantly shaped by Haitian influences. The music of Haitian slaves, many of whom were brought to Puerto Rico during the Haitian Revolution, contributed to the rhythm typical to bomba in Mayagüez.

Bongo Flava

Mon, 01 Jan 0001 00:00:00 +0000

Etymology#

The name “Bongo” in Bongo Flava comes from Kiswahili usually meaning brains, intelligence, cleverness. Bongo is the augmentative form of Ubongo, a Swahili word for Brain. Flava is a Swahili term for Flavour. In 1981, musician Remmy Ongala joined a band called Orchestra Super Matimila. Each band had a unique mtindo (style/fashion) and Ongala’s band Matimila named their mtindo “Bongo Beat”. Ongala later became the most famous musician ever for Tanzania, reaching global fame working with English singer Peter Gabriel.

Boogaloo

Mon, 01 Jan 0001 00:00:00 +0000

History#

In the 1950s and 1960s, African Americans in the United States listened to various styles of music including rock and roll, jump blues, R&B and doo-wop and jazz. Latinos in New York City shared these tastes, but they also listened to genres like mambo or cha cha chá. There was a mixing of Puerto Ricans, Cubans and African Americans and others in clubs, whose bands tried to find common musical ground. Boogaloo was a result of this search, a marriage of many styles including Cuban son montuno, guaguancó, guajira, guaracha, mambo, and American R&B and soul. Styles like doo wop also left a sizable influence, through Tony Pabón (of the Pete Rodríguez Band), Bobby Marín, King Nando, and Johnny Colon. Boogaloo has been called by Izzy Sanabria “the greatest potential that Cuban rhythms had to really cross over in terms of music”. Though boogaloo did not become mainstream nationwide until later in the decade, two early Top 20 hits came in 1963: Mongo Santamaría’s cover version of the Herbie Hancock’s “Watermelon Man” and Ray Barretto’s “El Watusi”. Inspired by these successes, a number of bands began imitating their infectious rhythms (which were Latinized R&B), intense conga rhythms and clever novelty lyrics. Boogaloo was the only Cuban-style rhythm which occasionally acquired English lyrics. Established Cuban-influenced orchestras also recorded the occasional boogaloo, including Tito Rodríguez, Willie Bobo, Tito Puente and arranger, composer Ray Santos and his orchestra, which recorded “Cindy’s Boogaloo” in 1968. Most of the other groups were young musicians – some were teenagers – the Latin Souls, the Lat-Teens, the Latinaires, Pucho & His Latin Soul Brothers, and Joe Bataan. Use of the term boogaloo in referring to a musical style was probably coined in about 1966 by Richie Ray and Bobby Cruz. The biggest boogaloo hit of the 1960s was “Bang Bang” by the Joe Cuba Sextet, which sold over one million copies in 1966. “El Pito” was another hit by this popular combo. Hits by other groups included Johnny Colón’s “Boogaloo Blues”, Pete Rodríguez’s “I Like It like That”, The closing marked the end of mainstream mambo, and boogaloo ruled the Latin charts for several years before salsa began to take over. At the same time, several other rhythmical inventions came to notice: the dengue, the jala-jala and the shing-a-ling were all offshoots of the mambo and chachachá. The craze was mostly over by 1970, perhaps because of the hostility of established bands and key booking agents; the reason is uncertain. It had been an intense, if brief, musical movement, and the music is still highly regarded today. In the 2000s, Latin boogaloo has seen a resurgence in popularity, with artists like Bataan experiencing renewed interest in their Latin boogaloo output, and new groups emerging to form a Latin boogaloo revival. In Cali, Colombia, boogaloo, salsa and pachanga are played by disc jockeys like Heynar Alonso and others in FM and AM radio stations and dance clubs.

Boogie (genre)

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

Boogie, following the example of post-disco, generally lacks the four-on-the-floor beat, the “traditional” rhythm of disco music; instead, the genre has a strong accent on the second and fourth beats, and tempo generally in the 110 to 116 beats-per-minute range. and predominantly draws from funk music. Other influences from a completely different music landscape include jazz. The term, coined by British DJs Norman Jay and Dez Parkes, had been used on eBay to refer a specific form of early-1980s dance music of African-American origin.

