FU on Music Theory Print

Fugue

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

Etymology#

The English term fugue originated in the 16th century and is derived from the French word fugue or the Italian fuga. This in turn comes from the Latin fuga, which is itself related to both fugere (“to flee”) and fugare (“to chase”). Variants include fughetta (“a small fugue”) and fugato (a passage in fugal style within another work that is not a fugue).

Musical outline#

A fugue begins with the exposition and is written according to certain rules. The composer has more freedom once the exposition ends, though a logical key structure is usually followed. Further entries of the subject will occur throughout the fugue, repeating the accompanying material at the same time, and often accompanying key changes. The various entries may or may not be separated by episodes or occur in stretto. :: S = subject; A = answer; CS = countersubject; T = tonic; D = dominant Exposition A fugue begins with the exposition of its subject in one of the voices alone in the tonic key. After the statement of the subject, a second voice enters and states the subject with the subject transposed to another key (almost always the dominant or subdominant, with the latter being less common), which is known as the answer. To enable a natural harmonic progression, the answer may also be altered slightly (usually by changing one or a few notes near the beginning). When the answer is an exact transposition of the subject into the new key, the answer is classified as a real answer; alternatively, if the intervals of the subject are altered in any way, the answer is a tonal answer. During the answer, the voice in which the subject was previously heard accompanies with new material. If this new material is reused in later statements of the subject, it is called a countersubject; if this accompanying material is only heard once, it is simply referred to as free counterpoint. The countersubject is written in invertible counterpoint at the octave or fifteenth (two octaves). The distinction is made between the use of free counterpoint and regular countersubjects accompanying the fugue subject/answer, because in order for it to be heard accompanying the subject in more than one instance, the countersubject must be capable of sounding correctly when played above or below the subject, and must be conceived, therefore, in invertible (double) counterpoint. In tonal music, invertible contrapuntal lines must be written according to certain rules, because several intervallic combinations, while acceptable in one orientation, are not permissible when inverted. As an example, perfect fifths are contrapuntally acceptable, while the inversion of a perfect fifth results in a perfect fourth, which, unlike the perfect fifth, is considered a dissonance, requiring proper preparation and resolution. The countersubject, if sounding at the same time as the answer, is transposed to the pitch of the answer. Each voice then responds with its own subject or answer, and further countersubjects or free counterpoint may be heard. It is customary in the exposition to alternate entrances of the subject (S) with entrances of the answer (A). However, this order is occasionally varied. For example, the exposition from J.S. Bach’s The Well-Tempered Clavier Fugue No. 1 in C Major, BWV 846 uses a SAAS (subject-answer-answer-subject) exposition. A brief codetta is often heard connecting the various statements of the subject and answer, smoothly connecting each and often facilitating the modulation between the tonic and the key of the answer. The codetta, like other parts of the exposition, may be reused throughout the remainder of the fugue. The first answer must occur as soon after the initial statement of the subject as possible; therefore, the first codetta is often absent or very short. In the example shown above of J.S. Bach’s Fugue No. 16 in G minor, BWV 861, the first codetta is absent. The subject concludes on the quarter note (or crotchet) B of the third beat of the second bar, which harmonizes the opening G of the tonal answer. The later codettas may be considerably longer, and often serve to develop the material heard in the subject/answer and countersubject and possibly introduce ideas heard in the second countersubject or free counterpoint that follows. They may also be present to delay, and therefore heighten the impact of, the reentry of the subject in another voice. Finally, they may be modulatory passages to return the fugue to the tonic. The exposition usually concludes when all voices have given a statement of the subject or answer. In some fugues, especially those with an odd number of voices, the exposition will end with a redundant entry, or an extra presentation of the theme in a voice which has already entered. Furthermore, the entry of one of the voices may not be heard until considerably later. For example, in J.S. Bach’s Fugue in C minor for Organ, BWV 549, the subject entrance in the lowest voice (played by the organ pedals), is not heard until near the end of the fugue.

Fuguing tune

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

Description#

Fuguing tunes are sacred music, specifically, Protestant hymns. They are written for a four-part chorus singing a cappella. George Pullen Jackson has described the fuguing tune as follows: A well-known fuguing tune that is typical of the form is “Northfield”, composed in 1804 by Jeremiah Ingalls. The text is by Isaac Watts.

