CA on Music Theory Print

Ca Huế

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

History#

Discussing the origins of Ca Huế, poet Ưng Bình Thúc Giạ Thị wrote that the exact time when this art first appeared cannot be determined through history or poetry. It can only be inferred from the flourishing era of literature. The beginning of this art form is believed to date back to the time of Lord Hiếu Minh. Lord Hiếu Minh, also known as Thiên Túng Đạo Nhơn, was a great patron of literature and an accomplished poet. His son, Mr. Tứ (i.e., Đán), and his grandson, Mr. Dục, were both renowned for their literary talents. During that period of royal encouragement of literature, the royal court must have had its own musical ensemble. Talented individuals would gather and respond to one another through music and composing new songs. Songs for any occasion had already been developed based on the musical scale known as “Xàng Xê Xự”. As long as the performance was artistic and heartfelt with harmonious rhymes, smooth phrasing, clear meanings, and fluid rhythm, it would become a song that was both easy to sing and pass down into the royal court. According to Professor Dr. Trần Văn Khê, there is no historical record clearly indicating when Ca Huế originated. What is known, however, is that Ca Huế is not a form of folk music, as it was performed exclusively for the nobility or within the royal court. Therefore, it can be regarded as a genre of court music rather than folk music. Regarding the origin of the name, author Ưng Bình Thúc Giạ Thị explained that the term Ca Huế derives from the fact that the accents of people from Huế are particularly well suited to its melodies. He also noted that the accents of people from Quảng Trị and Quảng Bình provinces could suit it as well, while it is more difficult for those from north of Linh Giang and from south of the Hải Vân Pass to sing correctly.

Ca trù

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

History#

There are different myths and theories related to ca trù’s conception. There is a theory points to a woman named Đào Thị, a talented musician who was beloved by the Lý Dynasty imperial court. This theory also claims that ever since the time of Đào Thị, in admiration of her, women who held a profession as singers (such as ca trù singers) were referred to as Đào nương (“nương” here refers roughly to “maiden” or “lady”). The latter is true although this term is no longer widely used in modern Vietnam. What is known for sure is that ca trù started off like many of Vietnam’s arts as being a form of entertainment for the royal court. Officially ca tru count the age of their profession since The Later Le dynasty (, 1428–1789), at that time musicians called performed only on religious court ceremonies. It was only later on that it branched out into being performed at small inns. Indeed, it was mainly scholars and other members of the elite who enjoyed the genre. In the 15th century ca tru spread through Northern Vietnam. The artists might be called to celebrate a son’s birth, or to celebrate the signing of a contract. Ca tru were outside of the caste system, so they could entertain the most noble clients. In the late 20th century, ca trù nearly died out. After the communists came to power following the 1945 August Revolution and the First Indochina War, ca trù was discouraged and even suppressed, being associated with prostitution, feudal romanticism, colonial decadence, and superstition. Consequently, before 1976 there were only two ca trù professionals: the musician Nguyễn Xuân Khoát Later they both started to revive the tradition of ca tru. In the past, men were allowed to have several wives and concubines. Thus, it was commonly known that many famous ca trù singers did indeed have affairs with important men, but it was just something to be accepted as a part of society back then, and not a part of the profession itself. As of 2009, extensive efforts are being made to invigorate the genre, including many festivals and events where several types of ca trù (among other related arts) are performed. Vietnam has also completed documents to have ca trù recognized by UNESCO as an Intangible Cultural Heritage. By 2011 there were 140 ca tru from 23 clubs.

Cabaletta

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

References#

Notes Sources *Apel, Willi (1962) Harvard Dictionary of Music. Taylor & Francis *Budden, Julian (1998), “Cabaletta”, in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, Vol. One, pp. 665. London: Macmillan Publishers, Inc. * Encyclopædia Britannica Online. “cabaletta”. britannica.com Retrieved 23 July 2011 *Fisher, Burton D. (2005). Mozart’s Don Giovanni. Opera Journeys Publishing. *Greenwald, Helen M. (editor) (2012). Critical Commentary Edition and Score of Attila, University of Chicago Press,

Cachaca (musical genre)

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

Etymology#

Although it is a genre derived from cumbia, it receives the of cachaca, as a version of the song Por el amor de Claudia by the Colombian composer Guillermo Buitrago became popular in the 1970s when it was recorded by La Sonora Dinamita. The chorus of the song went: La cachaca tiene un Buey, La cachaca tiene un Buey, La cachaca tiene un Buey, Que lo llaman la Esperanza. The variant spellings “kachaka” and “kchaka” may originate from the 1990s programme “Kchak” presented by Hugo Javier González.

Cachi Cachi music

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

Etymology#

Cachi cachi music is what the people in Hawaii, who heard the Puerto Ricans playing their own music, called it. It needed a name and the people of Hawaii, specifically the Japanese plantation workers called it cachi cachi according to oral tradition- video recordings by Onetake2012 and research done by Ted Solis, an ethnomusicologist. The Puerto Ricans, who only spoke Spanish and no English, worked alongside immigrants from the Philippines, China, but in one location their “camp” was next to the Japanese camp. and when the Japanese heard their music, they said it sounded “scratchy”. The relationships between the Japanese and Puerto Ricans working on the plantations, didn’t used to be good. They lived near one another and the Puerto Ricans felt disrespected when the Japanese walked around naked or almost naked for their baths. Sometimes fights would break out.

Cadence rampa

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

Ethnology#

Cadence rampa literally means rampart rhythm.

History#

Webert Sicot left Nemours Jean-Baptiste’s compas band and called his music cadence to differentiate it from compas especially when he took it abroad, and so the rivalry between Sicot and Nemours created these names. Sicot created a new rhythm, cadence rampa, to counter compas, but it was only in a spirit of competition. The rhythm of cadence rampa was identical to compas except for the addition of the second drum that sounded on every fourth beat. In the 1930s several biguine artists from Martinique and Guadeloupe moved to France, where they achieved great popularity in Paris, especially in the wake of the colonial exhibition in 1931. Early stars like Alexandre Stellio and Sam Castandet became popular in Paris. Between the 1930s and 1950s, the dance beguine was popular among the islands’ dance orchestras. Its popularity abroad died relatively quickly, but it lasted as a major force in popular music in Martinique and Guadeloupe until Haitian cadence and compas took over in the 1950s. In the later part of the 20th century, biguine musicians like clarinet virtuoso Michel Godzom helped revolutionize the genre. The signature sound of the biguine is the interplay between the clarinet and trombone, both solo and as a duet, which can still be heard today throughout Antilles music, from the most traditional forms like cadence or the pop sounds of today’s zouk. The Sicot brothers, Maestro Webert Sicot and composer Raymond Sicot, are well regarded in the Caribbean for their rigorous harmonic skills. They introduced the méringue-cadence to the Caribbean, specifically the French Antilles of Martinique and Guadeloupe around 1962, from where it spread to Dominica. From the 60s to the 70s, Dominica, Guadeloupe and Martinique were replete with cadence bands like Selecta, La Perfecta, Les Aiglons, Grammacks, Exile One, Les Vikings de Guadeloupe, and Abel Zenon et son combo.

Cadence-lypso

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

History#

Dominican contemporary music, that is the music played by the dance bands from the 1950s, has played a very important role in Dominica national life. Dominica musical landscape has seen many changes in the intervening period from 1950. In the forties and fifties, there were bands such as the Casimir Brothers of Roseau. The Swinging Stars emerged at the end of the fifties. Their music was a dance-oriented version of many kinds of Caribbean and Latin popular music. By the beginning of the 1960s, calypso and Trinidadian steelpan became the most popular styles of music on Dominica, replacing traditional Carnival music like chanté mas and lapo kabwit, particularly in the capital Roseau. Many of the traditional carnival songs were performed in the new calypso beat. Calypsonians and calypso monarch competitions emerged and became extremely popular. It was in the 1960s that the trend towards drawing on original music, traditional music and songs of Dominica began. This was probably best exemplified by the music of the Gaylords and to a lesser extent, De Boys and Dem. Gaylords unleashed a string of hits such as “DouvanJou”, “Ti Mako”, songs in Dominican Creole French as well as powerful nationalist songs in English, as “Lovely Dominica” and “Pray for the Blackman”. These songs were performed to calypso rhythms and later the new reggae beat coming out of Jamaica. Early recording stars from this era included Swinging Busters, The Gaylords, De Boys an Dem and Los Caballeros, while chorale groups also gained fans, especially Lajenne Etwal, Siflé and the Dominica folk singers. These early popular musicians were aided by the spread of radio broadcasting, beginning with WIDBS and later Radio Dominica. The emergence of radio, first WIDBS and later Radio Dominica helped to spread the music. In the late 1960s and early 1970s, the influence of rock, soul and funk music from the United States was reflected in Dominican contemporary dance music. New groups originating from mainly the high school student population emerged. Groups such as Every Mother’s Child, Woodenstool and Voltage Four specialized in rock and funk. The Latin-rock music of Carlos Santana and Afro-rock music of Osibisa became powerful influences on our younger bands, and were very popular in the dance halls.

Cải lương

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

History and description#

Cải lương originated in Southern Vietnam in the early 20th century and blossomed in the 1930s as a theatre of the middle class during the country’s French colonial period. Cải lương is now promoted as a national theatrical form. Unlike the other folk forms, it continued to prove popular with the masses as late as the 1970s and the 1980s especially with a “golden age” of “Cải lương” videos in the 1990s, although it is now in decline. Cải lương can be compared to a sort of play with the added aspect of Vọng cổ. This term literally means “nostalgia for the past”, it is a special type of singing with the background music often being the đàn tranh zither or the đàn ghi-ta (Vietnamized guitar). In a typical cải lương play, the actresses and actors would use a combination of regular spoken dialogue and vọng cổ to express their thoughts and emotions. Cải lương normally highlights/praises traditional Vietnamese moral values. There are mainly two genres of cải lương: ancient stories (tuồng cổ) and societal (xã hội). The societal genre (cải lương xã hội) consists of stories about modern Vietnamese society. The plots deal with a romantic love story blended with family or social relationships. The stories also explore cultural norms, social norms, and other aspects of Vietnamese society, e.g. Đời Cô Lựu, Tô Ánh Nguyệt. This genre can be somehow described as tragedy, but with a happy ending. However, a few societal plays such as “Ra Giêng Anh Cưới Em” are comedic and light-hearted. In the ancient stories, the actor/actress dresses in an old fashioned costume. The plot is based on a tale, legend or historical story of the feudal system, where kings and warriors still existed. For example, Bên Cầu Dệt Lụa, Lục Vân Tiên, Tiếng Trống Mê Linh etc. Many plots come from Chinese historic or ancient legends. Lương Sơn Bá-Chúc Anh Đài is based on the Chinese legend of butterfly lovers. In ancient stories, Hồ Quảng, a genre of Chinese opera may be mixed. Hence, some ancient stories may be called Cải lương Hồ Quảng, which is more like a musical. In addition to regular speech, ca cải lương, and vọng cổ, several melodies are incorporated into the play. These melodies are reused through different plays, however the words are changed to fit the context of the plays. Ancient stories can be characterized by beautiful, elaborate costumes comprising beautiful and colourful dress pieces; large, beautiful glittery hairpieces; elaborate warrior armour; and elaborate warrior head pieces.

Caipira music

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

Etymology#

The name is a reference to the Caipiras, a people. The term “Caipira” comes from the Paulista language, originating from Tupi language. There are several theories about the true origin of the term. * Kai (burnt) + pira (skin) = originally describing sun-darkened skin, a reference to Caipiras Caboclos. * Kaa (jungle) + pora (inhabitant) = inhabitant of the jungle.

