FI on Music Theory Print

Fiddle-singing

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

History and cultural context#

Long before the modern violin became standard in European folk traditions, a wide range of bowed string instruments were played in ways that naturally supported simultaneous singing. Many early bowed instruments—predating the viol and the rebec—were held vertically rather than under the chin, often resting on the chest or knee. Examples of such instruments include the Cretan lyra, the Gadulka of Bulgaria, the Erhu of China, and the Rebab found across North Africa and the Middle East.

Field holler

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

Description#

It was described by Frederick Law Olmsted in 1853 as a “long, loud, musical shout, rising and falling and breaking into falsetto”, a description that would also have fitted examples recorded a century later. Some hollers are wordless, like the field call by Annie Grace Horn Dodson. Some have elaborated syllables and melismas, such as the long example recorded at the Parchman Farm penitentiary in Mississippi in 1947, by “Bama”, of a Levee Camp Holler. Verbal, improvised lines were used as cries for water and food and cries about what was happening in their daily lives, as expressions of religious devotion, a source of motivation in repetitive work, and a way of presenting oneself over across the fields. They described the labor being done (e.g., corn shucking songs, mule-skinning songs) recounted personal experiences or the singer’s thoughts, subtly insulted white work attendants, or used folk themes. An unidentified singer of a Camp Holler was urged on with shouts and comments by his friends, suggesting that the holler could also have a social role. Call and response arose as sometimes a lone caller would be heard and answered with another laborer’s holler from a distant field. Some street cries might be considered an urban form of holler, though they serve a different function (like advertising a seller’s product); an example is the call of ‘The Blackberry Woman’, Dora Bliggen, in New Orleans.

Field recording

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

General#

Field recording often involves the capture of ambient noises that are low level and complex, and, in response, the requirements from the field recordist have often pushed the technical limits of recording equipment, that is, demanding low noise and extended frequency response in a portable, battery-powered unit. For this reason, field recordists have favoured high-quality (usually professional) recorders, microphones, and microphone pre-amplifiers. The history of the equipment used in this area closely tracks the development of professional portable audio recording technology. Modern accessories used in the field include, but are not limited to: windscreens (foam, fur, hair, parabolic reflector), shock mounts, microphone cables, digital audio recorders and so on. Field recording is typically recorded in the same channel format as the desired result, for instance, stereo recording equipment will yield a stereo product. In contrast, a multitrack remote recording captures many microphones on multiple channels, later to be creatively modified, augmented, and mixed down to a specific consumer format. Field recording experienced a rapid increase in popularity during the early 1960s, with the introduction of high-quality, portable recording equipment, (e.g., the Uher, and Nagra portable reel-to-reel decks). The arrival of the DAT (Digital Audio Tape) in the 1980s introduced a new level of audio recording fidelity with extended frequency response and low self-noise. In addition to these technologies, other popular means for field recording have included the analog cassette (CAC), the DCC (Digital Compact Cassette), and the MiniDisc. The latest generation of recorders are completely digital-based (hard disk/Flash). It is also possible to use personal electronic devices, (e.g., a smartphone or tablet), with software, to do field recording and editing. In addition to recording and editing, the process of field recording also involves these skills. Ability to monitor (observe the relevant signals to ensure recording and settings are correct), control levels (correct decibel range and headroom), create neat documentation (handling, annotating, and tagging the recorded material), clean up (cutting out unwanted noises, processing, etc.), and file management.

Fife and drum blues

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

History#

Pre-American Civil War military fife and drum bands provided a rough framework which black musicians would fill with African and African-American influences to create a new music. Black fife and drum music persists in a stretch of Southern states stretching from northwest Georgia to an area south of Memphis, namely North Mississippi. The music is infused with Euro-American military drum tradition and distinctly African polyrhythms, talking drum influence, and call and response patterns. Performers play blues, marches, minstrel show pieces, popular music, instrumentals, and spirituals such as “When the Saints Go Marching In”, “When I Lay My Burden Down”, “My Babe” and “Sitting on Top of the World”. A “march” becomes more of a swaying dance, sometimes led by a dancer, and singing comes in sporadic shouts, whoops, and moans from the different players. While spirituals are sometimes played, gatherings of drum and fife music are not religious in nature and not held on Sundays or in church. Alan Lomax first recorded black fife and drum music in 1942. He found a group, including Sid Hemphill, near Sledge, Mississippi consisting of a cane fife, two snare drums, and a bass drum. These same musicians constituted themselves as a string band, using violin, banjo, guitar, and bass drum. Notable performers include Napoleon Strickland, Othar Turner, Turner’s granddaughter Shardé Thomas, Turner’s daughter, Bernice, Jessie Mae Hemphill, Ed and Lonnie Young, and the Mitchel Brothers from Georgia.

