DO on Music Theory Print

Dohori

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

Doina

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

Origins and characteristics#

Béla Bartók discovered the doina in Northern Transylvania in 1912 and he believed it to be uniquely Romanian. After he found similar genres in Ukraine, Albania, Algeria, Middle East and Northern India, he came to the belief that these are part of a family of related genres of Arabo-Persian origin. He particularly linked the Romanian doina to the Turkish/Arabic Makam system. Bartók’s conclusions were rejected by some Romanian ethnomusicologists, who accused Bartók of anti-Romanian bias. Similarities between the Romanian doina and various musical forms from the Middle East have been subsequently documented by both non-Romanian and Romanian scholars. Until the first half of the 20th century, both lăutari were recorded using a taksim as an introduction to a tune. The taksim would be later replaced by the doina, which has been described as being similar, though not totally identical to the taksim. Romanian ethnomusicologist and musician Grigore Leşe, after performing with a group of Iranian musicians, noticed that the doinas of Maramureş have “great affinities” with the Arabo-Persian music. The doina is a free-rhythm, highly ornamented (usually melismatic), improvisational tune. The improvisation is done on a more or less fixed pattern (usually a descending one), by stretching the notes in a rubato-like manner, according to the performer’s mood and imagination. Usually the prolonged notes are the fourth or fifth above the floor note. The peasant doinas are mostly vocal and monophonic and are sung with some vocal peculiarities that vary from place to place: interjections (măi, hei, dui-dui, iuhu), glottal clucking sounds, choked sobbing effects, etc. Instrumental doinas are played on simple instruments, usually various types of flutes, or even on rudimentary ones, such as a leaf. The peasant doina is a non-ceremonial type of song and is generally sung in solitude, having an important psychological action: to “ease one’s soul” (de stâmpărare in Romanian). Grigore Leşe believes that, while scholars describe in great detail the technical aspects of the doina, they fail to understand its psychological aspects. Doinas are lyrical in aspect and their common themes are melancholy, longing (dor), erotic feelings, love for nature, complaints about the bitterness of life or invocations to God to help ease pain, etc. The doina is an integral component of the archaic Romanian pastoral poem When the shepherd lost his sheep, where it expresses the shepherd’s sorrow and lamentation for his lost flock. Unlike peasant doinas, lăutar and klezmer doinas are usually accompanied and played on more complex instruments (violin, pan-pipe, cymbalom, accordion, clarinet, tarogato, etc.). Also, unlike peasant doinas, lăutar and klezmer doinas are mostly played as an introduction to another tune, usually a dance. In the regions of Southern Romania, Romani lăutari developed a type of doina called cântec de ascultare (meaning “song for listening”, sometimes shortened to de ascultare or simply ascultare). The cântec de ascultare spread to other regions of Romania, with local particularities. Klezmer Doinas are influenced by Hassidic niguns.

Dolewave

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

Influences and style#

Dolewave music has been described as “intrinsically depressed … beautiful and poignant in an aggressively sad way, in a fashion we can only laugh along with.” Lyrics often contain local signifiers and other Australian pop cultural references, giving the songs a distinct sense of place that points both to the musicians’ fondness for Australia, and their “intense need to scrutinise” it. Academic Ian Rogers writes that dolewave bands often choose to sound “rough-and-ready, and occasionally unskilled”, and their recordings almost always have minimal production value. According to music critic Everett True, dolewave’s “recalcitrant and ramshackle” sound mirrors the “makeshift venue culture” that many of the bands find themselves in: “underneath decrepit Queenslanders, in open park spaces, in warehouses, rundown pubs, front rooms of share houses”.

Dominican dembow

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

Dominican rock

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

Subgenres of Dominican rock#

The styles of rock bands from the Dominican Republic differ greatly. Not only is there regular Spanish pop rock, there are also subgenres such as alternative, punk, and metal. Most songs are sung in Spanish, though some bands (like ALF, Mithril, and 42-01 for instance) also sing in English. The band ALF is considered the pioneers of Emo Punk in the Dominican Republic.