History#

At the end of the 1920s, caipira music was recorded for the first time, based on recordings made by the journalist and writer Cornélio Pires of “tales” and fragments of traditional songs from the interior of the state of São Paulo. At the time of these pioneering recordings, whose lyrics evoke the lifestyle of the country man (often in opposition to man’s life in the city) and the bucolic beauty of the landscape and romantic countryside, with emphasized words in daily life and manner of singing). Beyond Cornelio Pires and his “Caipira Gang” stood out in this trend, recording at a later time, the duo Mandi & Sorocabinha, Alvarenga & Ranchinho, and Florencio Torres, Tonico & Tinoco, Vieira & Vieirinha, among others, and popular songs like “Sergio Forero”, by Cornelio Pires, “Bonde Camarão” by Cornelio Pires and Mariano, “Sertão do Laranjinha” by Pires and Ariovaldo and “Cabocla Teresa”, by João Pires and Ariovaldo Pacifico. The introduction of the electric guitar and pop music influences by duo Leo Canhoto e Robertinho in the late 1960s marked the start of Sertanejo music, giving rise to a new subgenre, separating itself from Caipira music and graduating as one of the most popular musical styles in Brazil. During the 1980s, there was a mass commercial exploitation of sertanejo, coupled in some cases, to a rereading of international hits and even the Jovem Guarda’s. Against this trend, names like the duo Pena Branca e Xavantinho reappeared, adapting to the language of MPB success of guitars, and new artists emerged like Almir Sater, a sophisticated guitar player, who moved among the styles of guitar and the blues. In the following decade, a new generation of Caipira artists, including Roberto Correa, Ivan Vilela, Pereira da Viola, and Chico Lobo e Miltinho Edilberto, emerged who were willing to reunite the Caipira traditions.

Cajun fiddle

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

Cajun music#

Cajun music, an emblematic music of Louisiana, is rooted in the ballads of the French-speaking Acadians of Canada. Cajun music is often mentioned in tandem with the Creole-based, Cajun-influenced zydeco form, both of Acadiana origin. These French Louisiana sounds have influenced American popular music for many decades, especially country music, and have influenced pop culture through mass media, such as television commercials. It is an aural tradition dating past the Acadian conquest of southwest Louisiana after their displacement from Nova Scotia, whence they brought a rich musical tradition. Blues fiddle has been directly influential in the development of Cajun fiddling, as with all music in the New Orleans music scene, and even proto-bluegrass influences from early American balladry.

Cajun music

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

Musical theory#

Cajun music is relatively catchy with an infectious beat and a lot of forward drive, placing the accordion at the center. The accordionist gives the vocal melody greater energy by repeating most notes. Besides the voices, only two melodic instruments are heard, the accordion and fiddle, but usually in the background can also be heard the high, clear tones of a metal triangle. The harmonies of Cajun music are simple and the melodic range is just one octave, rising a fifth above the tonic and descending a fourth below. Because the Cajun accordion is a diatonic instrument (do-re-mi or natural major scale) it can only play tunes in a few keys. For example, a “C” accordion is tuned such that the entire C scale is available on the ten buttons (over two octaves) and it can play a tune in the key of C with all the notes of the C scale available (C-D-E-F-G-A-B). A “C” accordion can also play a few Cajun songs in the key of F however the Bb note will be missing. Also it can play in the key of D with a “bluesy” sound since the F natural note becomes a flat third or minor third in the key of D. However a skilled accordion player can play in these other keys and still make good music whereby the notes missing (because of the limitations of the diatonic tuning) are not needed by the melody. Since an instrument must match the singer’s range, much Cajun singing is sung in the singer’s upper range.

Cakewalk

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

Firsthand accounts#

The cakewalk was influenced by the ring shout, which survived from the 18th into the 20th century. This dance style was often part of African American enslaved peoples’ religious ceremonies and involved shuffling the feet counterclockwise in a circle (ring) formation and reciting spirituals in a call-and-response format with others outside of the ring. There is extensive first-person testimony from emancipated slaves about the culture and dancing they developed among themselves on the plantations, including the dances that developed into the cakewalk. Louise Jones spoke of “Sech dancin’ you never seen before. Slaves would set de flo’ in turns, an’ do de cakewalk mos’ all night.” Estella Jones described nighttime parties with elaborate dress, some of which were attended by the slaveowners, who would judge the dancing and award cakes to the winners.

California sound

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

Origins#

The genesis of the California sound is said to be the Beach Boys’ debut single “Surfin’” in 1961. While the band’s leader Brian Wilson then collaborated with Jan Berry for several hit singles written and produced for other artists, they recorded what would later be regarded as the California sound. University of Southern California history professor Kevin Starr has stated that the band was historically important for embodying the era of the Silent Generation, which he described as unpolitical. He explained that the group “could not help but mythologize a landscape and way of life that was already so surreal, so proto-mythic, in its setting. Cars and the beach, surfing, the California Girl, all this fused in the alembic of youth: Here was a way of life, an iconography, already half-released into the chords and multiple tracks of a new sound.” The California sound was thus a musical translation of the California myth. In the book Pioneers of Rock and Roll: 100 Artists Who Changed the Face of Rock, Harry Sumrall summarized: The Beach Boys’ surf music was not entirely of their own invention, being preceded by artists such as Dick Dale. However, previous surf musicians did not project a worldview as the Beach Boys did. Wilson once said of its myth: “It’s not just the surfing; it’s the outdoors and cars and sunshine; it’s the society of California; it’s the way of California.” Al Jardine of the Beach Boys argued that “It’s not entirely a myth. There are still some elements that are certainly true, especially for a first-time observer. But to be able to come here and to drive that coast on Route 1 … you experience the water and the animals and the sea life, the whole thing. It’s really magical. It really is.” Capitol Records staff producer Nick Venet, who worked with the group early on, believed that most of the group’s lyrical inspiration was drawn from Hollywood films. AllMusic’s review of the group’s “All Summer Long” calls it a “potent example” of the California myth’s “idyllic dream world of sun, surf, and fun” while containing qualities of sunshine pop. Author Luis Sanchez believes that the entirety of the album All Summer Long (1964) was “the nearest the Beach Boys ever got to a perfect version of the California myth.” David Howard wrote that “Don’t Worry Baby” was a “subtle harbinger for the growing dichotomy within the California sound. While ‘I Get Around’ symbolized the sunshine ideal in all its carefree splendor, ‘Don’t Worry Baby’ suggested something entirely more pensive and even slightly dark underneath its pristine facade.”

Calinda

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

History#

Calinda is a kind of stick-fighting commonly seen practiced during Trinidad and Tobago Carnival. It is the national martial art of Trinidad and Tobago. French planters with their slaves, free coloureds and mulattos from neighboring islands of Grenada, Guadeloupe, Martinique and Dominica migrated to Trinidad during the Cedula of Population in 1783. Carnival had arrived with the French, and slaves who could not participate formed a parallel celebration (which eventually became known as Canboulay between 1858 and 1884). After the Emancipation of Slavery in 1833, a lead vocalist or chantwell (chantuelle) would sing call-and-response chants called lavways lionising and cheering on the stickfighters. There, Carnival songs are considered to be derived from calinda chants and “lavways”. This form of music gradually evolved into the modern calypso. Before the Emancipation from slavery and its integration into Carnival, Calinda was used as a type of performance to provide ways of entertainment for slaves. Once the French came to Trinidad, stick fighters were no longer known as stick men but as boismen (bois meaning stick in French). There were different factors involved in stick fighting, including a costume that the performers would have to wear and the gayelles (or arenas) they would fight in. There are also special rituals that are done in the gayelle before the fight starts that include different ceremonial songs. Though it is more commonly practiced as a dance because of the violent outcome of stick-fighting, its roots are still that of a martial art originating from Kingdom of Kongo, and stick-fights still occur in Trinidad. They also have been formalised into annual Carnival competitions. The origin of this tradition has also been related to Afro-Iberian brotherhoods and the calends.

Call and response (music)

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

Africa#

In many African cultures, call and response is a pervasive 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 in order to add depth to songs and performances. These call-and-response practices were often accompanied with specific dance movements and/or foot movements. African call-and-response music was also characterized by its improvisation and spontaneity, with the responding “audience” hosting the ability to add their own creative touches in order to create interplay between the leader and responding group. Most of the call-and-response practices found in modern culture and music originated from many African regions. This back-and-forth musical interaction is also prevalent in many African drumming traditions. These drumming performances are usually broken into a call-and-response setting. The master drummer sets a pattern, and the accompanying drummer responds with either the same or a different pattern. In oral traditions in Africa, call-and-response is usually incorporated. Griots would recite historical tales, with the audience responding at key moments with phrases of agreement and participation while engaging the audience.

Calypso music

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

Etymology#

It is thought that the name “calypso” was originally “kaiso” which is now believed to come from Efik “ka isu” (“go on!”) and Ibibio “kaa iso” (“continue, go on”), used in urging someone on or in backing a contestant. There is also a Trinidadian term “cariso” that means “old-time” calypsos. The term “calypso” is recorded from the 1930s onwards. Alternatively, the insert for The Rough Guide to Calypso and Soca (published by World Music Network) favours John Cowley’s arguments in Carnival, Canboulay and Calypso: Traditions in the Making, that the word might be a corruption of the French carrouseaux and through the process of patois and Anglicization became caliso and then finally “calypso”; however, Cowley also notes that the first mention of the word “calypso” is given in a description of a dance in 1882 by Abbé Masse.

Cambodian rock (1960s–1970s)

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

Post-independence period#

Cambodia gained independence from France in 1953, under the leadership of young king Norodom Sihanouk. Sihanouk was a musician and songwriter, and fostered the development of homegrown popular music in the newly independent country. Under Sihanouk’s rule, it was common for government ministries to have their own orchestras or singing groups to perform at official state functions and royal receptions. For example, Sihanouk’s mother, Queen Sisowath Kossamak, sponsored the Vong Phleng Preah Reach Troap (the classical ensemble of the Royal Treasury), and in approximately 1957 invited the young Sinn Sisamouth to join the ensemble as his first professional music job. Cambodia’s international relations with France and various countries in Latin America fostered the importation of pop records into the country, while children from wealthy Cambodian families often attended school in France and returned with French pop records that were widely traded among fans in Phnom Penh. Latin jazz, cha cha cha, and À gogo records imported from Latin America also became popular in the capital city. By the late 1950s, these genres inspired a flourishing pop music scene in Phnom Penh, featuring singers who created a unique sound by combining traditional Cambodian music forms with these new international influences. Sinn Sisamouth, Mao Sareth, So Savoeun, Chhuon Malay, Sieng Di, and Sos Math were among the earliest stars in this pop scene, with Sisamouth in particular becoming a leader of popular trends in which Cambodian musicians absorbed more international influences, eventually leading to the development of Cambodian rock music. The band originally performed crooning vocal music inspired by Paul Anka and Pat Boone, then added inspiration from the guitar-driven music of The Ventures and Chuck Berry. Sisamouth fostered the careers of younger singers and musicians, writing songs for them while also utilizing them in many of his own songs. Pen Ran (also known as Pan Ron) was one of the earliest rock-oriented female singers in the Cambodian scene, first emerging in 1963 with traditional pop songs but moving into rock music by 1966 via duets with Sisamouth as well as her own songs. Pen Ran was particularly influential, known for her flirtatious dancing and risque lyrics that subverted traditional Khmer gender roles. Sisamouth was also instrumental in launching the career of Ros Serey Sothea, who had been singing at weddings and quickly became the leading female singer in the Cambodian rock scene after her emergence in 1967. Sothea received wide recognition for her high and clear singing voice, and her ability to convey emotions from mischief and flirtation to heartbreak and tragedy. Sothea maintained an active career with her own songs as well as many popular duets with Sisamouth. Sihanouk continued to support the Cambodian music scene through his patronage of the national radio station, allowing the station to promote local music. She became a popular singer as well, known particularly for highly personal lyrics that subverted the social expectations placed on Khmer women, and a melancholic voice that Sihanouk compared to Édith Piaf. Sisamouth, Ros Serey Sothea, Pen Ran and others also maintained separate music careers concurrently. Their rock n’ roll records, which were popular with younger people, were released alongside works in other genres including traditional Cambodian music, romantic ballads, and film music, with those latter genres remaining popular with the country’s older music fans. Ros Serey Sothea and Pen Ran are both believed to have sung on hundreds of songs, and Pen Ran wrote many of her songs herself.