Boogie rock

Mon, 01 Jan 0001 00:00:00 +0000

John Lee Hooker-style#

In 1948, American blues artist John Lee Hooker recorded “Boogie Chillen’”, an urban electric blues tune derived from early North Mississippi Hill country blues. Musicologist Robert Palmer notes “Hooker wasn’t copying piano boogie. He was playing something else—a rocking one-chord ostinato with accents that fell fractionally ahead of the beat.” Hooker’s “repeated monochord riff” on guitar was adapted by the American rock group Canned Heat for “Fried Hockey Boogie”, first released in 1968 on their Boogie with Canned Heat album. Other artists soon followed, with Norman Greenbaum’s “Spirit in the Sky” (1969, Spirit in the Sky) and ZZ Top’s “La Grange” (1973, Tres Hombres) being two of the earlier popular songs in the style. The English group Foghat reworked Hooker’s boogie for their popular “Slow Ride” (1975, Fool for the City): “they help interject some breath into the riff and help give it more rhythmic propulsion”. In the 1980s, it was updated further by Van Halen for “Hot for Teacher” (1984, 1984) and by Joe Satriani in “Satch Boogie” (1987, Surfing with the Alien): “John Lee Hooker may not have recognized the roots of his Satriani’s pioneering efforts, but it still contains the spirit of the genre, albeit in an exceptionally contemporary vein”.

Boogie-woogie

Mon, 01 Jan 0001 00:00:00 +0000

Musical features#

Boogie-woogie is characterized by a regular left-hand bass figure, which is transposed following the chord changes. : : Boogie-woogie is not strictly a solo piano style; it can accompany singers and be featured in orchestras and small combos. It is sometimes called “eight to the bar”, as much of it is written in common time () time using eighth notes (quavers) (see time signature). The chord progressions are typically based on I–IV–V–I (with many formal variations of it, such as I/i–IV/iv–v/I, as well as chords that lead into these ones). For the most part, boogie-woogie tunes are twelve-bar blues, although the style has been applied to popular songs such as “Swanee River” and hymns such as “Just a Closer Walk with Thee”. Typical boogie-woogie bassline: : :

Boom bap

Mon, 01 Jan 0001 00:00:00 +0000

History#

The term boom bap originated in 1984 when it was used by T La Rock to describe the beat of the kick drum and the snare in the song “It’s Yours”. T La Rock spoke in an off-script fashion, using the words “boom bap” to mimic the sound of the rhythm. This was the first recorded onomatopoeic expression of the beat. The term later became a universal name for the subgenre of hip hop as a whole. DJ Premier suggested that boom bap existed before the production of “It’s Yours”. He states the term was used by the wider hip-hop community as a term to describe all hip hop and the beat that is produced for it. The subgenre became increasingly better known when KRS-One released an album under the title Return of the Boom Bap.

Boomba music

Mon, 01 Jan 0001 00:00:00 +0000

Vegatone#

Vegatone, Riftsyde flava or Naxvegas muzik is a genre of hip hop/Afro Dancehall music that originated from the town of Nakuru or colloquially Naks/NaxVegas as many youths call it. The music is a blend of indigenous kapuka mixed with a reggae baseline. It is characterized by very flashy Musicians who mainly rap and sing about their sexual escapades and the number of women that they keep, but cipher their language to avoid being explicit. Vegatone has evolved in recent times. Artists in this genre include award-winning artist Teferah who has numerous hits having worked with Nyanda from Brick and Lace on the song “Put It On Me” produced in Romania by Tommo records, and getting signed to an American music label Mpact Muzik in 2017. Teferah is seen as a break-through artist in this genre. Other Vegatone artists are Rhonda Bwoy, Skymer, Juss Nera, Hush BK, Avril, Vivian, K-FRESH, Igiza, Obako, Mavo, 77 and many more. Nakuru is credit for creating the viral sounds of Gengetone which uses the slang used in Nakuru and most Gengetone producers are from Nakuru Sadafa, Mavo on the beat, Duboiz, Samba on the beat, Andah water, Magix Enga and other creatives that fuse Vegatone arrangements. Vegatone is a common sound especially on Kenyan and local nakuru radios highly popularized by Radio presenter Caleb Koyo.