Fife and drum corps

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

History#

Fifes are an ancient wind instrument that have evolved over the centuries. The original form was small and bore six finger-holes, but later versions may have various sizes and numbers of holes. While ancient fifes were one-piece and therefor not easily tuned, modern fifes are two pieces connected by a joint made from either metal or cork. Modern 10-hole and 11-hole fifes are chromatic, thus able to play any note as opposed to the more limited ancient fifes, which could only be played in a few keys. The fife originated in Europe and has spread widely beyond. It is a similar instrument to the German Schweizerpfeife, which translates to a tin whistle. Fifes have been in use by military organizations since the 16th century. Fifes originally accompanied companies of soldiers, providing music while on the march and in camp. Drums have had a role in militaries going back farther in history. The rise of the modern army began in the late 16th century and evolved throughout the 18th century. Drilling to precise and increasingly complicated geometric movements in close order formation, armies adapted and trained fifers and drummers to signal preparatory alerts and execution signals as well as times of day for the troops. It became customary for each company of 100 or so men to be assigned a fifer, a snare drummer and a bass drummer to sound signals, hours and alarms, as well as play popular music on the march. This pattern was also practised in the U.S. services from the Revolutionary War up until the late 19th Century. When the companies of a Regiment or Battalion were gathered together, it was customary to assemble the fifes and drums from all the companies into a ‘band’ to march at the head of the column on parade. When a regimental military band (woodwinds and brass) were also present, the fifes and drums marched at the head, followed by the military band. This is still the custom with British Regimental bands. To this day, the drum major’s preparatory command to move a British Army band is, “Band and Drums…”. This is referring back to the segregation of the fifes and drums as a separate entity from a military band. Fifes have always been an infantry musical instrument. Assigned at the company level with a fife and 2 drums (snare and bass) per company (or formed as a band at the regimental level), fifes and drums were used to regulate the daily activities of the troops. They signaled when the troops should rise in the morning and retire at night, when to eat, when to assemble, and to sound an alarm. The infantry used side drums (snare and bass drums). When detached to the companies, the drummers used only the side drums. Cavalry and Dragoon (mounted infantry) units did not use them, instead utilizing bugles to signal commands. The only remaining Fife and Drum Corps in the American Military is the Fife and Drum Corps of the 3rd U.S. Infantry Regiment (The Old Guard), a ceremonial Army unit based out of Ft. Myer, Virginia, raised in 1960. The Colonial Williamsburg Fifes and Drums, founded in 1958 by the Colonial Williamsburg Foundation, is a professional corps made up of young musicians between the ages of 10 and 18. They are a fine representation of what a fife and drum corps would have looked and sounded like during the mid-eighteenth century when company fifers and drummers came together as a single unit for marches, trooping of the colors, and parades. The Colonial Williamsburg Fifes and Drums depict the Virginia State Garrison Regiment, which served in the Tidewater area of Virginia shortly after the American Revolution. Modern non-military Fife and Drum Corps are organizations with volunteer or paid performers. Revenue is obtained through fundraising and by performing in town and city parades. Corps performance pieces often reflect the expectations of the audience for these venues (e.g., American, Holiday and Celtic medleys for Memorial Day, Independence Day, Labor Day, Veterans Day, Thanksgiving, Christmas, Presidents Day and St. Patrick’s Day, respectively). Sometimes a Fire Department may have their own associated Fife and Drum Corps to march ahead of their fire trucks. Other corps may obtain revenue from reenactment performances. Several times per year various Fife and Drum Corps meet to compete, parade, socialize, and muster at a camp ground or meeting hall (in the winter). The Marine Corps of the Royal Netherlands Navy employs a Fife and Drum Corps tracing back its roots to 1665 and possibly earlier. In Dutch, the Tamboers en Pijpers are made up of fully trained professional Dutch Marines who play the drums (Tamboer) or fife (Pijper, derived from Pfeife, cognate of Fife). Both categories are fully accomplished as Buglers for Dutch military ceremonial tasks.

Fight song

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

List of college fight songs#

Many colleges have unofficial fight songs or have changed their official song over the years. Additionally, some colleges have rally songs, spirit songs, cheer songs, and alma maters. This list is exclusively for the fight song or songs currently approved by the institution, even if played infrequently.