Campaign song

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

History in the United States#

The origin of campaign songs were partisan ditties used in American political canvasses and more especially in presidential contests. The words were commonly set to established melodies like “Yankee Doodle,” “Hail, Columbia,” “Rosin the Bow,” “Hail to the Chief” “John Brown’s Body,” “Dixie” and “O Tannenbaum” (“Maryland, My Maryland”); or to tunes widely popular at the time, such as “Few Days,” “Champagne Charlie,” “The Wearing of the Green” or “Down in a Coal Mine,” which served for “Up in the White House.” Perhaps the best known of them was “Tippecanoe and Tyler too,” (in which words by Alexander C. Ross were adapted to the folk tune, “Little Pigs”). First heard at Zanesville, Ohio, this spread rapidly over the country, furnishing a party slogan. It has been said: “What (La Marseillaise) was to Frenchmen, “Tippecanoe and Tyler Too” was to the Whigs of 1840.” In 1872 an attempt was made to revive the air for “Greeley Is the Real True Blue.” The words, sometimes with music, of campaign songs were distributed in paper-covered song books or “songsters.” Among these were the Log Cabin Song Book of 1840 and Hutchinson’s Republican Songster for the presidential campaign of 1860, compiled by J. W. Hutchinson. For many years national campaigns included itinerant stumpspeakers, live animals, fife-and-drum corps, red fire, floats, transparencies and rousing mass meetings in courthouses and town halls. Glee clubs were organized to introduce campaign songs and to lead audiences and matchers in singing them. The songs were real factors in holding the interest of crowds, emphasizing issues, developing enthusiasm and satirizing opponents. With changes in the methods of campaigning, the campaign song declined as a popular expression. ‘Hail to the Chief’, which drew from Walter Scott’s epic poem The Lady of The Lake, was an early example of America’s campaign song tradition. These songs typically leveraged an existing history for party-political gain, referencing folklore or a “popular bard of the day” set to music. In the mid-19th century, music became more accessible to the middle class and was considered a display of respectability and cultural refinement. As such, political parties began incorporating music into their campaigns to appeal to America’s burgeoning middle class. Despite their political differences, the Whig and Democratic parties repurposed many of the same popular songs, such as “Yankee Doodle”. This was partially due to a lack of notated music in songsters; however, it also reflected their intention to generate mass participation by harnessing “the broad range of music in oral circulation” in the 18th century.

Campus folk song

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

Canadian blues

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

Origins#

Due to Canada’s proximity to the United States (there is a huge shared border), and to the fact that most of the Canadian population lives close to the border, many US blues artists have played in Canadian towns and cities. As well, many Canadian musicians and bands have been able to play in US towns, particularly Canadians who live near US cities close to the border, such as Detroit and Chicago. These two elements have given Canadian blues musicians a substantial opportunity to be directly influenced by US artists. Canadian blues is based on the major US blues styles, such as Chicago Blues and Mississippi Blues. The proximity of the two countries also facilitates collaborative projects featuring artists from both countries. For example, the Canadian bluesman JW-Jones had his third album, My Kind Of Evil (2004), produced by the US artist Kim Wilson (singer and harmonica player for The Fabulous Thunderbirds), and subsequent albums included collaborations with US saxophonist David “Fathead” Newman and US blues artists such as Little Charlie Baty, Junior Watson, Richard Innes, and Larry Taylor. Canadian harp player and band leader David Rotundo has visited many of the key US blues regions, which greatly influenced his musical development.

Canadian classical music

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

Opera singers#

A number of Canadian singers who learned their craft in Canadian opera companies went on to sing in major international opera houses. The Holman Opera Troupe, which toured throughout Canada in the 1860s–1880s, were at separate periods, lessees of the London Opera House, the Royal Lyceum, Toronto, the Grand Opera House, Ottawa, and the Theatre Royal, Montreal. The troupe consisted of Mr. George Holman, his wife, his daughter Sallie Holman (soprano/principal singer) another daughter, and two sons, with some others, including William H. Crane and Sallie’s husband Mr. J. T. Dalton. Bertha May Crawford (1886–1934), a coloratura soprano from Toronto, was probably the only Canadian singer of her era to achieve significant success performing in major opera houses in Russia and Poland during the First World War and through the 1920s. In the early 20th century, contralto singer Portia White (1911–1968) achieved international fame because of her voice and stage presence. As a Canadian of African descent, her popularity helped to open previously closed doors for talented blacks who followed. She has been declared “a person of national historic significance” by the Government of Canada. George London (1920–1985) was a Montreal-born concert and operatic bass-baritone. From 1975 until 1980 he was general director of the Washington Opera. Pierrette Alarie 1921, is a French-Canadian coloratura soprano. Lois Marshall (1924–1997) was a Canadian soprano who was made a Companion of the Order of Canada in 1967. She was both a concert and recital singer, first as a soprano and later as a mezzo-soprano. Louis Quilico (1925–2000) was a Canadian baritone, known as “Mr Rigoletto.” In Canada, Quilico performed regularly with the Canadian Opera Company in Toronto, and throughout the 1970s he performed in opera companies in the United States. Quilico’s contemporary Jon Vickers (1926- 2015) is a tenor born in Prince Albert, Saskatchewan, who joined the Metropolitan Opera in 1960. A powerful “heldentenor”, he became known for his German- and Italian-language roles. Maureen Forrester (1930–2010) was a Canadian operatic contralto known for her performances of Mahler and for her great stamina onstage. Victor Braun (1935–2001) was a Canadian-born operatic baritone who performed at major opera houses from Europe and North America. His contemporary Teresa Stratas (born 1938) is a soprano who had a 36-year career at the Metropolitan Opera. Judith Forst (born 1943) is a Canadian mezzo-soprano who was made an Officer of the Order of Canada in 1991. Richard Margison (born 1953) is an operatic tenor who was named an Officer of the Order of Canada in 2001 and lives in Toronto, Ontario, Canada. Gino Quilico (born 1955) is a lyric baritone of Italian descent and the son of Canadian baritone Louis Quilico and Lina Pizzolongo. Ben Heppner (born 1956) is a tenor, specializing in opera and classical symphonic works for voice. performs frequently with major opera companies in the United States and Europe, as well as concert appearances with major symphony orchestras. Gerald Finley (born 1960) is a bass-baritone opera singer renowned for his interpretations of Mozart roles. Michael Schade (born 1965) is a Canadian operatic tenor, who was born in Geneva and raised in Germany and Canada; he is known as a “Mozart tenor”. Russell Braun (born 1965) is an operatic lyric baritone, who is the son of baritone Victor Braun. Isabel Bayrakdarian (born 1974) is an Armenian-Canadian opera singer who moved to Canada as a teenager. James Westman (born 1972) is an operatic baritone, in his youth he was the first boy soprano to perform Gustav Mahler, 4th symphony with Leonard Bernstein. Joni Henson (born 1977 in Sault Ste. Marie, Ontario) and Measha Brueggergosman (born 1977 in Fredericton, New Brunswick) are both Sopranos that perform regularly both in concert and in fully staged Operas.

Canadian country music

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Canadian folk music

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Elements of Canadian folk music#

Most genres of music have their known instruments that are played to compose a song. The principal instrument for Canadian folk music is known to be the fiddle. The first record of a fiddle in Canada is in 1645 at a wedding in Quebec on the 27th of November. After this account it seems that reports of fiddles are rare for the next 100 years. However, despite this hiatus in reports, the fiddle remains a well-known instrument among folk musicians and music.

Canadian hardcore punk

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Vancouver#

The Skulls were an early Vancouver punk rock/hardcore band, whose members would later found two of the area’s notable hardcore bands: D.O.A. and The Subhumans. They toured heavily and issued a demo, but never released any albums. Joey Keithley, a.k.a. Joey Shithead, was the singer, Brian Roy Goble, a.k.a. Wimpy Roy, the bass player, Simon Werner the guitar player and Ken Montgomery, a.k.a. Dimwit, the drummer. The Skulls played the (mostly hostile) club circuit in Vancouver and recorded a few songs at Psi-chords Studios, including “Fucked Up Baby”, which would later become a D.O.A. song. After the Subhumans broke up in 1982, Wimpy joined DOA, which now featured Dimwit on drums, who had just been in the Pointed Sticks. For the next several years DOA’s lineup was a virtual copy of the Skulls lineup, but with Dave Gregg instead of Simon Werner. D.O.A. formed in Vancouver, British Columbia in 1978 and were one of the first bands to refer to its style as “hardcore”, with the release of their album Hardcore ‘81. Other early hardcore bands from British Columbia included Dayglo Abortions, the Subhumans and The Skulls. In 1988, the Dayglo Abortions became the center of national media attention when a police officer instigated a criminal investigation of the band after his daughter brought home a copy of Here Today, Guano Tomorrow. Obscenity charges were laid against the Dayglo Abortions’ record label, Fringe Product, and the label’s record store, Record Peddler, but those charges were cleared in 1990. The Subhumans are a punk band formed in Vancouver in 1978. Known by pejorative, punk rock nicknames, original members were known simply as “Useless” (Gerry Hannah), “Dimwit” (Ken Montgomery), “Wimpy” (Brian Roy Goble) and “Normal” (Mike Graham). Dimwit quit the band shortly after their first 7-inch was released to join the Pointed Sticks and was replaced by Koichi Imagawa, also known as Jim Imagawa, on drums. The band came to fruition amid the inchoate Canadian hardcore punk scene of the early 1980s. Coupling horrific and occasionally humorous lyrical imagery with a dynamic punk sound, their 1985 debut album …And No One Else Wanted to Play has remained influential in underground circuits. Brand New Unit was a Canadian hardcore punk band from Vancouver. The band formed in 1991 near Surrey, and were widely known as the acronym B.N.U. in the early years, as a band name logo was needed to post on a playbill. They were featured on Thrasher Skate Rock Vol. 11 and in 1992 they were winners of CITR-FM’s SHiNDiG live performance contest, which awarded them some studio time. Stress Factor 9 is a hardcore punk band from Vancouver, formed in 2004. SF9s members include frontman Randy Rampage (founder of the hardcore band D.O.A. The band has one CD (Brainwarp Mindspin) and last played in January 2007.

Canadian heavy metal

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Canadian hip-hop

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Early 1980s#

Canada had hip hop artists right from the early days of the scene—the first known Canadian rap single, Mr. Q’s “Ladies’ Delight”, was released in 1979 just a few weeks after The Sugarhill Gang’s historic “Rapper’s Delight”, and the first French rap single, Lucien Francœur’s “Le Rap-à-Billy”, was released in 1983. For the most part, however, the infrastructure was not there to get most artists’ music to the record-buying public; even “Ladies’ Delight” was overlooked by Canadian music historians for many years, instead media and reference works erroneously credited Singing Fools’ “The Bum Rap”, which was released three years later in 1982, as the first Canadian rap single. In addition to “Ladies Delight”, Mr. Q (Jay McGee) released a handful of other rap singles through the last several months of 1979; one, “Party Rapp”, included lyrics about the 1979 Mississauga train derailment. Toronto’s CKLN-FM was an early supporter of the genre, with Ron Nelson launching Canada’s first hip hop program, The Fantastic Voyage, in 1983.

