BU on Music Theory Print

Bubblegrunge

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

Characteristics#

Bubblegrunge fuses the catchy, upbeat melodies of bubblegum pop with the distorted guitars, heavy drums and raw, emotional vocals of grunge. NPR described the style as “a blend of bedroom pop and ’90s alternative rock.” It often features confessional, introspective lyrics on love, heartbreak and self‑discovery, wrapped in a nostalgic, slightly melancholy edge.

Etymology#

Although in use by critics in the 1990s, awareness of the term increased with its inclusion in the 2021 edition of Spotify Wrapped.

Bubblegum music

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

Definitions#

Occasionally invoked as a pejorative, There is debate concerning which artists fit the genre, especially for cases such as the Monkees. In the opinion of music historian Bill Pitzonka: “The whole thing that really makes a record bubblegum is just an inherently contrived innocence that somehow transcends that. … It has to sound like they mean it.” Music critic David Smay argued that disco is merely bubblegum by another name and that since bubblegum is “dance music for pre-teen girls”, the genre’s scope must therefore include dance-pop and such associated figures as Stock Aitken Waterman and Kylie Minogue, but “Not all dance-pop is aimed at kids and shouldn’t be presumed to be disposable anymore than bubblegum.”

Bubu music

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

Buddhist music

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

In doctrine and scriptures#

In Buddhism, chanting is a traditional Buddhist devotional practice, as well as a means of enhancing and preparing the mind for silent meditation. It is a common part of formal group practice, in either a lay or monastic context. Some forms of Buddhism also use chanting for ritualistic, apotropaic or other magical purposes. In Mahayana Buddhism, the offering of music is a traditional part of devotional offerings to the Buddhas (others include water, flowers, and light). The offering of music is thus considered to bring good merit. The idea of music as an offering to the Buddhas can be found in various Mahayana sutras. Common instruments included the veena, drums, and flutes (venu). Furthermore, in some Mahayana sources, Buddhist music is considered to be a skillful means (upaya), a way to guide people to the Buddhist path and to teach them the Buddha’s teachings. Some Mahayana sutras also depict the Pure Lands as filled with divine music.

Budots

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

Etymology#

Budots is a Bisaya slang word for slacker (Tagalog: tambay). It can also be traced from the Bisaya word tabudots, which means “a person dancing with unpredictable movements.”

Origins#

The style seems “worm-like” or “ragdoll-like” in nature, wriggling the hips while moving the arms and legs in slow movements. Despite its freestyle movements. Budots dance was performed with foreign electronic dance music until Sherwin Calumpang Tuna, an internet café manager who goes by the stage name DJ Love or Lablab, created a new techno music genre that would complement the dance using FL Studio, which locals referred to as “bistik” (short for Bisayang Tikno, “Visayan techno” ). He also choreographed dance steps for his friends to perform on his budots music videos, which were uploaded on his YouTube channel since February 3, 2009. According to Vice, the budots dance compilation videos features “Myspace-era graphics, free-wheeling dances, and the names ‘CamusBoyz’ or ‘DJ Love.’” While local impression about budots is through its association with overt sexuality, gang wars, and juvenile delinquency, DJ Love has distanced himself and his budots mixes from such issues that plague Davao City. His music videos are incorporated with captions such as, “Yes to Dance; No to Drugs” or “Yes to Dance; No to Riots.” The genre–and its creators–have also become at the receiving end of cyberbullying.