External links#

College Football Fight Song Lyrics
NCAA College Football Fight Songs Music
NCAA College Football Fight Songs Ring Tone
Lyrics to College Fight Songs
College Fight Songs Music (Temporarily disabled)
Lyrics On Demand-College Fight Songs

Fijiri

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

External links#

Youtube clip of The Ghalali traditional music and dance group performing a Fijiri song in a village near Muharraq, Bahrain, October 7 2009
Audio samples of Salem Allan and Ahmad Butabbanya on Zeryab.com

Filk music

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

Etymology and definitions#

The term “filk” (originally a typographical error) predates 1955. (See also below.) Interfilk, a charity registered in California to " promote cultural exchange through filk music", offered multiple sources of definitions, without summary, for filk music , but since relies almost entirely on an article by Jordin Kare titled “Filk Music”, originally published by Sing Out! magazine, for their definition. Kare quotes Nick Smith of the Los Angeles Filkharmonics as stating: It is a mixture of song parodies and original music, humorous and serious, about subjects like science fiction, fantasy, computers, cats, politics, the space program, books, movies, TV shows, love, war, death… and summarizes that “almost anything goes at a filksing”. Another definition focuses on filking as a community of those who are interested in filk music and who form part of the social network self-identified with filking. As described later in this article, the origins of filk in science fiction conventions and its current organization emphasizes the social-network aspect of filking. The social aspect of filk as contrasted with the “performer vs. audience” dichotomy of much of modern music was described in a speech by ethnomusicologist Sally Childs-Helton.

Film score

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

Terminology#

A film score is also called a background score, background music, film soundtrack, original soundtrack (OST), film music, screen composition, screen music, or incidental music.

Spotting#

The composer usually enters the creative process towards the end of filming at around the same time as the film is being edited, though on some occasions the composer is on hand during the entire film shoot, especially when actors are required to perform with or be aware of original diegetic music. The composer is shown an unpolished “rough cut” of the film before the editing is completed and talks to the director or producer about what sort of music is required for the film in terms of style and tone. The director and composer watch the entire film, noting which scenes require original music. During this process, composers take precise timing notes so that they know how long each cue must be, where it begins, where it ends, and of particular moments during a scene that music may need to coincide with in a specific way. This process is known as spotting. Occasionally, a filmmaker actually edits their film to fit the flow of music, rather than have the composer edit their score to the final cut. An extreme example of this is Baby Driver written and directed by Edgar Wright. Director Godfrey Reggio edited his films Koyaanisqatsi and Powaqqatsi based on composer Philip Glass’s music. Similarly, the relationship between director Sergio Leone and composer Ennio Morricone was such that the finale of The Good, the Bad and the Ugly and the films Once Upon a Time in the West and Once Upon a Time in America were edited to Morricone’s score as the composer had prepared it months before the film’s production ended. In another example, the finale of Steven Spielberg’s E.T. the Extra-Terrestrial was edited to match the music of his long-time collaborator John Williams: as recounted in a companion documentary on the DVD, Spielberg gave Williams complete freedom with the music and asked him to record the cue without pictures; Spielberg then re-edited the scene later to match the music. In some circumstances, a composer writes music based on their impressions of the script or storyboards without seeing the film itself, and has more freedom to create music without the need to adhere to specific cue lengths or mirror the emotional arc of a particular scene. This approach is usually taken by a director who does not wish to have the music comment specifically on a particular scene or nuance of a film and which can instead be inserted into the film at any point the director wishes during the post-production process. Composer Hans Zimmer was asked to write music in this way in 2010 for director Christopher Nolan’s film Inception; composer Gustavo Santaolalla did the same thing when he wrote his Oscar-winning score for Brokeback Mountain.

Filmi pop

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

External links#

*PakGanay - Pakistani Film Music

Filmi qawwali

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

Nusrat Fateh Ali Khan#

One of Nusrat Fateh Ali Khan’s famous Qawwali songs, “Tere Bin Nahin Lagda” (“I am restless without you”), appeared on two of his 1996 albums, Sorrows Vol. 69 and Sangam (as “Tere Bin Nahin Lagda Dil”), the latter a collaborative album with Indian lyricist Javed Akhtar. Lata Mangeshkar recorded a cover version called “Tere Bin Nahin Jeena” for Kachche Dhaage British-Indian producer Bally Sagoo released a remix of “Tere Bin Nahin Lagda”, which was later featured in the 2002 British film Bend It Like Beckham, starring Parminder Nagra and Keira Knightley. Nusrat Fateh Ali Khan’s music had a big impact on Bollywood music, inspiring numerous Indian musicians working in Bollywood, especially during the 1990s. For example, he inspired A. R. Rahman and Javed Akhtar, both of whom he collaborated with. However, there were many instances of Indian music directors plagiarising Khan’s music to produce hit filmi songs. Viju Shah’s hit song “Tu Cheez Badi Hai Mast Mast” in Mohra (1994) was plagiarised from Khan’s popular Qawwali song “Dam Mast Qalandar”.