Canadian jazz

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Early history#

The first jazz concert in Canada was by the touring Creole Orchestra and Ragtime Band, led by Bill Johnson and featuring cornetist Freddie Keppard at the Pantages Playhouse Theatre in Winnipeg, Manitoba on September 21, 1914. A few days later the band performed at Edmonton. The Winnipeg concert was the first jazz performance outside the United States and the beginning of jazz as an international movement. Since then, given its proximity to the United States, Canada quickly became the first country beyond the USA to have its own jazz scene, with artists popping up in cities across the country, notably in Montreal, Quebec in the 1910s. In part this was due to U.S. black jazz musicians finding escape in Canada from the racism rampant in the U.S. Other groups soon sprung up, among them the Clar-Ra Ladies Jazz Orchestra. The Jazz Baby Vaudeville (AKA the Original Winnipeg Jazz Babies) was composed of Winnipeg teens, each playing two or more instruments. These bands performed in dance clubs across the Prairies in the 1920s. In 1926 pianist Shirley Oliver, with a background playing “hot-dance” tunes, opened a jazz music studio in Edmonton. The first successful Black Canadian Jazz artists to record were Shelton Brooks (1886-1975) and Tiny Parham (1900-1943). Brooks, a vaudeville performer, pianist and songwriter who had been active since the 1900’s who would write “At the Darktown Strutters’ Ball” which would be a recorded by several Jazz artists and “Some Of These Days” for Sophie Tucker. He himself would record some singles in the 1920’s and 30’s and play piano for Ethel Waters and Sara Martin. Parham was a pianist and bandleader who recorded several sides in the 1920’s and 30’s as well as accompanying Johnny Dodds, Punch Miller, banjoist Papa Charlie Jackson, saxophone player Junie Cobb and bassist Milt Hinton. It’s notable that both men had moved to America to establish their careers as there was as of yet no real domestic record industry in Canada at the time. Guy Lombardo formed the big band called the Royal Canadians in 1924 with his brothers and sold between 100 and 300 million records during their lifetimes. In 1930 an American Big Band called the Orange Blossoms started an extended run in Toronto at the Casa Loma, then being run as a luxury hotel where they would become so popular they would later change their name to the Casa Loma Orchestra. Their success would include a coast-to-coast radio show which became one of the first Swing bands to gain nation-wide attention in both Canada and America where they would score several hits into the 1940’s. The leadership of the band would remain with American Glen Gray but frequent residencies and member turnover in Toronto would lead to several Canadian musicians being added. Also in the 30’s in Alberta Mart Kenny would lead a band that would become popular in Western Canada and record some singles for Bluebird Records.

Canadian punk rock

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1970s–1990s#

Early Toronto punk bands included the Viletones, the Diodes, the Poles, the Ugly, Cardboard Brains, the Dents, the Mods, the Secrets, ARSON and the Scenics, and these were followed by the Demics, Crash Kills Five, Stark Naked and the Fleshtones and L’Étranger, plus Hamilton’s Forgotten Rebels and Teenage Head. Formed in Montreal in 1978, the all female band Blue Oil was part of Quebec’s early punk scene. In Vancouver D.O.A. and the Subhumans led a 1978-79-80 scene that included Pointed Sticks, Braineaters, Young Canadians, and the Modernettes. A few years later and many bands across Canada were carrying the punk torch, including Young Lions, Youth Youth Youth, Bunchofuckingoofs, SNFU, Dayglo Abortions, the Nils, Direct Action, APB, Nomeansno and Chronic Submission. Two of the biggest early punk shows in Toronto were The Last Pogo at the Horseshoe tavern in 1978, featuring Teenage Head, the Viletones, the Scenics, the Cardboard Brains, the Secrets, the Mods, and the Ugly, and the Rock Against Radiation concert July 19, 1980, at Nathan Phillips Square, featuring DOA, Stark Naked and the Fleshtones, the Viletones, the Forgotten Rebels, plus Joe College (promoter of the show) and the Rulers. Canadian hardcore punk also originated in the early 1980s. D.O.A. are known as the first Canadian hardcore band, and with the release of their album Hardcore ‘81 they set the standards for the style of music. That album title is considered to be the origin of the term hardcore punk. The punk tradition has carried on in Canada right up to modern bands like Fucked Up, The Salads, Alexisonfire, PUP, Cancer Bats.

Canción melódica

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History#

Canción melódica appeared in the first half of the 20th century. Unlike the cuplé, its 19th century predecessor that was primarily strophic, canción melódica was defined through the emphasis it placed on the chorus. The orchestras with vocalists had a fundamental protagonism in the dance parties, which evolved from the popular verbena to “more refined circles” such as salons and cafés. The melodic compositions were accompanied by popular vocalists that appeared in magazines, films and live performances; “Musicologists describe canción melódica as the explanation for the birth of the singer stars in the 1920s.” Argentine singer Sandro was a popular canción melódica singer during that decade. Canción melódica became frowned upon as “light music” from the 1980s on, with the rise in popularity of other genres such as rock.

Candombe

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Common origins#

According to George Reid Andrews, a historian of black communities in Latin America, after the middle of the 19th century younger black people began to abandon the candombe in favor of practicing European dances such as the waltz, schottische, and mazurka. Following this new twist, other Uruguayans began to imitate the steps and movements. Calling themselves Los Negros, upper class porteños in the 1860s and 1870s performed blackface and formed one of the carnival processions each year. African-Uruguayans organized candombe dances every Sunday and on special holidays such as New Year’s Eve, Christmas, Saint Baltasar, Rosary Virgin and Saint Benito. They would set a fire to heat the drums and play candombe music, especially during the night in certain neighborhoods such as Barrio Sur and Palermo in Montevideo. The typical characters on the parade represent the old white masters during slavery in old Montevideo city. It was a mockery to their lifestyle with a rebel spirit for freedom and a way to remember the African origins. In 1913, an anonymous dance historian identified only as “Viejo Tanguero” (“Old Tangoer”) wrote about the 1877 creation of a dance referred to as a tango but featuring ideas from the candombe. This dance, which later became known as “soft tango,” was created by African Argentines. Writing in 1883, dance scholar and folklorist Ventura Lynch described the influence of Afro-Argentine dancers on the compadritos (“tough guys”) who apparently frequented Afro-Argentine dance venues. Lynch wrote, “the milonga is danced only by the compadritos of the city, who have created it as a mockery of the dances the blacks hold in their own places”. Lynch’s report was interpreted by Robert Farris Thompson in Tango: The Art of Love as meaning that city compadritos danced milonga, not rural gauchos. Thompson notes that the population of city toughs dancing milonga would have included blacks and mulattoes, and that it would not have been danced as a mockery by all the dancers.

Canon (music)

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Medieval and Renaissance#

During the Middle Ages, Renaissance, and Baroque—that is, through the early 18th century—any kind of imitative musical counterpoints were called fugues, with the strict imitation now known as canon qualified as fuga ligata, meaning “fettered fugue”. Only in the 16th century did the word “canon” begin to be used to describe the strict, imitative texture created by such a procedure. The word is derived from the Greek “κανών”, Latinised as canon, which means “law” or “norm”. In contrapuntal usage, the word refers to the “rule” explaining the number of parts, places of entry, transposition, and so on, according to which one or more additional parts may be derived from a single written melodic line. This rule was usually given verbally, but could also be supplemented by special signs in the score, sometimes themselves called canoni. The earliest known non-religious canons are English rounds, a form first given the name rondellus by Walter Odington at the beginning of the 14th century; the best known is “Sumer is icumen in” (composed around 1250), called a rota (“wheel”) in the manuscript source. The term “round” was first used in English sources in the 16th century. Canons featured in the music of the Italian Trecento and the 14th-century ars nova in France. An Italian example is “Tosto che l’alba” by Gherardello da Firenze. In both France and Italy, canons were often featured in hunting songs. The medieval and modern Italian word for hunting is “caccia”, while the medieval French word is spelled “chace” (modern spelling: “chasse”). A well-known French chace is the anonymous “Se je chant mains”. Richard Taruskin describes “Se je chant mains” as evoking the atmosphere of a falcon hunt: “The middle section is truly a tour de force, but of a wholly new and off-beat type: a riot of hockets set to ‘words’ mixing French, bird-language, and hound-language in an onomatopoetical mélange.” Guillaume de Machaut also used the 3-voice “chace” form in movements from his masterpiece Le Lai de la Fontaine (1361). Referring to the setting of the fourth stanza of this work, Taruskin says “a well-wrought chace can be far more than the sum of its parts; and this particular chace is possibly Machaut’s greatest feat of subtilitas.” An example of late 14th century canon which featured some of the rhythmic complexity of the late 14th century ars subtilior school of composers is La harpe de melodie by Jacob de Senleches. According to Richard Hoppin, “This virelai has two canonic voices over a free and textless tenor.” In many pieces in three contrapuntal parts, only two of the voices are in canon, while the remaining voice is a free melodic line. In Dufay’s song “Resvelons nous, amoureux”, the lower two voices are in canon, but the upper part is what David Fallows describes as a “florid top line”:

Cantata

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Historical context#

The term originated in the early 17th century, simultaneously with opera and oratorio. Prior to that, all “cultured” music was vocal. With the rise of instrumental music, the term appeared, while instrumental art became sufficiently developed to be embodied in sonatas. From the beginning of the 17th century until late in the 18th, the cantata for one or two solo voices with accompaniment of basso continuo (and perhaps a few solo instruments) was a principal form of Italian vocal chamber music. A cantata consisted first of a declamatory narrative or scene in recitative, held together by a primitive aria repeated at intervals. Fine examples may be found in the church music of Giacomo Carissimi; and the English vocal solos of Henry Purcell (such as Mad Tom and Mad Bess) show the utmost that can be made of this archaic form. With the rise of the da capo aria, the cantata became a group of two or three arias joined by recitative. George Frideric Handel’s numerous Italian duets and trios are examples on a rather large scale. His Latin motet Silete Venti, for soprano solo, shows the use of this form in church music.

Cante flamenco

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Types of cante#

There are many variants of cantes or palos (song forms), each expressing a unique emotion (which shares noticeable resemblance to Indian classical music). The flamenco songs of today may be classified into one of three categories: cante grande, cante intermedio or cante chico.

Cante Grande#

Also known as cante jondo and sometimes referred to as cante gitano. Meaning “profound” and “deep,” this intensely sad form of cante deals with themes of death, anguish, despair, or religious sentiments and may be sung a palo seco (without guitar accompaniment). Major forms are the tonás, martinetes, seguiriya, soleá, and carcelera. It is said that cante jondo (deep song) is the heart and soul of flamenco: Sample Seguiria describing anguish in Caló, Spanish and English:

Canterbury scene

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Definition and history#

The Canterbury scene is largely defined by a set of musicians and bands with intertwined members. These are not tied by very strong musical similarities, but a certain whimsicality, touches of psychedelia, rather abstruse lyrics, and a use of improvisation derived from jazz are common elements in their work. There is variation within the scene, for example from pop/rock like early Soft Machine and much Caravan to avant-garde composed pieces as with early National Health to improvised jazz as with later Soft Machine or In Cahoots. Didier Malherbe (of Gong) has defined the scene as having “certain chord changes, in particular the use of minor second chords, certain harmonic combinations, and a great clarity in the aesthetics, and a way of improvising that is very different from what is done in jazz.” There is debate about the existence and definition of the scene. Dave Stewart has complained at the nomenclature as he and many other musicians identified with the Canterbury scene never had anything to do with Canterbury, the place. The former Soft Machine bassist Hugh Hopper, who lived in Whitstable, near Canterbury, said: “I think it’s a rather artificial label, a journalistic thing… I don’t mind it, but people like Robert Wyatt , he in fact hates that idea, because he was born somewhere else and just happened to go to school here. In the time when the Wilde Flowers started we hardly ever worked in Canterbury. It wasn’t until Robert and Daevid Allen went to London to start Soft Machine that anything happened at all. They weren’t really a Canterbury band … if it helps people understand or listen to more music then it is fine.”