Live#

Although the rock scene stays local and rarely goes international, it is large within the Dominican Republic, especially in the nation’s capital, Santo Domingo. Several bands as JLS (Spain), Transporte Urbano (U.S.A & Cuba) Sister Madness (Canada), ALF (USA), Pericles (USA, Costa Rica), Dark Miracle (USA), Cevix (Santo Domingo/USA), Los Pérex (USA, Mexico, Puerto Rico, Costa Rica, Panama) La Armada (USA, Puerto Rico, Mexico), Bocatabú (USA, Puerto Rico), Futuros Divorciados (USA, Puerto Rico, Costa Rica, Panamá), Dronk (USA) and Santuario (Puerto Rico) have traveled to other countries to play. Many concerts are held in the indoor auditorium of the Domínico Americano, a local school. Bands of many different genres of Dominican rock play there. Some artists who have played there are “spam”, González, Sociedad Tabú, Shido, TKR, Toque Profundo, Cronicas del Eco, and Nux. Within the punk scene, there are a few venues which are regularly used for concerts. One of the most popular venues was Donde L’Abuela, a house which is regularly volunteered for concerts, as well as a small bar called Stilo Club, where bands such as Los Pérex, La Reforma, La Armada, Pericles, Shido and Mulligan have played. Nowadays, there are venues like Shots Bar, Cinema Café, Casa de teatro, Hard Rock Café Santo Domingo, Hard Rock Café Punta Cana which serves as the actual rock scene.

Dondang Sayang

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

External links#

Sarkissian, Margaret. Kantiga di Padri sa chang. From the collection “Viagem dos Sons”, Tradisom, Vila Verde, Portugal, 1998
Silva Rego, Padre António da. “Apontamentos para o estudo do dialecto português de Malaca”. Boletim Geral das Colônias, Lisboa, Portugal, 1941.
Musical Malaysia/SYNCRETIC SONG BASED FORMS: Dondang Sayang
PUBLICATIONS RELATED TO MALAYSIAN MUSIC (TDC Malaysia 1996)

Doo-wop

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

Origins#

Doo-wop has complex musical, social, and commercial origins.

Musical precedents#

Doo-wop’s style is a mixture of precedents in composition, orchestration, and vocals that figured in American popular music created by songwriters and vocal groups, both black and white, from the 1930s to the 1940s. Composers such as Rodgers and Hart (in their 1934 song “Blue Moon”), and Hoagy Carmichael and Frank Loesser (in their 1938 “Heart and Soul”) used a I–vi–ii–V-loop chord progression in those hit songs; composers of doo-wop songs varied this slightly but significantly to the chord progression I–vi–IV–V, so influential that it is sometimes referred to as the ’50s progression. This characteristic harmonic layout was combined with the AABA chorus form typical for Tin Pan Alley songs. Hit songs by black groups such as the Ink Spots (“If I Didn’t Care”, one of the best selling singles worldwide of all time, and “Address Unknown”) and the Mills Brothers (“Paper Doll”, “You Always Hurt the One You Love” and “Glow Worm”) were generally slow songs in swing time with simple instrumentation. Doo-wop street singers generally performed without instrumentation, but made their musical style distinctive, whether using fast or slow tempos, by keeping time with a swing-like off-beat, while using the “doo-wop” syllables as a substitute for drums and a bass vocalist as a substitute for a bass instrument. whose close four-part harmony derived from the vocal harmonies of the earlier barbershop quartet. The Four Knights’ “Take Me Right Back to the Track” (1945), the Cats and the Fiddle’s song “I Miss You So” (1939), and the Triangle Quartette’s even earlier record “Doodlin’ Back” (1929) prefigured doo-wop’s rhythm and blues sound long before doo-wop became popular.