Bugarštica

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

Etymology#

The term bugaršćica and bugaršćina for song and bugariti for singing were first recorded in 1550s by Petar Hektorović and published in Fishing and Fishermen’s Talk (1568), in his reference to two songs he collected from fishermen from the Adriatic island of Hvar. Juraj Baraković recorded bugarskice, while Ivan Gundulić bugarkinje. In Central Croatia were sometimes named as popijevka or popevka. The form bugarštica is a 19th-century invention as the contemporary Serbo-Croatian standard language does not have “consonantal cluster šć”, being more a technical term, but since 1980s bugaršćica is also being used in the scientific literature because it is more appropriate for the historical context. The origination and etymology are still uncertain. There exist three predominant theories regarding the etymology of bugarštica: * Researchers such as Vatroslav Jagić, Tomo Maretić, and Matija Murko, posit that it was derived from the root bugar “Bulgarian”, indicating the direction of spread of bugarštica from a contact area between late medieval Bulgaria and Serbia towards the Adriatic coast. Other names, such as pjesan bugarska which some scholars interpret as “Bulgarian song”, or sarpskim načinom “Serbian manner”, were applied to these songs. * The second considered by scholars such as Ivan Slamnig, Ilya Golenishchev-Kutuzov, Nada Milošević-Đorđević, and others, the term developed from the Latin vulgaricus or lingua vulgaris “common people’s language”, or carmen vulgare “folk song”, denoting ballads composed in the spoken Slavic vernacular in Dalmatia, as opposed to those composed in the literary Latin. The change of the initial v into b could be due to folk etymology, associating vulgare with the similarly sounding Slavic root bugar. Slamnig also points out that vulgare was alternatively spelled as bulgare, when it referred to the Slavic language of the Adriatic Coast. * According to the third, which is partly related to the second, considered by Đuro Daničić, Vladan Nedić, Miroslav Pantić, Josip Kekez, and others would be from verb bugariti meaning “sad singing”, possibly deriving from Middle Latin bucculare and boccalone meaning to “start singing” and “shouting, whining”. It was also common in Istria and the island of Krk meaning “loud” or “monotonal” singing. As it was a common term for singing nevertheless of the number of syllables Nenad Ljubinković argued that the term is mistakenly used for long verse songs and rather proposed the term “songs of the long verse”, but such a term is too general and the bugarštica makes a genre of a very specific style. * Additionally, Valtazar Bogišić and Petar Skok proposed a relation to the Albanian, Aromanian, Turkish and South Slavic music instruments bulgari and bugarija, but such assumption is dismissed because there is no evidence the songs were performed with an instrument.

Bugle call

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

History#

The military use of signal instruments dates to ancient times. The Romans used a form of bugle in their legions. Records show the use of an early bugle in Hanover by 1758, and the British infantry introduced the Halbmondbläser in 1764. The bugle gained widespread use in horse mounted units, where the more common signals of drums and fifes were impractical. At the 1776 Battle of Harlem Heights, the use of British bugle calls was taken as an insult by United States forces, who mistook them for hunting calls. The bugle became more common with United States units during the War of 1812. Through the 19th century, the bugle gradually replaced the fife. By the time of the United States Civil War, each company was allotted two buglers. Military use of bugles waned as new technology provided improved methods of field communication, but bugle calls continue to be used as traditional signals that mark daily events or special ceremonies. United States Army posts, for example, play “Reveille” at the start of a work day. In addition, the use of bugles and bugle calls is maintained in traditional drum and bugle corps and some drum corps.

Bulerías

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

Cante (singing)#

When sung, the bulería has three or four octosyllabic lines. It is sometimes subdivided into bulerías al golpe and bulerías ligadas. The former is slower while the latter is frantic. There are many styles of Buleria depending on the region of Spain from which it originated. For example: Buleria de Lebrija, Buleria de Jerez (possibly the most commonly used style), Buleria de Cadiz, Buleria de Utrera etc.