Border ballad

Mon, 01 Jan 0001 00:00:00 +0000

Ballad types#

The ballads belong to various groups of subjects, such as riding ballads like “Kinmont Willie”; historical ballads like “Sir Patrick Spens”; comic ballads like “Get Up and Bar the Door”; and those with supernatural themes including “Thomas the Rhymer” (also known as “True Thomas” or “Thomas of Erceldoune”) and “Tam Lin”.

Writings about#

Some of the earliest known references (in Middle Scots) to the ballads appeared in The Complaynt of Scotland (1549). Sir Walter Scott wrote about border ballads in Minstrelsy of the Scottish Border, first published in 1802–03. A. L. Lloyd said of the ballads:

Borgeet

Mon, 01 Jan 0001 00:00:00 +0000

Lyrics#

The are written in the form of verse. The first pada, marked , works as a refrain and is repeated over the course of singing of the succeeding verses. In the last couplet, the name of the poet is generally mentioned. The structure of is said to model the songs of 8-10th century Charyapada. The first borgeet, mana meri rama-caranahi lagu, was composed by the Sankardeva at Badrikashrama during his first pilgrimage. The language he used for all his is Brajavali, an artificial Maithili-Assamese mix; though Madhavdeva used Brajavali very sparingly. Brajavali, with its preponderance of vowels and alliterative expressions, as considered ideal for lyrical compositions, and Sankardeva used it for and Ankia Naats. Sankardeva composed about two hundred and forty , but a fire destroyed them all and only about thirty four of them could be retrieved from memory. Sankardeva, much saddened by this loss, gave up writing and asked Madhavdeva to write them instead. Madhavdeva composed more than two hundred , which focus mainly on the child-Krishna.

Boria (theatre)

Mon, 01 Jan 0001 00:00:00 +0000

History#

Records on the origin of Boria are fairly limited but it was first mentioned by H.T. Haughton in 1897 which according to him, it was first brought to Penang in 1845 by the Muslim soldiers of 21st Madras Regiment. It was originally played to celebrate the annual Shiite festival, the Mourning of Muharram. In 1910, R.J Wilkinson, a Straits Civil Service officer and a noted scholar of Malay studies, made a comparison between the boria of Madras and Penang, and established that the resemblance was only in name, for the show as then known in Penang had evolved to a totally different form.

Bosnian and Herzegovinian hip-hop

Mon, 01 Jan 0001 00:00:00 +0000

Recent#

Today, hip-hop is more popular than ever before. Sarajevo, Tuzla, and Mostar are three cities that are the most popular ones today, when it comes to new releases, hip-hop happening,s and concerts. Artists like Mayer and crews like Malter, DoggSound, REVSKL, and HighTime are currently the most popular ones in Mostar. While in Sarajevo artists like Buba Corelli and from BluntBylon and crews like Capital City Crew, Treća Smjena Crew including Sajfer and Santos, G-Recordz, etc. belong in the category of the most popular and listened to artists in the country. For the first time in the history of Bosnian hip-hop culture, it is possible to hear and find new songs and videos on TV, which was almost unheard of back in the 2000s. Media picture of hip-hop is growing with BHOP Portal being the most updated website when it comes to being the place to find everything that is currently happening in Bosnian hip-hop, and currently it is the most visited internet website that specifically covers the Bosnian hip-hop scene. FMJAM is the most popular crew and private ’net’ label in the country, and their radio has been going on strong for more than ten years with DJ Soul as the main DJ. Facebook and YouTube still remain the main tools artists use to develop their fan base, because even though hip-hop has gotten more popular in Bosnia, it is still nowhere near the level of other popular music styles when it comes to fans, media coverage, and anything else of that sort.