Variety in fuguing tunes#

George Pullen Jackson’s description above gives a common form for a fuguing tune, but there are variations. Jackson describes the entrance order of the four parts as “bottom to top” (Bass-Tenor-Alto-Treble), but this is not the only possible order. Indeed, in the fuguing tunes printed in The Sacred Harp, 1991 edition, it is not even the most common one; the most common order is Bass-Tenor-Treble-Alto. There are many other orders possible, particularly if one includes the many cases in which composers bring in two parts at once (so that there are just three instead of four entrances). However, it does seem to be a widely valid rule that the basses must at least be included in the first group to enter. This may reflect a wish to support the entrances with a solid bass line, or perhaps just a practical consideration: thanks to the weight of existing tradition, the bass singers have considerable practice in coming in alone at the beginning of a musical phrase, practice which the other sections lack. Thus a fuguing tune with a bass-first structure is likely to be more stable in performance.

Fuji music

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

Etymology#

Sikiru Ololade Ayinde Balogun Barrister significantly popularized wéré music during the 1950s and 1960s and later coined the term “fuji” for his new innovation (fuji music) in an intriguingly unconventional manner. According to Barrister, “I came up with it when I saw a poster at an airport, advertising the Mount Fuji, which is the highest peak in Japan.” Fújì should not be mistaken for the Yorùbá words “fúja” (to flee) or “fáájì” (enjoyment or leisure).

Fulía

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

History and Etymology#

The name and origins of the fulía can both be traced back to the Canarian folía, which in turn is a folkloric derivation of a harmonic formula common in Renaissance and Baroque style by the same name. Though this initial classical folía bears little resemblance to its Venezuelan descendant, there are some elements that have been preserved throughout the centuries, such as the tonicization to both the relative minor and major (as in a Romanesca progression). The folía of the Canary Islands, however, begins to show more commonalities with some Venezuelan variants. In the Canarian tradition, for example, the singer begins each verse on the major section and ends on the minor, as opposed to the classical form, which begins on the minor. The start of the verses on the major mode is the common way of beginning fulía central. Further evidence to the link between the Renaissance folia and the fulía is that “fulia” was a common Italian spelling of folia. Though the fulía oriental is primarily influenced by these Spanish and Canarian roots, as evidenced by similarities in instrumentation, harmony, and melody, the fulía central has been greatly influenced by Afro-Venezuelan music and traditions in conjunction with the European elements, lending to the vast aesthetic differences between both genres.

Funaná

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

Characteristics#

As a music genre, the funaná is characterized by having a variable tempo, from vivace to andante, and a 2-beat rhythm. The funaná is intimately associated to the accordion, more precisely to the diatonic accordion, commonly known as gaita in Cape Verde. This influences a lot of musical aspects that characterize the funaná, such as the fact that, in its most traditional form, the funaná uses only diatonic scales, and not chromatic ones. The structure of a funaná composition is not very different from the structure of other musical genres in Cape Verde, i.e., basically the music is structured through a set of main strophes that alternate with a refrain. The main difference is that between the different strophes and the refrain there is a solo played on the accordion. The music is generally monotonic. The accompaniment is made with the left hand on the accordion, providing a bass and the chords. The rhythmic model is played on the ferrinho. The melodic line of the funaná varies a lot through the composition, with a lot of series of ascending and descending notes. The funaná singers occasionally use the sforzando technique in certain notes, specially if they are long (imitation of the accordion?). The lyrics of the funaná generally talk about everyday situations, mentioning the sorrows and the happiness of quotidian life, but they also talk about social criticism, reflections about life and idyllic situations. Recent composers however have expanded the themes. Another characteristic of funaná is that the lyrics are not made in a direct way, but frequently use figures of speech, proverbs and popular sayings. Example: That requires a good knowledge of popular culture and language, and that’s why recent compositions, compositions from younger authors or compositions from authors with little contact with popular culture do not always use this poetry technique. Concerning instrumentation, in its most traditional form, the funaná only uses the accordion and the ferrinho. With the stylization and electrification other instruments are used: the rhythm provided by the ferrinho is made on a drum set together with other percussion instruments (a shaker or a cabasa); the bass/accompaniment played on the accordion is replaced by a bass guitar and an electric guitar; the melody played on the accordion is replaced by a synthesizer. By the end of the 90’s, there is a certain revival where the unplugged (acoustic) performances are sought after, in which electronic instruments are relegated in favor to authentic accordions and ferrinhos.