Bulgarian hip-hop

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

History#

The Bulgarian hip hop culture development and influence is divided into two main periods. “The First Wave” ran from the mid-1980s to mid-1990s. This period is known with its underground rap, breakdancing crews, graffiti artist and unknown DJs. At that time some of the active rappers like Ivo-Trombona, Vasko Teslata and Alexander recorded and created the first official Bulgarian rap band with the song “Problems” recorded in the studio of “New Generation” in Sofia. Ivo-Trombona (later on renamed as Mc Guinness) is considered the first Bulgarian Rapper and founder of the Bulgarian rap and hip hop culture. In 1991 an eclectic group of musicians, Dobo Rap Plamen Sound, recorded an experimental live rap album in the Black Sea city of Bourgas. Another follow ups at that time era were: Dynamic (DJ Stancho and Peter), Gumeni Glavi, Amnistea (some members participate in Dope Reach Squad), DEAD SIDE, Teslata and Bulldogz. “The Second Wave” from 1999 to nowadays was a big time success in comparison to the first one, mainly due to the arrival of R’n’B and hip hop sensation, Henry Orhan Sami Beggin, otherwise known as Big Talk to his fans. Other prominent artists from this time are Misho Shamara (renamed as Big Sha) with his Frontline Hustle label, DJ Stancho, Spens and Slim and their label Sniper Records. Those two labels were quite controversial in terms of “real hip-hop”, sampling and mostly which is “the better one”. This east-west conflict was mimicking the US hip-hop scene only for commercial reasons and began with rap battles. In 2001 was created the first label which united hiphop artists from the city of Rousse - the Rousse section. Its founders were the infamous MCs the Da Drill and Facta. Da Drill, known as one of the greatest Bulgarian female MCs dropped her album “96” in 2002. In 2001 Ndoe and Mitaka form DRS(Dope Rich Squad) and drop their debut album “Урок#1”(Lesson#1). The album features other artists such as Nasimo(Naste), Scum, The Nachko Orchestra, 187 Clan, Nokaut, Yuliana and others. In 2003 Gazara and Gaidara known as Nokaut released their album “Demo”, inspired by the Irish hiphop group House of Pain. The hiphop group Upsurt dropped their debut album “Bozdugan” in 1999 followed by their second album “Chekai malko” in 2001. X-Team consisting of members Startera, Killa K, Mista P was formed somewhere in the mid 1990s. They dropped their first and only album “Znaniya, mudrost I razbirane” in 2002. In 1999 Yoko and Wosh MC created the group The Top Stoppers. Other artists of this era are Sensei, Consa, Kvartalni Bratya etc. In the late 2000s and early 2010s some more modern artists such as Dim4ou, Qvkata DLG, 100 Kila and Krisko gained fame. Some other modern artists, most of which started their careers in the 2010s are Jluch, Gena and Grigovor(So Called Crew), Imera, Sfonk and Bunta(5o’clock), Atila, Secta, Boro Purvi(formerly known as Boreau), Madmatic, Qvkata DLG, SplitKid etc. In 2020, Trap music , also known as “New wave” era, became the most listened music genre everywhere around the world. Bulgaria is known for its modern artists as V:RGO, MurdaBoyz, MBT and others.

Bulgarian jazz

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

Early Bulgarian jazz#

After the bloody Ilinden-Preobrazhenie Uprising of 1903 there was a wave of Bulgarian immigrants to the USA and Canada, mostly in the Eastern states, setting in communities that established their own social institutions - churches, political clubs, newspapers, and other societies, among which amateur orchestras had an important role. They were predominantly brass bands, though there were some string (guitar and mandolin) orchestras. Most of the musicians could not read music. Returning to Bulgaria as volunteers in the Balkan Wars of 1912 and 1913, they brought back the new music of America. One of the early first-hand experiences of music influenced by jazz was Wallace Hartley’s band concert in Varna in 1911. His success there acquired him a position at a club in the capital Sofia, where he played primarily dance music until being hired to play on the Titanic in 1912. His influence marks the beginning of the influx of western music, at that time predominantly ragtime, in Bulgaria. As early as the 1920s there was Bulgarian instrumental music that could be classified as jazz but was also influenced by folk traditions, often even in the choice of instrumentation.

Bulgarian wedding music

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

History#

The international marketing of wedding music includes Klezmer, Scottish, and Rom(an) music of Bulgarian roots. Ivan Paparov, the clarinetist, is considered the creator of the genre of wedding music in Bulgaria. In 1974, he established two bands as orchestral ensemble in the town of Stara Zagora in Thrace. He improvised the stylistic and eclectic forms of Narodna muzika, a Bulgarian form which incorporated music styles of Greece, Turkey, North Macedonia, Serbia, and Gypsies. This type of music is unlike concert music and involves participation by the dancers and the wedding party and hence it is “loose, spontaneous and dynamic” in structure. Solos are also part of the music which normally accentuates the final shape of the music. There is significant impact of American jazz (a feature noted in the music of Bulgaria since the 1950s) in the wedding music. Papasov termed this type of music also as of balkanski dzhaz (Balkan jazz). Todor Zhivkov, the autocratic dictator, during the period from 1954 to 1958, in his determination to preserve and promote Bulgarian folk music, took a particularly repressive approach against non-Bulgarian music of gypsy origin, which was the Bulgarian wedding music a genre of music well beyond the concept of traditional music. During his regime, in all official media, it was only folk music which was broadcast and promoted. In view of the external influence in this music the totalitarian regime (Leninist regime) in Bulgaria officially discouraged this music though it was very popular among the public. With the demise of the communist regime in 1989, this music form became even more popular.