Bossa nova

Mon, 01 Jan 0001 00:00:00 +0000

Etymology#

In Brazil, the word is old-fashioned slang for something done with particular charm, natural flair or innate ability. As early as 1932, Noel Rosa used the word in a samba: (Samba, readiness and other are our things, are things from us.) The phrase , translated literally, means “new trend” or “new wave” in Portuguese. The exact origin of the term remained unclear for many decades, according to some authors. Within the artistic beach culture of the late 1950s in Rio de Janeiro, the term was used to refer to any new “trend” or “fashionable wave”. In his book Bossa Nova, Brazilian author Ruy Castro asserts that was already in use in the 1950s by musicians as a word to characterize someone’s knack for playing or singing idiosyncratically. That group consisted of Sylvia Telles, Carlos Lyra, Nara Leão, Luiz Eça, Roberto Menescal, and others. Mr Fuks’s description, fully supported by most of the bossa nova members, simply read (“Today. Sylvia Telles and a ‘Bossa Nova’ group”), since Sylvia Telles was the most famous musician in the group at that time. In 1959, Nara Leão also participated in more than one embryonic display of bossa nova. These include the 1st Festival de Samba Session, conducted by the student union of . This session was chaired by Carlos Diegues (later a prominent Cinema Novo film director), a law student whom Leão ultimately married.

Bosstown Sound

Mon, 01 Jan 0001 00:00:00 +0000

Pre-scene#

Prior to the Bosstown Sound, Boston had a burgeoning garage rock scene with bands such as the Remains, the Rising Storm, Teddy and the Pandas, and the Rockin’ Ramrods at the forefront. The most commercially successful group in the area was the proto-punk teen band the Barbarians, who reached the Billboard Hot 100 twice with the singles “Are You a Boy or Are You a Girl” and “Moulty”. The heyday of these bands pre-dated the Bosstown Sound, and they did not have much involvement in the Sound’s development, with the notable exception of the album Basic Magnetism, by Teddy and the Pandas. The main problem was a lack of viable rock music venues to bring the groups together into a unified music scene. Also missing were the local and regional record labels often associated with a developing rock scene. Perhaps more evident in what grew into the Bosstown Sound was the city’s equally active folk scene which was led by key figures like Bob Dylan, Joan Baez, and Mimi Farina. Their influences later emerged in the music by mainstay Bosstown bands Orpheus and Earth Opera. What became the genesis of the Bosstown Sound is said to exist, at least in rudimentary form, as early as June 1967, when journalist Mel Lyman’s first issue of Avatar was pressed. His newspaper carried an advertisement promoting a scheduled event, headlined by two of Boston’s earliest psychedelic rock bands, Ill Wind and the Hallucinations, at the Boston Tea Party. Ill Wind and the Hallucinations’ performances helped establish the Boston Tea Party as a must-go-to venue for the city’s psychedelic scene, and soon other like-minded musical acts—among them the Velvet Underground, the Peanut Butter Conspiracy, and Lothar and the Hand People—became frequent attractions. Journalist Earl Greyland described the Boston Tea Party’s importance in Boston After Dark: " It occurred on March 15, 1968, when, as the staid WBCN audience sat listening to its usual Muzak, the voice of Frank Zappa asked, ‘Are you hung up?’ and Cream launched into ‘I Feel Free’. That was the beginning of the American Revolution, a daily seven-hour program originating from the dressing room of the Tea Party. The combination of providing an established performance setting and radio exposure made the Tea Party a gig second in importance only to the Fillmore". Other psychedelic venues that contributed to the promotion of the underground music scene in Boston include the Psychedelic Supermarket, the Crosstown Bus, the Catacombs, and the Unicorn.