Cantes de ida y vuelta

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History#

In the Spanish Golden Age, dramatists like Lope de Vega and Tirso de Molina already included songs and dances of Latin American influence. There is also evidence of their popularity in the 19th century: many examples still remain of printed songbooks and sheets, often mixing Andalusian and Latin American songs, which were sold in the streets, and Baron Charles Davillier, in his trip in Spain in 1862 described a fiesta (party) in these terms: … and a young Gypsy … danced the American tango with an extraordinary grace. Another widely known music in Andalusia is the Punto de la Habana, whose name indicates its origin, and it is used to accompany the décimas sung between dances in parties. The exchange of musical influences was particularly important at the end of the Spanish–American War in 1898, when the United States gained control over Cuba, the last Spanish territory in Latin America. The defeat involved the return of many Spanish emigrants to Spain. These returned migrants, popularly called indianos, also brought back their songs and their music, which were soon included in the repertoire of flamenco artists, after a process of adaptation to the flamenco style of singing and playing. Although Antonio Chacón already sang these styles (he recorded the milonga in 1913), the first flamenco singer who recorded a significant repertoire of guajiras, milongas, and vidalitas was Manuel Escacena. He made popular the milonga “Juan Simón”, which he learned from Mexican bullfighters around 1911, and which was later recorded by several other singers.

Canticle

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Catholic Church#

Prior to Pope Pius X’s 1911 reforms, the following cycle of seven Old Testament Canticles was used at Lauds: * Sunday – The Song of the Three Holy Children () * Monday – The Song of Isaiah the Prophet () * Tuesday – The Song of Hezekiah () * Wednesday – The Song of Hannah () * Thursday – The (First) Song of Moses () * Friday – The Prayer of Habakkuk () * Saturday – The (Second) Song of Moses () These are rather long, and the weekday ones display something of a penitential theme, but some were not often used, as all feasts and the weekdays in Eastertide had the Canticle of Daniel, assigned to Sunday. The 1911 reform introduced for weekdays not of penitential nature, and for lesser feasts and days of the lesser octaves, the following Canticles: * Monday – The Song of David the King () * Tuesday – The Song of Tobit () * Wednesday – The Song of Judith () * Thursday – The Song of Jeremiah the Prophet () * Friday – The (Second) Song of Isaiah the Prophet () * Saturday – The Song of Ecclesiasticus () For weekdays in Advent, Pre-Lent, Lent and the quarterly Ember Days, if not superseded by higher-ranking feasts—due to the multitude of feasts in the rest of the year, these make up almost the totality of the days that did not have the Canticle of Daniel before—the original seven Canticles would still be used. The Liturgy of the Hours (introduced in 1971) uses one canticle from the Old Testament each day at Lauds, “each weekday of the four-week cycle has its own proper canticle and on Sunday the two sections of the Canticle of the Three Children may be alternated”. The liturgy prior to the reform after Vatican II used fourteen Old Testament Canticles in two weekly cycles. At Vespers according to the Liturgy of the Hours, a Canticle from the New Testament is used. These follow a weekly cycle, with some exceptions. Additionally, the following Canticles from the Gospel of Luke (also called the “Evangelical Canticles”) are said daily: * At Lauds, the “Canticle of Zachary” (Luke 1:68-79), commonly referred to as the Benedictus. * At Vespers, the “Canticle of Mary” (Luke 1:46-55), commonly known as the Magnificat. * At Compline, the “Canticle of Simeon” (Luke 2:29-32), commonly referred to as the Nunc dimittis. This usage is also followed by Lutheran churches.

Cantiga

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References#

Rip Cohen. 500 Cantigas d’Amigo, edição crítica/critical edition. Porto: Campo das Letras, 2003.
Giulia Lanciani and Giuseppe Tavani (edd.). Dicionário da Literatura Medieval Galega e Portuguesa. Lisbon: Caminho, 1993.
Manuel Pedro Ferreira. O Som de Martin Codax. Sobre a dimensão musical da lírica galego-portuguesa (séculos XII-XIV). Lisbon: UNISYS/ Imprensa Nacional – Casa de Moeda, 1986.
Manuel Pedro Ferreira. Cantus Coronatus: 7 Cantigas d’El Rei Dom Dinis. Kassel: Reichenberger, 2005.
Manuel Rodrigues Lapa. Cantigas d’escarnho e de mal dizer dos cancioneiros medievais galego-portugueses, edição crítica. 2nd ed. Vigo: Editorial Galaxia, 1970.
Walter Mettmann. Afonso X, o Sabio. Cantigas de Santa Maria. 4 vols. Coimbra: Por ordem da Universidade, 1959–72 (rpt. Vigo: Ediçóns Xerais de Galicia, 1981).
Carolina Michaëlis de Vasconcellos. Cancioneiro da Ajuda, edição critica e commentada. 2 vols. Halle a.S.: Max Niemeyer, 1904 (rpt. with Michaëlis 1920, Lisboa: Imprensa Nacional – Casa de Moeda, 1990).
Carolina Michaëlis de Vasconcellos. “Glossário do Cancioneiro da Ajuda”. Revista Lusitana (1920) 23: 1–95.
José Joaquim Nunes. Cantigas d’amor dos trovadores galego-portugueses. Edição crítica acompanhada de introdução, comentário, variantes, e glossário. Coimbra: Imprensa da Universidade, 1932 (rpt. Lisbon: Centro do Livro Brasileiro, 1972).
Jack Sage. “Cantiga”, Grove Music Online, ed. L. Macy (accessed 17 September 2006), grovemusic.com (subscription access).
Giuseppe Tavani. Trovadores e Jograis: Introdução à poesia medieval galego-portuguesa. Lisbon: Caminho. 2002.

Cantiga de amigo

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Characteristics#

What mainly distinguishes the is its focus on a world of female-voiced communication. The earliest examples that survive are dated from roughly the 1220s, and nearly all 500 were composed before 1300. are found mainly in the Cancioneiro Colocci-Brancuti, now in Lisbon’s Biblioteca Nacional, and in the Cancioneiro da Vaticana, both copied in Italy at the beginning of the 16th century (possibly around 1525) at the behest of the Italian humanist Angelo Colocci. The seven songs of Martin Codax are also contained, along with music (for all but one text), in the Pergaminho Vindel, probably a mid-13th-century manuscript and unique in all Romance philology. Stylistically, they are characterized by simple strophic forms, with repetition, variation, and parallelism, and are marked by the use of a refrain (88% of the texts). Even Mendinho, author of a single song, has been acclaimed as a master poet.

Cantiga de amor

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In popular culture#

In 1991, the Brazilian rock band Legião Urbana released their fifth album, V, which opened with the song titled Love Song. The song is the first stanza of , a written by Nuno Fernandes Torneol in the 13th century which tells the story of the character who since was born never saw love, but have heard about “him” and knows “he” wants to kill him. The character then begs his (“lady”, or his love interest) to show the killer or protect him.

Cantiñas

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Sources#

MARTÍN SALAZAR, Jorge: Los cantes flamencos, Diputación Provincial de Granada ÁLVAREZ CABALLERO, Ángel: La discoteca ideal del flamenco, Planeta, 1995

Cantonese opera

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History#

There is debate about the origins of Cantonese opera, but it is generally accepted that opera was brought from the northern part of China and slowly migrated to the southern province of Guangdong in the late 13th century, during the late Southern Song dynasty. In the 12th century, there was a theatrical form called the Nanxi or “Southern drama”, which was performed in public theatres of Hangzhou, then capital of the Southern Song. With the invasion of the Mongol army, Emperor Gong of the Song dynasty fled with hundreds of thousands of Song people into Guangdong in 1276. Among them were Nanxi performers from Zhejiang, who brought Nanxi into Guangdong and helped develop the opera traditions in the south. Many well-known operas performed today, such as Tai Nui Fa originated in the Ming Dynasty and The Purple Hairpin originated in the Yuan Dynasty, with lyrics and scripts in Cantonese. Until the 20th century all the female roles were performed by males.

Cantopop

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1920s to 1950s: Shanghai origins#

Western-influenced music first came to China in the 1920s, specifically through Shanghai. Artists like Zhou Xuan () acted in films and recorded popular songs. After the People’s Republic of China was founded by the Chinese Communist Party in 1949, the new government quickly denounced pop music—particularly Western pop—as decadent. As a result, many first generation Cantopop artists and composers hail from Shanghai.

1960s: Cultural acceptance#

By the 1960s, Cantonese music in Hong Kong was still limited largely to traditional Cantonese opera and comic renditions of western music. Tang Kee-chan, Cheng Kuan-min (), and Tam Ping-man () were among the earliest artists releasing Cantonese records. The generation at the time preferred British and American exports. Western culture was at the time equated with education and sophistication, and Elvis Presley, Johnny Mathis and The Beatles were popular. Conversely, those who preferred Cantonese music were considered old-fashioned or uneducated. and Chan Chai-chung () were two popular Cantonese singers who specifically targeted the younger generation. Connie Chan Po-chu is generally considered to be Hong Kong’s first teen idol, mostly due to her career longevity. Josephine Siao is also another artist of the era.

Cantu a chiterra

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Competitions#

After centuries of existing in familiar setting, the cantu a chiterra also developed during the twentieth century as a singing competition, with the guitar (sa gara), taking place in front of an audience, usually at religious festivals, in forms that are still in place. The gara is a musical competition where two or three singers, accompanied by a guitarist, compete with their improvisations on pre-established musical themes to show the quality of their performance. The competition requires that each cantadore (singer) performs one verse at a time, alternating with the other competitors (usually being assigned three stanzas each). The musical reference model (variant) is not a form fully and completely defined, but rather a set of pre-established forms of musical structures (meter, melody, harmony) relatively undefined. So that is it allowed to each cantadore to improvise at will on the model of reference.

Cantu a tenore

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Etymology#

The word is not to be confused with the word “tenor” as a simple description of vocal register; it refers to the actual style of folk singing and is distinguished from other similar styles called by different names in different places on the island, such as in Gallura and in Logudoro . In the Barbagia region on the island of Sardinia, there are two different styles of polyphonic singing: , usually a form of sacred music, sung with regular voices, and , usually a form of profane music, marked by the use of overtone singing.

Canzone

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

Canzone#

The canzone (German: Kanzone) is the characteristic strophic form of , the Middle High German lyric genre. In , the canzone follows the tri-partite structure of the Provençal canso: two metrically identical (“supports”) form the (literally “up-song”), which is followed by a metrically distinct (“down-song”). The following rules generally apply: * each line in the first rhymes with the matching line in the second * the introduces new rhymes and may contain a non-rhyming line * the is longer than a single but shorter than the entire . class=“wikitable” style=“border; margin: 2em; vertical-align: top; background:#fff;” - ! colspan=“5” Hartman von Aue, Crusading Song (MF 211,20) The earliest canzone in date from the late 12th Century and are part of the more general influence of the Romance lyric.