Funeral doom

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

History#

An offshoot of death-doom, the genre was mostly inspired by the work of Autopsy, Winter, Cathedral and early Paradise Lost. Funeral doom truly came into being in the mid-1990s. The genre was birthed out of Finland; Thergothon and Skepticism are commonly cited as the earliest two bands in the style, as well as Unholy. Outside Scandinavia, the lines between death-doom and funeral doom pioneers were less clear cut. diSEMBOWELMENT, from Australia, Birmingham-based Esoteric, and American act Evoken are examples. With the turn of the millennium came releases of newer bands, such as Shape of Despair, Mournful Congregation, the “Nautik Doom” group Ahab and one-man-projects Nortt and Doom:VS. Funeral doom scenes cropped up over the world, such as the one in Russia. The Solitude Productions label, for example, became a major force in shaping its future. Like no metal subgenre before it, the internet boom greatly helped funeral doom reach new fans. Another sign of funeral doom’s increasing status was Peaceville’s move to buy the rights of Avantgarde Music’s back catalogue. Responsible for launching the careers of Autopsy, Paradise Lost, My Dying Bride and Anathema, Peaceville was the major player in shaping what became known as death-doom. This now meant that Peaceville had a significant stake in funeral doom’s history: it owned all of Thergothon’s and Unholy’s discography, along with two Evoken albums. Although it has a substantial following, funeral doom has also its share of criticism. Chronicles of Chaos co-editor Pedro Azevedo argued that, to the average listener, funeral doom might sound “boring and repetitive”. Ciarán Tracey, in an article for Terrorizer, acknowledged that the increasing popularity of funeral doom also meant that it now had its “share of hangers-on and can act as a repository for pseudo-literary teen poetry and artless abstraction, so a certain critical scrutiny has become necessary.”

Funeral march

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

Historical origins#

The custom of accompanying the solemn funeral procession with instrumental music was already present in ancient civilizations in various forms. Both the Greeks and the Etruscans usually employed flute players or, the latter, zither players, as can be deduced for example from the Chiusi cippi illustrated in Pericle Ducati’s work. Among the Romans, the traditional funeral (funus translaticium) involved the presence of musicians at the opening of the procession: two cornicini, four tibicini and a lituus, a special trumpet with a soft sound that was well suited to the circumstances. There is sculptural evidence of this ritual in a funerary bas-relief from Amiternum.

Fungi (music)

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

The Fungi Band#

The components of a fungi band or “scratch band” include: *Ukulele *Banjo *Bongos *Guitar *Bouble bass or bass guitar *Keyboard *Calabash *Güiro *Washboard *Triangle *Saxophone

Themes#

Themes explored in fungi music include love and relationship, folklore, the basis of Virgin Islander oral history, on topics ranging from church life to smuggling rum as well as current events and social commentary.

Mood#

Fungi music is usually very festive, even humorous, as it is made for dancing. Band perform at a variety of events including weddings, festivals, parties as well as in restaurants and hotels. There is a definite melody and rhythm and the lyrics are meaningful, as the songs tell stories from the past. These stories are reminders of the life the people of the British Virgin Islands lived. In the British Virgin Islands, fungi music is popular during such events as the British Virgin Islands Music Festival and in both the U.S. and British Virgin Islands, the music is part of the school curriculum.