Boston hardcore

Mon, 01 Jan 0001 00:00:00 +0000

1980s#

Disheartened by Boston’s local punk bands like Mission of Burma and the Neighbourhoods, and feeling enfranchised by straight edge after watching Minor Threat perform in New York City, Boston’s first hardcore band was SSD. Formed in 1981 and performing live for the first time on September 19 of the same year, SSD influenced the formation of a Boston hardcore scene. The groups of bands especially influenced by SSD and their straight edge philosophy called themselves the Boston Crew, which included DYS and Negative FX, while other early bands to join the scene included Jerry’s Kids, the F.U.’s, Gang Green and the Freeze. The Proletariat, although a part of this scene were set apart significantly due to their jangle pop guitars, influence from Gang of Four and Wire and communist lyrics. In 1982, Modern Method Records released This Is Boston, Not L.A., a compilation album of the Boston hardcore scene. In addition to Modern Method was Taang! Records, who released material by a number of the aforementioned Boston hardcore bands. Despite writing a mere 20 minutes of music and never playing outside of New England, Siege became highly influential. Their tracks on Cleanse the Bacteria exposed them to wide audiences, including Lars Ulrich of Metallica, who described them as the fastest band he had ever heard. Numerous pioneering bands establishing the death metal and grindcore subgenres in the 1980s cited Siege as a formative influence, including British groups Carcass and Napalm Death. Further outside of Boston were Western Massachusetts bands Deep Wound (which featured future Dinosaur Jr. members J Mascis and Lou Barlow) and the Outpatients, both of whom would come to Boston to play shows. From nearby Manchester, New Hampshire was G.G. Allin, a solo singer who contrary to straight edge used large amounts of drugs and alcohol, eventually dying of a heroin overdose. Allin’s stage show included defecating on stage and then throwing his feces at the audience. At this time, a prominent venue was the Gallery East. By 1986, the scene was in decline, SSD, DYS and the F.U.’s has begun to play heavy metal, with the lattermost doing so also changing their name to Straw Dogs. By the end of the year, both SSD and DYS had disbanded. Members of the Boston Crew then went on to form the band Slapshot. The members of ska punk band the Mighty Mighty Bosstones also originated from this scene. Slapshot have been credited by the Eagle Online as being one of the driving forces in the resurrection of hardcore in the Boston area, when all the other bands moved away from the genre. Stewart Marson of AllMusic wrote on their 1990 album Sudden Death Overtime stating “At a time when hardcore itself, never mind straight-edge, was on the ropes, Sudden Death Overtime proved that some bands were still in the game.”

Bothy ballad

Mon, 01 Jan 0001 00:00:00 +0000

Subjects#

The farmlands around Aberdeen produced satirical songs, critical of working conditions. The best known is “The Barnyards of Delgaty”, (a pun on “The Barren Yirds o Delgaty” meaning “The Barren Soils of Delgaty”). Real names of farmers, supervisors and farms are given, and mocked. Other satirical attacks are “Rhynie”, “The Guise O Tough” and “Harrowing Time”. By contrast “The Bogheid Crew” is a celebration of the fine work done by the labourers, naming each one in turn. Some songs celebrate the countryside, including “Where The Gadie Rins”, “Bonny Udny” and “Arlin’s Fine Braes”. Some songs match a high-born with a servant. The most famous is “The Knight and the Shepherd’s Daughter” (Child Ballad 110), recorded by Steeleye Span as “Royal Forrester”. “The Laird o Dainty Doonby” is another. In 1951 Davie Stewart sang this song for American collector Alan Lomax. It is a version of a song published by David Herd in 1776, in “Ancient and Modern Scottish Songs”. Soldiers from Highland military regiments sometimes ended up working in bothies. Some ballads concern encounters between soldiers and innocent maids. “The Trooper and the Maid” (Child Ballad 299) is one. Most famous of all is “The Bonnie Lass o’ Fyvie” (Pretty Peggy-O), covered by Simon and Garfunkel and many others. “The Forfar Sodger” relates to the Peninsular War (1808–1814) and was recorded as late as 1951.