Canzone napoletana

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History#

Many of the Neapolitan songs are world-famous because they were taken abroad by emigrants from Naples and southern Italy, roughly between 1880 and 1920. The music also was popularized abroad by performers such as Enrico Caruso, who took to singing the popular music of his native city as encores at the Metropolitan Opera in New York in the early 1900s. Caruso also recorded many of these songs, which subsequently became part of the standard repertoire for operatic tenors, and which were performed and recorded by such notable singers as Beniamino Gigli, Francesco Albanese, Franco Corelli, Mario Del Monaco, Giuseppe Di Stefano, and Tito Schipa. The Three Tenors also performed popular songs from Naples. Plácido Domingo recorded a full CD Italia ti amo of traditional and some more modern Neapolitan and Italian songs. Luciano Pavarotti recorded three albums of Neapolitan and Italian songs: The Best: Disc 2, (2005), Pavarotti Songbook, (1991), and Romantica, (2002). Mario Lanza recorded an acclaimed selection of 12 Neapolitan songs on his 1959 album, Mario! Lanza at His Best. Opera/pop crossover tenor, Sergio Franchi recorded his very popular Billboard Top 25 RCA debut album, Romantic Italian Songs in 1962, and continued to record Neapolitan songs on most of his albums throughout his career. Andrea Bocelli recorded an album in 2009 dedicated to the style, entitled Incanto. The most important native Neapolitan performers of Neapolitan songs in the last few decades include Roberto Murolo, Bruno Venturini, Mario Trevi, Mario Abbate, Mario Merola, Giulietta Sacco, Franco Ricci, Sergio Bruni, Renato Carosone, and Mario Maglione. Murolo is known not only as a singer and guitarist, but also as a composer, scholar and collector of the music; his collection of twelve LPs, released in the 1960s, is an annotated compendium of Neapolitan song dating back to the twelfth century. Representatives of different veins, but nevertheless leading the continuing tradition of song in Neapolitan, are the jazz-rock singer-songwriter Pino Daniele and the folkloric group Nuova Compagnia di Canto Popolare; Almamegretta and 99 posse are representative of a blend of Neapolitan songs and dub/trip hop, with the former appearing in a song with the Bristol duo Massive Attack. All Neapolitan songs are written and performed in the Neapolitan language. Although the music is sung by many non-Neapolitan singers, it is difficult to sing correctly without knowledge of the Neapolitan dialect, which is crucial in obtaining the correct inflection. The matter of dialect has not prevented a few non-Neapolitans from writing dialect versions of Neapolitan songs. The most famous examples of this are A vucchella by Gabriele D’Annunzio and Tu sì ’na cosa grande by Domenico Modugno. Since the second half of the 2010s, a new sub-set of Neapolitan music has begun to emerge which mixed various traditional elements with aspects of hip hop, electronic, techno and urban music. Among the major representatives of this “new school” we find Liberato, Geolier and Clementino.

Canzonetta

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Origins in Italy#

In its earliest form, the canzonetta was closely related to a popular Neapolitan form, the villanella. The songs were always secular, and generally involved pastoral, irreverent, or erotic subjects. The rhyme and stanza schemes of the poems varied but always included a final “punch line.” Typically the early canzonetta was for three unaccompanied voices, moved quickly, and shunned contrapuntal complexity, though it often involved animated cross-rhythms. It was fun to sing, hugely popular, and quickly caught on throughout Italy, paralleling the madrigal, with which it later began to interact. The earliest books of canzonettas were published by Giovanni Ferretti in 1567 and Girolamo Conversi in 1572. By the 1580s some of the major composers of secular music in Italy were writing canzonettas, including Luca Marenzio and Claudio Monteverdi, who published his first set in 1584. Monteverdi was to return to the form with his ninth and final book of madrigals (published posthumously in 1651). Orazio Vecchi was another important composer of canzonettas in the 1580s. His canzonettas varied widely, and included some for dancing and some that parodied the excesses of the contemporary madrigal. Some composers, such as Roman School member Felice Anerio, adapted the form for a sacred purpose. Anerio wrote a set of sacred canzonette. By the end of the century most canzonettas were for four to six voices, and had become more similar to the madrigal. Some composers who studied in Italy carried the canzonetta back to their home countries, such as Hans Leo Hassler, who brought the form to Germany.

Cape Breton fiddling

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Playing style#

Cape Breton- Scottish playing is accented, characterized by driven up-bowing. The tunes of other music origins (Irish, Canadian, French-Canadian, etc.) sound different when performed by Cape Breton- Scottish players. The downbeat pulse is driven by the fiddler’s heel into the floor. The pattern tends to be heel-and-toe on reels, the heel on strathspeys. Cape Breton fiddle music is influenced by the intonations of the Scots-Gaelic language, especially Puirt a Beul (mouth music) and strathspeys. The ornaments are adapted from those used on the Great Highland bagpipe. The ornamentation (cuts aka. trebles, drones and doubling) brings out the feeling of Cape Breton fiddle. A century ago the violin and pump organ were the common instruments; the latter has been supplanted by piano to provide a rhythmic accompaniment. Guitar is also used for accompaniment but it’s less prominent than piano.

Cape jazz

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History#

Although there are strong influences from the American jazz, the development of Cape jazz ran in a similar way to the course of American jazz but in the early 20th century. Being born in a similar political climate to that in New Orleans, Louisiana, at the end of the 19th century, the blues songs that inspired this genre told of local occurrences in Cape Town. An example is the inspiration of the visits of the southern confederate raider CSS Alabama to the Cape in 1863 and 1864, resulting in the folk song “Daar kom die Alibama”. The leading exponents of this style of music in the 1970s are pianist Abdullah Ibrahim (then known as Dollar Brand) and saxophonists Basil Coetzee and Robbie Jansen. These three, together with bassist Paul Michaels, drummer the late Monty Weber and sax man Morris Goldberg, recorded the seminal Cape jazz song “Mannenberg”. Composed by Brand/Ibrahim, the song takes its name from the notoriously crime-ridden creole working-class township on the Cape Flats of Cape Town. The township was one of several created by the apartheid regime following the clearing of the urban slum quarter known as District Six, home to many artists and musicians. Their US American contemporaries in the jazz field were taking on board rock and funk influences. Brand and his group were still being influenced by the more ethnic blues music. Like the comparable music of New Orleans, Cape jazz was mainly inspired by the blues and folk songs sung by creole people descended from the former slave communities living in the Western Cape, known loosely as the Cape Coloured or Cape Malay people. A street carnival parade or Mardi Gras (also called the Coon Carnival) is held each year peaking on 2 January. This event is the culmination of months of musical and dance rehearsal and community-based competitions, by various mostly mixed-race folk, and was known as Tweede Nuwe Jaar (Afrikaans). The performers, known as Klopse, borrowed the painted faces and bright consumes of the minstrel show style of New Orleans and combined this with African and European music that was to be heard in the taverns and night clubs of the port city. Some of this music is also more recently known as Goema, or Ghoema jazz (also written “guma” – Jonas Gwangwa), referring to a particular wooden barrel-shaped Asian-style drum (also known in the Cape as a Ghomma) played by the revelers in the almost totally creole troupes in the aforementioned parade. There is a new generation of Cape jazz musicians of which the band called The Goema Captains are a good example. The group featured Mac McKenzie, Alex van Heerden and Hilton Schilder, who have brought greater improvisational elements to this music. They have literally re-arranged Cape traditional songs and jazzed them up. The young Van Heerden was killed in a motor accident in 2009, but not before releasing two very modern albums of his own, inspired by this genre and his time spent under Robbie Jansen’s teaching. Another example is The Cape Jazz Band, an all-star ensemble drawing its players from different groups performing in Cape Town. Other leading names in the genre are pianist Tony Schilder, guitarist Errol Dyers, bass player and composer Stephen Erasmus and the Gugulethu-based saxophonist the late Winston Mankunku. The first commercial reference to Cape jazz in South African music is on the record label compilation of Mountain Records artists released in 1993. The album collected the work of several of the label’s acts over a 12-year period beginning in 1981. The thematic similarity in the instrumental compositions, all of which are original, very clearly illustrates this genre. The album contained another Cape Jazz gem in the Jonathan Butler track “7th Avenue”. The compilation was the inspiration for the collation and publication of a sheet music collection of Cape Jazz composers (see below). In September 2006, the Cape Town Jazz Orchestra was launched with a concert promoted by the Arts and Culture department of the South African government. This project brought together 16 musicians from all over South Africa to perform arrangements of works by different jazz composers including Abdullah Ibrahim, who also performed at the concert, and a piece dedicated to and inspired by the late Basil Coetzee. Since the launch, the orchestra has changed from being one with performers from the whole of South Africa to a collection of Cape-based players. From 2008 they became known as the Cape Jazz Orchestra under the musical leadership of Alvin Dyers. This should not be confused with The Cape Jazz Band, a group under the leadership of jazz drummer Jack Momple, who contributed to many of the most famous Cape jazz recordings. An international breakthrough for the genre came when a compilation of recordings entitled Cape Jazz 3 - Goema entered the prestige European World Music Charts in May 2008. Until this point this music was seen as jazz, although many songs performed by the exponents are jazzed-up folk music standards from the Cape and thus justify being considered as “world music”. The album contains work from Robbie Jansen, Dollar Brand, Chris McGregor, Basil Coetzee, Errol Dyers and others. In 2010 the aforementioned Mac McKenzie composed and scored his orchestral piece entitled “Goema Symphony number 1”, a Cape jazz-inspired piece that was given its debut with a full orchestra in Cape Town in 2011. A new name in the genre is the young pianist Kyle Shepherd, a student of the late Robbie Jansen and past member of Jack Momple’s ensemble, who issued three solo albums with very strong roots material in 2008, 2010 and 2012. Momple’s own ensemble, the Cape Jazz Band (CJB), got together in 2013 to make a new album of purely Cape jazz songs composed by him and his band members, entitled Musical Democracy. Since then in 2018 a collection of Cape Town-based pianists have come together to perform some of the classics of the genre under the title of Cape Jazz Piano. Among those names on the credits are Ibrahim Khalil Shihab (Chris Schilder), Ramon Alexander, Mike Perry, Kyle Shepherd, Hilton Schilder and Mervyn Africa.

Capoeira music

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

History#

In early days, capoeira was accompanied only by the big drum (known as ngoma, conga or atabaque), hand-clapping and singing. Until the mid-nineteenth century, drums were a prominent musical instrument in capoeira. In the early to mid-nineteenth century Rio, capoeira was described by travelers as a war dance with drumbeats or hand clapping. In 1818, João Angola was arrested for possessing a small drum at a capoeira gathering. Playing a drum could lead to severe punishment, like on 5 December 1820, when Mathias Benguela, a slave, received 200 lashes for it. Despite punishment, drumming continued. An illustration from 1824 by Rugendas shows a participant in roda playing a drum. In 1833, the playing of African drums in Rio de Janeiro was prohibited by law. Due to the drum’s size, it couldn’t be concealed, leading to clandestine drumming in remote locations at night. To evade arrest, slaves used makeshift percussion instruments like clay or metal pieces, shells, and stones. In 1859, French journalist Charles Ribeyrolls described the Afro-Brazilian dances on plantations in Rio de Janeiro province, linking the conga drum to capoeira, and the berimbau to batuque: Gerhard Kubik, a 20th century music ethnologist, saw capoeira as a discipline where the drum not only accompanies but also guides and controls the players’ actions. The berimbau belongs to the candomblé tradition. It was not used in capoeira until the 20th century, and first appeared as an instrument accompanying capoeira in the early 20th century in Bahia. The transition may have been influenced not only by musical preferences but also by the berimbau’s dual role as a weapon. Mestre Pastinha formalized the inclusion of instruments into the capoeira Angola orchestra. He experimented with various instruments, occasionally incorporating guitars (viola de corda) and even introducing Spanish castanets into the roda at one point. The current standardized configuration of three berimbaus, two pandeiros, one agogô, one reco-reco, and one atabaque likely did not become established until the 1960s.