Doom metal

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

Instrumentation#

The electric guitar, bass guitar, and drum kit are the most common instruments used to play doom metal (although keyboards are sometimes used), but its structures are rooted in the same scales as in blues. Along with the usual heavy metal compositional technique of guitars and bass playing the same riff in unison, this creates a loud and bass-heavy wall of sound. Another defining characteristic is the consistent focus on slow tempos, and minor tonality with much use of dissonance (especially in the form of the tritone), employing the usage of repetitive rhythms with little regard to harmonic progression and musical structure.

Double bass concerto

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

History#

The Origin of the Double Bass Concerto Concerti originated in the Classical era. At first, double bass concertos were very rare due to the gut strings. These strings were difficult to move with the bow and did not resonate or project as loud. It was around 1650 that the overwound gut string was invented. This greatly increased the popularity for composers to write double bass solos. The main eras of double bass concerts are the Classical and Romantic period. These are considered the main concerto eras until the 20th and 21st century when the Andrés Martí and Eduard Tubin concertos were written. Early double bass concerti The earliest bass concerto was composed by Carl von Dittersdorf in the mid 1700s. He wrote two bass concertos as well as a symphonic concerto for viola and double bass. Other composers from the late Baroque to classical periods, such as Johannes Matthias Sperger, wrote eighteen double bass concertos. Double Bass concerti were also written by Johann Baptist Wanhal, and Joseph Haydn, although Haydn’s has since been lost. Michel Corrette changed the tuning of the double bass in 1773. Before this, double basses were tuned in thirds, known as Viennese-style tuning. This changed the way composers of the Viennese School to write virtuosic double bass solos. The appearance of Italian composer Domenico Dragonetti officially changed the status of the double bass. Dragonetti did not use the Viennese-tuned bass. At this point, composers of the Viennese School began to try to write new double bass works. Dragonetti was a bass virtuoso who introduced advanced new techniques for the instrument, like playing in the high register, bouncing the bow (ricochet and spiccato), and using more harmonics around the instrument.

Double concerto

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

Terminology#

The term can also refer to the use of a double orchestral body where a work is in concerto grosso form; for example, Martinů’s Double Concerto for Two String Orchestras, Piano, and Timpani is commonly known by the title “Double Concerto,” where the word “double” refers to the two string bodies rather than to the piano and timpani, who are not soloists in the conventional sense.

Triple and quadruple concertos#

Concertos with more than two solo parts may be known by the terms “triple concerto”, “quadruple concerto”, etc., but not usually when the instruments are of the same type (for example, Vivaldi’s Concerto for Four Violins in B minor, catalogued as RV 580 and transcribed in A minor for four harpsichords by Bach as BWV 1065). One common arrangement for a triple concerto is for violin, cello, and piano, as in Beethoven’s Triple Concerto for Violin, Cello, Piano and Orchestra and numerous twentieth century works. One of Olivier Messiaen’s final works, Concert à quatre, is a quadruple concerto.

Doujin music

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

Genres and production#

Doujin music is not a musical genre in itself, but instead a term used for independently produced and self-published music. Doujin music may entail fan arrangements and remixes from anime and video games, or wholly original works in a variety of genres. Electronic music makes up around a third of all doujin music, though other genres such as rock and jazz can also be found. Vocaloid and utaite albums are often sold at doujin events. Doujin music is produced by circles, which can range from being individuals to small groups. Events dedicated to specific franchises are also held, such as the Hakurei Shrine Retaisai for Touhou Project Doujin music is also commonly sold in shops within Akihabara. Albums are sometimes promoted with dedicated sites, with some using specialized templates for Tumblr.