Filmi-ghazal

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

History#

The ghazal tradition of Urdu poetry was the basis for early Bollywood music, ever since the first Indian talkie film, Alam Ara (1931). In turn, filmi ghazals had roots in earlier Urdu Parsi theatre during the 19th to early 20th centuries. The ghazal was the dominant style of Indian film music since the 1930s up until the 1960s. By the 1980s, however, ghazals had become marginalized in film music. Reasons for the decline include Urdu ghazal poetry being gradually phased out from the Indian education system, lyricists targeting urban middle-class audiences, and the influence of Western and Latin American music. Music directors like Madan Mohan composed notable filmi-ghazals extensively for Muslim socials in the 1960s and the 1970s. The filmi-ghazal style experienced a revival in the early 1990s, sparked by the success of Nadeem–Shravan’s Aashiqui (1990). It had a big impact on Bollywood music, ushering in ghazal-type romantic music that dominated the early 1990s, with soundtracks such as Dil (1990), Saajan (1991), Phool Aur Kaante (1991) and Deewana (1992). However, the filmi ghazal style was once again marginalized by the early 21st century, as filmi songs became faster-paced along with greater Western and Latin influences. However, there have been a number of well-received filmi ghazal songs composed into the 2010s. A popular ghazal song from Aashiqui was “Dheere Dheere”, a cover version of which was later recorded by Yo Yo Honey Singh and released by T-Series in 2015.

Finnish opera

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

Finnish tango

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

Early history#

Brought to Europe in the 1910s, and to Finland itself in 1913, by travelling musicians, Finns began to take up the form and write their own tangos in the 1930s. The first Finnish tango was written by Emil Kauppi in 1914 for a film called Salainen perintömääräys (meaning The Secret Testament). It features a typical Finnish rhythm pattern with habanera.

Popularity#

In the 1920s the tango was danced exclusively by Helsinki’s bohemians. Finnish tango peaked in the late 1950s and early 1960s.

First-wave black metal

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

Characteristics#

During the first wave, black metal was not a distinct genre, but was part of a broader extreme metal umbrella alongside the earliest death metal, grindcore and thrash metal groups. It was not until around 1987 that these styles began to distinguish themselves from each other, and the borders of what now constitutes black metal were drawn. Music historian Joel McIver called Satanic lyrics and imagery the defining characteristic of the first wave of black metal. However, most bands in the wave were not Satanists; rather, they used Satanic themes to provoke controversy or gain attention. One of the few exceptions was Mercyful Fate singer and Church of Satan member King Diamond, whom Lords of Chaos authors Michael J. Moynihan and Didrik Søderlind called “one of the only performers of the ’80s Satanic metal who was more than just a poseur using a devilish image for shock value”. Metal Injection writer J Andrew cited “the speed and attitude” of punk rock and hardcore punk as what separated the style of the first wave of black metal from earlier styles of heavy metal.

Five-finger exercise

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

Other uses#

Figuratively, a five-finger exercise or simply a finger exercise, is an exercise used solely to develop a skill: for example, in philosophy, economics, or writing. As a mnemonic, it is a plan of Christian salvation in the Stone-Campbell Movement, where the five fingers represent “faith, repentance, baptism, remission of sins, gift of the Holy Spirit”. It was introduced by Walter Scott in the 1820s.

External links#

Five-finger practice sheet on Pianocoda
The Virtuoso Pianist by Hanon at IMSLP

FI on Music Theory Print

Fiddle-singing

History and cultural context#

Field holler

Description#

Field recording

General#

Fife and drum blues

History#

Fife and drum corps

History#

Fight song

List of college fight songs#

See also#

External links#

Fijiri

See also#

External links#

Filk music

Etymology and definitions#

Film score

Terminology#

Spotting#

Filmi pop

See also#

External links#

Filmi qawwali

Nusrat Fateh Ali Khan#

Filmi-ghazal

History#

Finnish opera

Finnish tango

Early history#

Popularity#

First-wave black metal

Characteristics#

Five-finger exercise

Other uses#

External links#