Bounce music

Mon, 01 Jan 0001 00:00:00 +0000

Structure#

Bounce is characterized by call-and-response-style party and Mardi Gras Indian chants and dance call-outs that are frequently hypersexual and controversial. These chants and call-outs are typically rapped over the “Triggerman beat”, which is sampled from the songs “Drag Rap” by the Showboys and “Brown Beats” by Cameron Paul. The original recording sampled by Paul was “Rock the Beat” by British rapper Derek B, produced by Simon Harris and released in early 1987 on the Music of Life British hip-hop label in the UK. The sound of bounce has primarily been shaped by the recycling and imitation of the Simon Harris produced “Drag Rap” beat: its opening chromatic tics, the intermittent shouting of the word “break”, the use of whistling as an instrumental element (as occurs in the bridge), the vocoded “drag rap” vocal and its brief and repetitive melody and quick beat (which were produced with use of synthesizers and drum machines and are easily sampled or reproduced using like-sounding elements). Typical of bounce music is the “shouting out” of or acknowledgment of geographical areas, neighborhoods and housing projects, particularly of the New Orleans area.

Bouncy techno

Mon, 01 Jan 0001 00:00:00 +0000

Antecedents: early 1990s#

The breakbeat hardcore style that dominated raves across England was generally not popular in Scotland. This is attributed to regional music, cultural and racial differences across the UK; with breakbeat regarded in Scotland as a “black English thing” and an “alien musical culture”. The few Scottish-based DJs who supported this music found it difficult to be booked locally. DJ Kid told the crowd to “fuck off” on the mic before he stormed off stage when ravers turned hostile towards him playing such a set. A divide in the United Kingdom rave scene occurred as a result with separate musical paths of development. Scotland instead favoured techno and vocal/piano music at raves. The Time Frequency (TTF) led the charge of local bands. After three chart hit records in the UK Singles Chart Top 40 across 1993, which peaked with “Real Love” at number eight, their commercial success in part resulted in a backlash against the band. With the vocal/piano approach now tainted, ravers turned their attention to an alternative form of underground music that had since materialised.

Bourrée

Mon, 01 Jan 0001 00:00:00 +0000

History#

The bourrée originates in Auvergne in France. It is sometimes called the “French clog dance” or a “branle of the sabots”. First mentioned as a popular dance in 1665 in Clermont-Ferrand, it still survives in Auvergne in the Massif Central and in the department of Ariège and is danced during bals folk in France and in other countries. The present-day dance in lower Auvergne, also called Montagnarde (Montanhardas), is in triple time while that of high Auvergne called Auvergnate (Auvernhatas) is in double time. Modern variants termed bourrées are danced as partner dances, circle dances, square dances and line dances. However bourrées have been composed as abstract musical pieces since the mid-16th century. Michael Praetorius mentions it in his Syntagma musicum and it is one of the dances arranged for his collection Terpsichore. However, there is no early dance notation and it is difficult to assess the early interaction of the folk dance and the courtly dance. Musically, the bourrée took on the common binary form of classical dance movements, sometimes extended by a second bourrée, the two to be played in a grand ternary form A–(A)–B–A. Marguerite de Navarre, who was the wife of the King of Navarre and sister to the King of France, introduced the dance to the French court in 1565 and it was popular until the reign of Louis XIII (1601–1643) and opened many balls, but the bourrée took some time to appear in the early ballet dance notation of the French baroque theatre. The step with two movements is not illustrated by Feuillet but appears in Rameau as the “true” pas de bourrée, the simpler step, with one movement, is identified with the fleuret. The basic step, with one initial movement (i.e. a plié on the supporting leg) and three subsequent changes of weight in a measure, can be performed in a great many variations, and varieties of this step appear commonly throughout the notated dances that were published in the eighteenth century, starting with Feuillet in 1700. The minuet step is a pas composé, a step composed of more basic steps. The pas de bourrée of one movement is the second half of the most common minuet step, the minuet step of two movements, or “one and a fleuret”, as the English master Tomlinson described it. The rare pas de bourrée of two movements, mentioned above, occurs as a graceful variation in some recorded passepied, as part of a minuet step of three movements. As later formalised in classical ballet the skipping step of the bourrée became a quick, gliding step, often en pointe or demi-pointe, one of the most-used step sequences of ballet. A pas de bourrée, more commonly known as the “behind side front” or “back side front”, is a quick sequence of movements often taken in preparation for a larger step. In one account it begins with an extension of the first leg while demi plié, closing it to the second as both transit to relevé, extending the second leg to an open position and again closing first to second in demi plié , or with legs straight if quick or as the final step of an enchainement. There are several variants. A pas de bourrée piqué picks up the feet in between steps. In his Der Vollkommene Capellmeister (Hamburg, 1739), Johann Mattheson wrote of the bourrée, “its distinguishing feature resides in contentment and a pleasant demeanor, at the same time it is somewhat carefree and relaxed, a little indolent and easygoing, though not disagreeable”. Johann Sebastian Bach often used the bourrée in his suites as one of the optional dance movements that come after the sarabande but before the gigue, and he also wrote two short bourrées in his Notebook for Anna Magdalena Bach. His Bourrée in E minor in his Lute Suite, BWV 996 is especially popular. Handel wrote several bourrées in his solo chamber sonatas (for example the fourth movement of his Oboe sonata in C minor); however, perhaps his best-known is the seventh movement of the Water Music (Handel) suite. In the 19th century Frédéric Chopin and Emmanuel Chabrier wrote bourrées for the piano (such as the latter’s Bourrée fantasque, composed 1891). The Victorian English composer Hubert Parry included a bourrée in his Lady Radnor Suite (1894).