Capriccio (music)

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Examples#

Charles-Valentin Alkan: Capriccio alla soldatesca (1859)
Fikret Amirov: Azerbaijan Capriccio (1961)
Ludwig van Beethoven: Rondo a Capriccio Op.129 (in the style of a capriccio)
Johann Sebastian Bach: Capriccio on the departure of a beloved brother. Partita no. 2 in C minor BWV 826, mvt. 6
Johannes Brahms: Capriccio in B minor (1878)
George Frideric Handel: Capriccio in G minor (HWV 483)
Leoš Janáček: Capriccio (1926)
György Ligeti: Due capricci (1947)
Pietro Locatelli: capricci for solo violin in L’arte del violino (1733)
Felix Mendelssohn: Rondo Capriccioso (1830), Capriccio Brillant (1832)
Niccolò Paganini: 24 Caprices for Solo Violin (1802–17)
Krzysztof Penderecki: Capriccio for Violin and Orchestra (1967)
Walter Piston: Capriccio for Harp and String Orchestra (1963)
Nikolai Rimsky-Korsakov: Capriccio Espagnol (1887)
Camille Saint-Saëns: Caprice sur des airs danois et russes (1887)
Igor Stravinsky: Capriccio for Piano and Orchestra (1929)
Francisco Tárrega: Capricho árabe (1892)
Pyotr Ilyich Tchaikovsky: Capriccio Italien (1880)
William Walton: Capriccio burlesco (1968)
Jan Dismas Zelenka: Capriccio in F major (ZWV 184)

Car song

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Origins#

In the turn of the twentieth century, the recent invention of the automobile began to appear within popular music. Many of the earliest pieces had no lyrics, instead attempting to musically emulate the sounds of the automobile, such as “The Motor Car” (1903) and “The Auto Race” (1904). Dance, ragtime, and march compositions began emerging that, though wordless, were musically inspired by the automobile. Eventually, some of these songs took on words, such as Henry Krull’s “Automobile Races”. In 1905, Gus Edwards premiered the song “In My Merry Oldsmobile”, a tune which Kenneth T. Jackson calls “the best-known car song ever written about the automobile.”

Caramelles

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

Origins#

No documentation has been found to prove when and where this custom begins, but it is known that in the 16th century, it was already celebrated in the rural world, and the oldest are the religious joys dedicated to Our Lady of the Rosary. Throughout the nineteenth century, choral societies adopted this tradition, introduced it to cities, and revitalized it with new elements and new musical pieces. For example, in the 1852 Clave Choirs statutes, caramelles was one of the activities of the institution. The earliest information regarding singing caramelles in Barcelona is from 1776, but it seems that the first gangs were not organized until the mid-nineteenth century and did not become widespread until 1880.

Caribbean music in Canada

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1960s and 1970s#

Beginning in the mid-1960s, a wave of Caribbean musicians, especially but not exclusively from Jamaica, began to move to Toronto. Some of these, such as Jay Douglas, Jo Jo Bennett and Jackie Mittoo, pioneered the development of a reggae scene in the city, while others, such as Wayne McGhie, performed rhythm and blues, soul and funk in accordance with the dominant Toronto sound of the era.

1980s#

Caribbean music began to actively break through into the Canadian cultural mainstream in the 1980s when Parachute Club, a band who incorporated reggae and soca rhythms into a mainstream new wave dance-pop style, broke through to mass popularity with their 1983 hit single “Rise Up”. Their success in turn paved the way for reggae and dub poetry artists such as Leroy Sibbles, Lillian Allen, Messenjah, Clifton Joseph and Sattalites to break through to larger audiences; the Juno Awards, Canada’s primary music award, introduced an award for Reggae Recording of the Year in 1985. Parachute Club percussionist Billy Bryans, whose interest in Caribbean music had been influential in the introduction of reggae and soca elements into the band’s sound, also went on to become Canada’s first prominent and influential promoter and producer of homegrown Caribbean and Latin American music, producing albums for and managing numerous artists and acting, according to Brazilian Canadian singer-songwriter Aline Morales, as “a bridge between world music and the Canadian music scene”.

Caribbean music in the United Kingdom

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Trinidadian calypso#

Large-scale Caribbean migration to England recommenced following the Second World War in 1948. The Empire Windrush carried almost 500 passengers from Jamaica, including Lord Kitchener, a calypso singer from Trinidad. By chance, a local newsreel company filmed him singing “London Is the Place for Me” as he got off the ship. The 1951 Festival of Britain brought the Trinidad All Steel Percussion Orchestra (TASPO) and Roaring Lion to public attention. The smart set in Oxford and Cambridge adopted both calypso and steelband for debutante parties. In 1959, Trinidadian Claudia Jones started the Notting Hill Carnival. They brought Mighty Sparrow and others directly from Trinidad. Edric Connor had arrived in England from Trinidad in 1944. He starred in a West End musical called Calypso in 1948. A white Danish duo, Nina & Frederik, recorded several calypsos from 1958 to 1962, scoring in the charts. Cy Grant (from Guyana) sang a song by Lord Kitchener in the TV drama A Man from the Sun in 1956. It told the story of Caribbean migrants. From 1957 to 1960, Grant sang calypsos on the BBC TV news programme Tonight. In 1962, English comedian Bernard Cribbins had a hit with “Gossip Calypso”. In 2002, London Is the Place for Me: Trinidadian Calypso, 1950-1956 was finally released in Britain.

Carimbó

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

History#

It was born of Afro-Brazilians, who were brought to Pará by the Portuguese as early as 1682, and influenced by Portuguese and native Amazonian traditions. Each culture affected an aspect of the dance and its music: * African syncopated rhythms, acceleration of rhythm, and the molejo, or sway, of the dance. * Indigenous Amazonians circular dancing and use of maracas. * Portuguese/Iberian finger snapping gestures, melodic patterns, and the use of suits and ties for men. The dance is performed during saint feast days, and is heavily associated with Saint Benedict, who is sometimes called the “saint of Carimbó”. It is also a centerpiece of entrudo, festivities held at the end of a harvest or a day of field work. It is historically classified into three geographical types: * praieiro: coastal region. * pastoril: Marajó ranching fields. * agrícola: agricultural and Amazonas. In 2014, after years of campaigns, Carimbó was officially registered as an “Intangible Cultural Heritage of Brazil” by IPHAN, due to its national and regional importance in Brazil and Pará.

Cariso

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Chantwells#

The “chantwell” is another incarnation of the African “griot” tradition. On the Caribbean plantations African griots became chantwells, preserving the tribe’s history and traditions orally. They would sing to contemporary and mythical heroes and to the Gods. They would also preserve the complex oral traditions of West Africa with songs of derision, praise, satire, and lament. At first the chantwells were mostly women because the males were targeted for destruction on the plantation. On Emancipation the tradition continued and the chantwells would sing call-and-response chants called lavways lionizing and cheering on champion stickfighters. This form of music gradually evolved into the modern calypso. Calypso music was developed in Trinidad in the 17th century from the West African Kaiso and canboulay music brought by African slaves imported to that Caribbean island to work on sugar plantations. These enslaved Africans were stripped of all connections to their homeland and family and not allowed to talk to each other. They used calypso to mock the slave masters and to communicate with each other. As calypso developed, the role of the griot (originally a similar travelling musician in West Africa) became known as a chantwell and, eventually, calypsonian. As the country became urbanized chantwells became more and more a male function but the portfolio remains the same. The chantwell is the Call, the tribe and the audience is the Response.

Carnatic music

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Origin and history#

Carnatic music originated in Karnataka and was named after it, known as Karnāṭaka Saṁgīta which spread through Andhra and Tamil countries where it flourished. Like all art forms in Indian culture, Indian classical music is believed to be a divine art form that originated from the devas and devis (Hindu gods and goddesses), Ancient treatises also describe the connection of the origin of the svaras, or notes, to the sounds of animals and birds and man’s effort to simulate these sounds through a keen sense of observation and perception. The Samaveda, which is believed to have laid the foundation for Indian classical music, consists of hymns from the Rigveda, set to musical tunes that would be sung using three to seven musical notes during Vedic yajnas. References to Indian classical music are made in many ancient texts, including epics like the Ramayana and the Mahabharata. The Yajnavalkya Smriti states, “vīṇāvādana tattvajñaḥ śrutijātiviśāradaḥ tālajñaścāprayāsena mokṣamārgaṃ niyacchati” (“The one who is well versed in veena, one who has the knowledge of srutis and one who is adept in tala, attains liberation (moksha) without doubt”). Contemporray Carnatic music is based on musical concepts (including svara, raga, and tala) that were described in detail in several ancient works, particularly the Bharata’s Natya Shastra and Cilappatikaram by Ilango Adigal. Owing to Persian and Islamic influences in North India from the 12th century onwards, Indian classical music began to diverge into two distinct styles — Hindustani music and Carnatic music. By the 16th and 17th centuries, there was a clear demarcation between Carnatic and Hindustani music; Carnatic music remained relatively unaffected by Persian and Arabic influences. It was at this time that Carnatic music flourished in Vijayanagara, while the Vijayanagara Empire reached its greatest extent. Purandara Dasa, who is known as the “father (pitamaha) of Carnatic music”, formulated the system that is commonly used for the teaching of Carnatic music. Venkatamakhin invented and authored the formula for the melakarta system of raga classification in his Sanskrit work, the Chaturdandi Prakasika (1660 AD). Some of the royalty of the kingdoms of Mysore and Travancore were themselves noted composers and proficient in playing musical instruments, such as the veena, rudra veena, violin, ghatam, venu, mridangam, nadaswaram, and swarabat. Some famous court-musicians proficient in music were Veene Sheshanna (1852–1926) and Veene Subbanna (1861–1939), among others. During the late 19th century, the city of Madras (now known as Chennai) emerged as the locus for Carnatic music. With the dissolution of the erstwhile princely states and the Indian independence movement reaching its conclusion in 1947, Carnatic music went through a radical shift in patronage into an art of the masses with ticketed performances organised by private institutions called sabhās.

Carnavalito

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Choreography#

The dance is set staged in groups or with multiple partners who perform choreographed steps to the beat of the music. The dancers move around the musicians in a row. A woman or a man holding a handkerchief (or a pennant decorated with ribbons) is responsible for directing the choreography. They all sing the same verse or improvisations.

Musical characteristics#

The Carnavalito is primarily in a minor pentatonic mode, with simple i - V harmony throughout. However certain other Charangos make use of a vii - III - V - i progression. Certain Carnavalitos have a free, strummed intro by the Charangos player.

Carol (music)

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

History#

The word carol is derived from the Old French word carole, a circle dance accompanied by singers (in turn derived from the Latin choraula). Carols were very popular as dance songs from the 1150s to the 1350s, after which their use expanded as processional songs sung during festivals, while others were written to accompany religious mystery plays (such as the “Coventry Carol”, written before 1534). Sacred music was traditionally sung in Latin by clergy or appointed cantors of the Catholic church. Following the Protestant Reformation, reformers aimed to bring music “back to the people”. To enable the common person to sing church music, great efforts were made to translate musical texts from Latin into the native languages that people spoke. Martin Luther, the father of Lutheran Christianity, encouraged congregational singing during the Mass, in addition to spreading the practice of caroling outside the liturgy. Composers such as William Byrd composed motet-like works for Christmas that they termed carols; and folk-carols continued to be sung in rural areas. Nonetheless, some famous carols were written in this period, and they were more strongly revived from the nineteenth century and began to be written and adapted by eminent composers.