Downtempo

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

Characteristics#

Downtempo music is a broad genre but is united by several characteristics: *Atmospheric sound: artists focus more on layered sounds and mood than on catchy melodies or riffs *Slow beats: songs typically feature beats around 90 BPM *Gentle melodies: artists typically include more melodic phrases than straightforward ambient music

History#

Downtempo emerged from the UK’s late-1980s Bristol sound, which developed a slow, psychedelic fusion of hip hop with electronic music known as “trip hop” and birthed artists such as Massive Attack, Portishead, and Tricky. UK act Nightmares on Wax helped to pioneer downtempo electronica in the early 1990s, drawing on dub reggae and hip-hop. Downtempo music also started to surface around Ibiza, when DJs and promoters would bring down the vibe with slower rhythm and gentler electronic music upon approaching sunrise. At the end of the 1990s a more melodic instrumental electronica incorporating acoustic sounds with electronic styles emerged under its own umbrella name of downtempo. In the late 1990s, the Austrian duo Kruder & Dorfmeister popularized the style with their downtempo remixes of pop, hip-hop, and drum and bass tracks with influences of the ’70s soul jazz. Britons Steve Cobby and Dave McSherry, producing under the name Fila Brazillia, released a handful of downtempo, electronica and ambient techno albums that propelled the style further. Meanwhile, the Washington, D.C. locals Eric Hilton and Rob Garza, better known as Thievery Corporation, have introduced the Brazilian sound into the style after discussing the music of Antonio Carlos Jobim, and enriched it further by combining elements of Jamaican dub and reggae. In 2010, “downtempo pop” was described by The Atlantic as a variety of music styles from the 2000s characterized by mellow beats, vintage synthesizers, and lo-fi melodies. In other words, an umbrella term that includes chillwave, glo-fi, and hypnagogic pop. Later in the decade, another form of downtempo music, tagged as “lo-fi hip hop” or “chillhop”, became popular among YouTube music streamers.

Downtown music

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

History#

The scene the term describes began in 1960, when Yoko Ono, one of the early Fluxus artists, opened her loft at 112 Chambers Street, in a part of Lower Manhattan later named Tribeca, to be used as a performance space for a series curated by La Monte Young and Richard Maxfield. Prior to this, most classical music performances in New York City occurred “uptown” around the areas that the Juilliard School at Lincoln Center and Columbia University would soon occupy. Ono’s gesture led to a new performance tradition of informal performances in nontraditional venues such as lofts and converted industrial spaces, involving music much more experimental than that of the more conventional modern classical series Uptown. Spaces in Manhattan that supported Downtown music from the 1960s on include the Judson Memorial Church, The Kitchen, Phill Niblock’s Experimental Intermedia Foundation, La Monte Youngs Mela Foundation, Dia Art Foundation, Harvestworks, Roulette, the Knitting Factory, ABC No Rio, Dance Theater Workshop, Tonic, the Gas Station, Tellus Audio Cassette Magazine, the Paula Cooper Gallery, and others. Brooklyn Academy of Music has also shown a predilection for composers from the Downtown scene.

Doxology

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

Trinitarian doxology#

Among Christian traditions a doxology is typically an expression of praise sung to the Holy Trinity: the Father, the Son, and the Holy Spirit. It is common in high hymns for the final stanza to take the form of a doxology. Doxologies occur in the Eucharistic prayers, the Liturgy of the Hours, hymns, and various Catholic devotions such as novenas and the Rosary.

Gloria in excelsis Deo#

The Gloria in excelsis Deo, also called the Greater Doxology, is a hymn beginning with the words that the angels sang when the birth of Christ was announced to shepherds in . Other verses were added forming a doxology.

DO on Music Theory Print

Dohori

See also#

Doina

Origins and characteristics#

Dolewave

Influences and style#

Dominican dembow

See also#

Dominican rock

Subgenres of Dominican rock#

Live#

Dondang Sayang

See also#

External links#

Doo-wop

Origins#

Musical precedents#

Doom metal

Instrumentation#

Double bass concerto

History#

Double concerto

Terminology#

Triple and quadruple concertos#

Doujin music

Genres and production#

Downtempo

Characteristics#

History#

Downtown music

History#

Doxology

Trinitarian doxology#

Gloria in excelsis Deo#