Bouyon music

Mon, 01 Jan 0001 00:00:00 +0000

Origin#

Bouyon blends jing ping, cadence-lypso and traditional dances, namely bèlè, quadrille, chanté mas and lapo kabwit, mazurka, zouk and other styles of Caribbean music.

Jump up#

In 1987, Exile One recorded a Chanté mas and Lapo Kabwit song, “L’hivernage”, commonly referred to as the yo. The French Antilleans referred to the beat as “jump up music” because of its carnival style sound. This jump upbeat was later modified to become bouyon or modern soca music. (As printed on Exile One’s album “creole attitude”). In Guadeloupe and Martinique, “Jump up” refers generally to bouyon music.

Bouyon soca

Mon, 01 Jan 0001 00:00:00 +0000

History#

The nineties in Dominica have been dominated by a new musical form called bouyon music. The best-known band in the genre is Windward Caribbean Kulture (WCK), who originated the style in 1988 by experimenting with a fusion of Cadence-lypso and Jing ping. They began using native drum rhythms such as lapo kabwit and elements of the music of jing ping bands, as well as ragga-style vocals. From a language perspective, Bouyon draws on English and Dominican Creole French with influences from the chanté mas tradition. Bouyon involves chanting rather than singing and is very much influenced by dancehall-reggae-rap language style, coming out of Jamaica. Bouyon-muffin and reketeng is an offshoot of this tendency. While bouyon lyrics comment on everyday life in the cultural sense, they can also contain explicit social commentary in the political sense.

Boy band

Mon, 01 Jan 0001 00:00:00 +0000

History#

The term was not established until the late 1980s when Lou Pearlman decided to form a record company to promote a new singing and dancing group after becoming fascinated with the success of New Kids on the Block. Although generally described as a rock band, the highest-selling band in history – the Beatles – have been described by several journalists as “the first” or “the original” boy band, “before anyone had thought of the term”, exclusively due to the enthusiastic response they received from their young female audience. Other critics, however, have pointed out that this assessment of the Beatles as a “boy band” could be applied to all other bands of the 1960s, saying, “if they were a (boy band), so was everyone else” and is countered by others, including Ringo Starr, who point out that, from the beginning, the Beatles wrote and exercised creative control over their own music, played their own instruments, were not manufactured by a record label, and did not feature the choreographed dance moves that later came to be associated with boy bands. which featured a music group of the same name, created for the show, that consisted of the four starring actors. The Monkees had a career as a rock and pop band after their songs from the TV series were released as successful records.