Cassation (music)

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Eighteenth-century genre#

Works titled cassation were especially common in southern Germany, Austria and Bohemia in the mid- to late part of the eighteenth century. The Toy Symphony (no known author) was later incorporated into a larger Cassation in G by Leopold Mozart. The Italianized term, cassazione, appears to have been used by Antonio Salieri. It is hard to discern any substantial formal characteristic that could distinguish cassations from other serenade-like genres, such as the divertimento, notturno, or Finalmusik. Breitkopf’s thematic catalogues of the time tended to apply titles such as “cassation” and “divertimento” rather interchangeably, as did the composers themselves. Both Mozart and Michael Haydn seem to have used the term only to refer to orchestral pieces, seemingly resembling the Salzburg serenade while generally lacking concerto movements, whereas Joseph Haydn called his Op. 1 and Op. 2 string quartets “cassations”. Instrumental and orchestral cassations seem to be stylistically linked to the divertimento and serenade, respectively. By the end of the eighteenth century, the term had fallen out of fashion.

Cast recording

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History#

The British were the first to create cast recordings, and they were also the first to create original London cast recordings of shows that had already opened on Broadway, but had not been recorded with their original Broadway cast. This led to the odd situation of having, for example, a 1928 recording of the London cast of Show Boat, but no recording with the actual 1927 Broadway cast, and a recording of the London cast of Sigmund Romberg’s The Desert Song, but not of the 1926 Broadway cast - even though both of these shows are Broadway musicals, rather than British ones. Prior to the development of original cast recordings, there had been recordings of songs from musicals, and collections of several such songs, and recordings of songs performed by cast members; but they were recordings of songs, that is, they were recorded as stand-alone show tunes rather than representations of a (more or less) complete musical. The first American original cast recording as we know it was an early experimental LP of program transcriptions of selections from The Band Wagon, a 1931 revue starring Fred and Adele Astaire. It was not widely released. The following year, Jack Kapp produced an album of songs from Show Boat timed to the 1932 Ziegfeld revival. This album featured Helen Morgan and Paul Robeson doing their songs from the show but used studio cast singers for the leads. As the 1930s progressed, Liberty Music Shop in New York City made mini albums of songs from the Ethel Merman musical comedies Red Hot and Blue and Stars in Your Eyes. These were more like personality recordings, since the arrangements were not the ones heard in the theatre. The first complete so-called original cast album was Marc Blitzstein’s 1938 album of songs from The Cradle Will Rock although these were recorded with just piano accompaniment and not the show’s orchestra. In 1984, the original recordings from Very Warm for May (1939) were discovered and issued on an LP. However, these recordings were not made with the original orchestrations. RCA Victor had made an album of the key songs from Porgy and Bess using the theatre orchestra but featuring Met opera singers Lawrence Tibbett and Helen Jepson singing the songs. Decca riposted with another album of the same highlights sung by the actual stars of the original production, although recorded five years after the premiere. When a revival was staged in 1942, Decca issued a second album of some of the secondary songs from the opera by the revival cast and later combined these two albums onto one LP and called it the “original cast recording”. Decca also issued an album of songs from the all-soldier revue This Is the Army by Irving Berlin. Finally in 1943, came Decca’s recording of Oklahoma!. It not only featured the original cast, but the show’s original chorus, all accompanied by the same orchestra heard in the show, playing the music in the original Robert Russell Bennett orchestrations and conducted by the show’s original conductor, Jay Blackton. The show was the biggest hit Broadway had experienced up until that time and people who could not get tickets bought the album. It would eventually sell over 1 million copies as a set of 78-rpm records, and millions more on LP and Compact Discs. Decca soon began recording every hit musical that came along including One Touch of Venus, Carmen Jones, Carousel, and Annie Get Your Gun. Soon, all the other record companies were bidding for the rights to record Broadway shows with their original casts. Capitol recorded St. Louis Woman in 1946, and RCA Victor recorded Brigadoon in 1947. Although Decca abandoned the cast album field in the mid-1950s, Capitol and Victor actively bid for recording rights. Sometimes problems arose as when RCA Victor signed on to record the 1950 musical Call Me Madam even though the show’s star, Ethel Merman was then under exclusive contract to Decca Records. This resulted in two albums of the score being released: Merman with a studio cast on her label, while the rest of the Broadway cast made an album for RCA Victor with Dinah Shore singing the Merman role. The label that would dominate the field until the late 1970s, however, was Columbia. They began by issuing an album of the 1946 revival of Show Boat followed by the original Broadway cast of Finian’s Rainbow in 1947. A year later the label introduced LP records and used the format for two best sellers: Kiss Me, Kate and South Pacific, both recorded and released in 1949. Under the leadership of Columbia’s Goddard Lieberson, the label’s cast recordings came to define the genre. Columbia Masterworks produced the original cast recordings of such shows as The Pajama Game, My Fair Lady, The Sound of Music, West Side Story, Gypsy, and Camelot. Lieberson also recorded important shows that had failed at the box office including Candide and Anyone Can Whistle. In 1956, he recorded Frank Loesser’s musical The Most Happy Fella, which had so much music that it had to be released as a 3-LP set, an almost unheard of venture for an original cast album in the 1950s. A 1970 documentary by D. A. Pennebaker, Original Cast Album: Company gives a straightforward view of the making of a cast recording. It shows how the recording studio looks, how performers are arranged, and how the director behaves. The cast feels the pressure of delivering a definitive performance, with a degree of perfection beyond that ever required on stage, under a time limit imposed by the high cost of studio time. Throughout the 1950s and 1960s it was not uncommon for cast albums to become best sellers. My Fair Lady, The Music Man, Funny Girl, and Hello, Dolly! all reached the #1 position on the Billboard magazine best-sellers chart. As popular music split away from the traditional Tin Pan Alley song stylings of Broadway and Hollywood, and rock music became the dominant pop culture form, show albums began selling less well, albeit with exceptions like the rock musical Hair, which as of January 2024 is the last cast album to chart at No. 1 on the Billboard 200. (The cast albums for The Book of Mormon and Hamilton both peaked at No. 3.) Also, as radio and TV moved away from showcasing Broadway numbers the ability for a show to reach an audience beyond the traditional Broadway fans lessened. Today few show albums even appear in the Billboard top 200, and the rare breakout hit like Wicked receives no radio airplay. New boutique labels such as PS Classics and Ghostlight release many of the cast albums of recent Broadway hits. With the recent merger of Sony Music (formerly Columbia Records) and BMG Music (formerly RCA Victor), many older editions of cast recordings are being deleted and newly remastered editions are being released.

Catalan rumba

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Bibliography#

Peret, l’ànima d’un poble., by Cèlia Sànchez-Mústich. Edicions 62 (2005)
Gato Pérez., by Juan Marcos Ordóñez Diví, Ediciones Júcar (1987)

External links#

rumba-catalana.com - Website about the history of Catalan rumba
Article about Catalan rumba

Catalogue aria

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History#

“Madamina, il catalogo è questo” from Wolfgang Amadeus Mozart’s Don Giovanni is the most famous example, and is often referred to as " catalogue aria". Leporello notes how many lovers the title character has had in each country he has visited. Pasquale sings two such arias in Joseph Haydn’s Orlando paladino, “Ho viaggiato in Francia, in Spagna” in act 1, which lists the countries to which he has traveled, and “Ecco spiano” in act 2, which rattles off all of his varied musical talents. The clearest antecedent of the catalogue aria of Mozart and librettist Lorenzo Da Ponte can be found in the 1787 opera, Don Giovanni Tenorio, with which they were both familiar, composed by Giuseppe Gazzaniga on a libretto by Giovanni Bertati. Da Ponte based much of his libretto on Bertati’s, heavily revised for content and language but significantly retaining much of the narrative structure. but they seem to have gone to the next most familiar piece of music rather than digging into research. Platoff notes that catalogue arias were a particular specialty of Bertati.

Catch (music)

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16th century#

The earliest secular round is the thirteenth century “Sumer is icumen in”. Other early survivals are in manuscripts devoted to topics other than music, and though there may well have been many more over the years, few survived. The first major collection is in the Henry VIII manuscript dated about 1515; but they are really courtly art-songs and too complex to be sung informally. The current catch repertoire dates from the Lant Collection copied around 1580 and containing 57 catches and rounds. This was followed by the first printed collections edited by Thomas Ravenscroft, which include most of the Lant pieces and most of those in the Melvil collection. Taking all three sources together this amounts to about 145 catches or rounds with a few part-songs. The contents list in all three Ravenscroft publications refer to “the songs in this book”. Pammelia has a running page header “Canons in the unison”, but the sections are headed “rounds or catches of 3 (&c) voices”. Deuteromelia introduces part-songs labelled as “Freemens songs”. Melismata divides the contents into City Rounds and Country Rounds as contrasted with part-songs labelled Court varieties, City Conceits and Country pastimes. The Ravenscroft catches have no identified composers save for two that are known to be by Lassus. There is no evident distinction between rounds and catches and no set terminology for part-songs. Though the catches are generally short, one or two take a whole page to print (four parts of 13 bars), and subject matter is varied, including pastoral, descriptive and devotional items, and none that might be described as bawdy.

Catholic Marian music

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Saint Ambrose#

One of the oldest Marian intonations is credited to Saint Ambrose of Milan (339-374). The Church names an ancient liturgy after him (Ambrosian Rite), which is actually older but nonetheless traditionally attributed to him. Some 870 parishes in the diocese of Milan still use the ancient Ambrosian rite. Several Ambrosian rite Marian texts were intonated, for example the famous Gaude: :Gaude et latare :Exultation angelorum :Gaude domini virgo :Prophetarum gaudium :Gaudeas benedicta :Dominus tecum est :Gaude, que per angelum gaudium mundi suscepisti :Gaude que genuisti factorum et Dominum :Gaudeas que dignas es esse mater Christi Marian hymns by Ambrose include the Confractorium from the Christmas liturgy and in a poetic creation of Saint Ambrose celebrating the Mother of God: Intende, qui Regis Israel.

Cavatina

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Derivation#

In Italian, the word is the diminutive of cavata, the act of producing a sound from a musical instrument (especially string instruments), and by extension, the quality of that sound. For example, one can notice the grace of an expert violinist’s cavata or the richness of the cavata from a cello crafted by an exceptionally skilled luthier. From this meaning comes “cavatina,” understood as the entrance aria of a character in an opera. The Italian plural is cavatine. In French, it is the cavatine and in German Kavatine.

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Ca Huế

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Ca trù

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Cabaletta

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Cachaca (musical genre)

Etymology#

Cachi Cachi music

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Cadence rampa

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Cadence-lypso

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Cải lương

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Caipira music

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Cajun fiddle

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Cajun music

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Cakewalk

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California sound

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Calinda

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Call and response (music)

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Calypso music

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Cambodian rock (1960s–1970s)

Post-independence period#

Campaign song

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Campus folk song

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Canadian blues

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Canadian classical music

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Canadian country music

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Canadian folk music

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Canadian hardcore punk

Vancouver#

Canadian heavy metal

Canadian hip-hop

Early 1980s#

Canadian jazz

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Canadian punk rock

1970s–1990s#

Canción melódica

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Candombe

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Canon (music)

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Cantata

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Cante flamenco

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Cante Grande#

Canterbury scene

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Cantes de ida y vuelta

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Canticle

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Cantiga

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Cantiga de amigo

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