ES on Music Theory Print

Esperanto music

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

Classical music#

Lou Harrison, who incorporated styles and instruments from many world cultures in his music, used Esperanto titles and/or texts in several of his works, most notably La Koro-Sutro (1973).
David Gaines used Esperanto texts for his Symphony No. 1 (Esperanto) for mezzo-soprano and orchestra (1994–98) and Povas plori mi ne plu (I Can Cry No Longer) for unaccompanied SATB choir (1994).
Louisa Frederica Adela Schafer (born 1865) translated English hymns in Esperanto and wrote the Esperanto song “Antauen!”
Montagu C. Butler
The opera Sternenhoch by Ivan Acher is sung in Esperanto.

Musicians, singers and bands#

Dolchamar
Jean-Marc Leclercq (JoMo)
Jonny M, a reggae and rap music singer-songwriter
Kim J. Henriksen
Kajto
Merlin
Martin & La Talpoj
Persone

Music companies and publishers#

ESP-Disk
Vinilkosmo
Floréal Martorell
Brazila-Esperanto-Ligo
Edistudio
Nigra Kato
Rusa Esperantista Unio

Events and projects#

Vinilkosmo kompil'
Kolekto 2000
Esperanto Subgrunde kompil'
FESTO (Esperanto meeting)

References to Esperanto in music#

Slovak band TEAM released an entire album in Esperanto.
“The Crystal Theme” from the opening of Final Fantasy XI was sung in Esperanto (“Memoro de la Ŝtono”).
Kurt Elling wrote a vocalese song called “Esperanto” based on the Vince Mendoza composition “Esperança”. Elling explains on his album Live in Chicago (Blue Note) that the lyrics were written while he was under the impression that it was titled “Esperanto” and only later found out the original title, which is the Portuguese word for ‘hope’.
The second album of former German hip hop crew Freundeskreis was titled “Esperanto”. The same-called lead track was also released as a single.
A Russian band Tesla Coil released an album GV in 2014. Lyrics are partially in Esperanto. There is also a song which has a name in Esperanto - “Kirasa Kerno” (Armored Core).

Estampie

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

Musical form#

The estampie is similar in form to the lai, consisting of a succession of repeated notes. Each puncta has a pair of lines that repeat the same melody, in the form: :aa, bb, cc, etc.. The two statements of the melody in each punctus differ only in their endings, described as apertum (“open”) and clausum (“closed”) by Grocheio, who believed that six puncta were standard for the stantipes (his term for the estampie), though he was aware of stantipes with seven puncta. The structure can therefore be diagrammed as: :a+x, a+y; b+w, b+z; etc.. In an instrumental estampie, the open and closed endings of the puncta are the same each time, so that the end of the punctum serves as the refrain, in the form: a+x, a+y; b+x, b+y, c+x, c+y, etc. He further states that this difficulty captivates the attention of both the players and listeners because of these complications. According to Grocheio, the vocal estampie begins with a refrain, which is repeated at the end of each stanza, with text and melody independent of the stanza. However, surviving songs do not include a section labeled as a refrain, so some scholars suggest that a convention must have existed for choosing lines to use as a refrain. Scholar Elizabeth Eva Leach wrote about a poetic form of estampie through the discussion of Douce 308. In a chapter titled “The Estampies of Douce 308” from Leach’s book Music and Instruments of the Middle Ages, there is a heavy discussion about how the poetic forms of estampies differ from both instrumental and vocal forms. These poetic estampies were devoid of musical notation making the form reliant on syllabic stress and enjambment to make it recognizable.

Estonian punk

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

1970s#

Punk first developed in Estonia in the 1970s. Aleksander Müller, Irwin Art, Mihkel Pilve and Richard Nool were among the first Estonian punks. As punk as a subculture is ideologically against social norms, power and mass culture, the main target of the criticism of the Estonian punk was the Soviet order. Although youth rebellion was usually limited to defiant behavior and graffiti, there were also convinced anarchists and freedom fighters, such as Hillar Mardo, among the punks. The punks at that time were mostly of one generation, born in 1960–1965. Due to the publication of beliefs, punks had a lot of problems. At the same time, punk was a way out for young people who were in trouble with the law or their parents. Basically, punks could be recognized by their far-reaching clothing. Punk was a revolt against a totalitarian state and a one-man mass culture. The driving force behind the punk was anarchism, the spread of which was hindered by the state and its established laws as factors restricting freedom. Music was an important part of punk culture. In Estonia, punk rock - a style of music that grew out of rock ’n’ roll - spread, dividing into several styles. In the West, punk jazz and punkabilly also existed. Punk music had simplicity. It was characterized by fast tempo (at least 140 beats per minute), strong amplification, a markedly aggressive playing style and sharp and straightforward lyrics. Although many punks only listened to this music, a number of bands were born in the Estonian punk movement. Most of the punk bands were limited to a maximum of one concert in their hometown and then disappeared permanently, with few performing longer. As Tallinn was the capital and largest city of the Estonian SSR, most of the punk bands operated there. In December 1979, the Tallinn punk band The Rebels was formed: Artur Poland - vocals, guitar; Ahto Moses - drums; Urmas Tangsoo - bass. The band Cheese and the Tallinn 10th Secondary School band Sex Telegramm also appeared in Tallinn, where Toomas Pertelov, Jaak Männil and others played. The Pära Trust - Jaak Arro, Veljo Vingissaar, Jüri Kermik and Hardi Volmer - emerged in the same year, the bands Kaseke and Singer Vinger, which developed later, have received opposite evaluations. Sometimes they have been considered important influences on Estonian punk. According to other sources, Pära Trust, Kaseke and Singer Vinger were not punk bands themselves, but inspired punk bands like Cheese.