Burban

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

2000s: Urban Asian origins#

After years of stigma being associated with the term ‘urban desi’ and the confusion of it supposedly being a genre, which was used by the majority of national media, a select few artists decided to destroy, recreate and bring in the new term for the sub-culture, ‘burban’. However, the ‘B’ stands for ‘brown’ and there was criticism that it might prejudice against the universality of music. Many Asian artists have refused to use the term (notably Sam Kay), but a growing number have decided to rebrand themselves by the word burban. As the movement is in its infancy, there has been much confusion and deliberation of the semantics of burban.

Burletta

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

List of theatrical Burlettas#

Midas by Kane O’Hara (Belfast, 1760, Dublin, 1762)
Orpheus by François-Hippolyte Barthélémon (London, 1767)
The Judgement of Paris by Barthélémon (London, 1768)
The Recruiting Serjeant by Charles Dibdin (London, 1770)
The Portrait by Samuel Arnold (1770)
The Portrait by Barthélémon (Dublin, c. 1771)
L’infedeltà delusa by Joseph Haydn (1773)
The Golden Pippin by John Abraham Fisher (1773)
Buxom Joan by Raynor Taylor (1778)
Poor Vulcan by Dibdin (1778)
Marie Tanner, words by Broughton Black and Poland Henry, music by John Ivimey (produced at Cardiff, 1897)
Tom and Jerry, or Life in London by W. T. Moncrieff (1821)

Other Meanings#

The word burletta has also been used for scherzo-like instrumental music by composers including Max Reger and Bartók. In America, the word has sometimes been used as an alternative for burlesque.

Burmese hip-hop

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

First generation#

Until 2000, rock and roll was the dominant music genre in Myanmar. The Burmese hip hop scene started in the late 1980s with the rapper Myo Kyawt Myaing although songs were plain rapping music rather than typical hip hop. In late 1990s, a Yangon-based four-member crew named Acid started introducing old school hip hop in night clubs of Yangon, and became popular among Yangon’s youth. Acid, widely considered to be the pioneers of Burmese hip-hop, made their debut in 2000 with Sa-Tin-Gyin (Beginning). Their success attracted other hip-hop artists and groups, now known as the “first generation” of Burmese hip-hop, like Theory (Barbu and Thxa Soe), NS (Kyaw Thu Soe and Lin Lin) and Too Big. Most of the first generation artists used old school hip-hop. Still, hip hop was new to the Burmese and apart from Acid and Theory, not widely accepted yet by the public at large (or censors).

Bush ballad

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

Characteristics#

The songs tell personal stories of life in the wide open country of Australia. Typical subjects include mining, raising and droving cattle, sheep shearing, wanderings, war stories, the 1891 Australian shearers’ strike, class conflicts between the landless working class and the squatters (landowners), and bushrangers such as Ned Kelly, as well as love interests and more modern fare such as trucking. Although not technically bush ballads, there are also numerous sea shanties formerly sung by whalers and other sailors, as well as songs about the voyage made by convicts and other immigrants from England to Australia, which are sung in a similar style. While subject matter may be constant, musical styles differ between traditional and contemporary bush ballads. Exemplars of the traditional bush ballad style include Slim Dusty’s When the Rain Tumbles Down in July or Leave Him in the Long yard which have strong narrative in verses plus choruses set to a Pick n’ Strum beat. Contemporary bush ballads may employ finger picking and strumming rock styles.

BU on Music Theory Print

Bubblegrunge

Characteristics#

Etymology#

Bubblegum music

Definitions#

Bubu music

Buddhist music

In doctrine and scriptures#

Budots

Etymology#

Origins#

Bugarštica

Etymology#

Bugle call

History#

Bulerías

Cante (singing)#

See also#

Bulgarian hip-hop

History#

Bulgarian jazz

Early Bulgarian jazz#

Bulgarian wedding music

History#

Burban

2000s: Urban Asian origins#

Burletta

List of theatrical Burlettas#

Other Meanings#

Burmese hip-hop

First generation#

Bush ballad

Characteristics#