Funk

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

Etymology#

The word funk initially referred (and still refers) to a strong odor. It is originally derived from Latin (which means “to smoke”) via Old French and, in this sense, it was first documented in English in 1620. In 1784, funky meaning “musty” was first documented, which, in turn, led to a sense of “earthy” that was taken up around 1900 in early jazz slang for something “deeply or strongly felt”. Even though in white culture, the term funk can have negative connotations of odor or being in a bad mood (in a funk), in African communities, the term funk, while still linked to body odor, had the positive sense that a musician’s hard-working, honest effort led to sweat, and from their “physical exertion” came an “exquisite” and “superlative” performance. In early jam sessions, musicians would encourage one another to “get down” by telling one another, “Now, put some stank on it!” At least as early as 1907, jazz songs carried titles such as Funky. The first example is an unrecorded number by Buddy Bolden, remembered as either “Funky Butt” or “Buddy Bolden’s Blues”, with improvised lyrics that were, according to Donald M. Marquis, either “comical and light” or “crude and downright obscene” but, in one way or another, referring to the sweaty atmosphere at dances where Bolden’s band played. As late as the 1950s and early 1960s, when funk and funky were used increasingly in the context of jazz music, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans-born drummer Earl Palmer “was the first to use the word ‘funky’ to explain to other musicians that their music should be made more syncopated and danceable.” The style later evolved into a rather hard-driving, insistent rhythm, implying a more carnal quality. This early form of the music set the pattern for later musicians. The music was identified as slow, sexy, loose, riff-oriented and danceable. The meaning of funk continues to captivate the genre of black music, feeling, and knowledge. Recent scholarship in black studies has taken the term funk in its many iterations to consider the range of black movement and culture. In particular, L.H. Stallings’s Funk the Erotic: Transaesthetics and Black Sexual Cultures explores these multiple meanings of funk as a way to theorize sexuality, culture, and western hegemony within the many locations of funk: “street parties, drama/theater, strippers and strip clubs, pornography, and self-published fiction.”

Funk carioca

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

Subgenres#

There are several subgenres derived from funk carioca.

Brega funk#

Brega funk is a subgenre of Funk Carioca that originated in Recife, influenced by brega and arrocha in the early 2010s in the northeast region of Brazil. Unlike classic funk carioca, brega funk has a polished sound that features syncopated and shimmering MIDI pianos, synthesizers, often filtered guitars and the distinct pitched metallic snare drums called caixas, vocal chops are a common companion to the wobbly kick rhythm and up-down bass inherited from brega and, although the genre commonly ranges from 160 to 180 BPM, the half-time tempo makes it seem slower than other funk subgenres. An example of the Brega funk genre is the song “Parabéns” by Pabllo Vittar.

Funk metal

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

Characteristics#

Funk metal has also been called thrash-funk or punk-funk. It was most prevalent in the American state of California, particularly in Los Angeles and San Francisco. According to AllMusic, funk metal “takes the loud guitars and riffs of heavy metal and melds them to the popping bass lines and syncopated rhythms of funk”. Faith No More, another Californian alternative group who emerged in the mid-1980s, have been described as a funk metal band that also dabbled in rap metal. Rage Against the Machine’s mix of funk and metal not only included rap, but also elements of hardcore. AllMusic formerly categorized funk metal as a style of alternative rock, in spite of the genre’s name. The website currently categorizes it as a style of heavy metal. Bands such as Primus and Mordred emerged from the thrash metal underground. Roy Shuker described the genre in his 1994 book Understanding Popular Music, writing: “the ‘classic’ distinction between rock and pop runs into some difficulties when we consider various forms of ‘alternative’ music, illustrating the difficulties of forcing genres into too rigid a typology. For example, where would we place the wild musical genre called ’thrash funk’, a fusion of 1970s funk, punk rock, rap, California surf, skateboard and hippy cultures, which, according to press reports, swept San Francisco clubs in 1990.” Shuker wrote about the genre again in the 2005 edition of his book Popular Music: The Key Concepts, calling it “less structured than earlier forms of metal, with the bass guitar relied on more than the lead.” The genre managed to gain some international popularity through foreign acts such as British groups Atom Seed and Scat Opera, as well as Super Junky Monkey, an all-female funk metal/avant-garde band from Japan. Although never breaking through in the United States, Swedish band Electric Boys attracted recognition throughout Europe, Funk metal’s prevalence in the late 1980s and 1990–91 predated the rise of grunge music in late 1991, which hurt the popularity of more traditional forms of hard rock/metal. In a January 1991 Spin article, Electric Boys singer Conny Bloom claimed funk metal had become a trend since people thought other hard rock of that era was “boring”.

Funk ostentação

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

Funk ousadia

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

Description#

The genre has been called by several media outlets the successor of funk ostentação, which, following its initial boom in the late 2000s, was beginning to decline in popularity by 2013–14. The presence of humor in the songs differentiate this genre from songs by Mr. Catra and MC Magrinho, which have a clearer and more evident sex appeal. Some of the genre’s principal exponents are MC Pikachu, MC 2K, MC Bin Laden, MC Pedrinho and MC Brinquedo.

Funk rock

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

1960s and 1970s#

Sly and the Family Stone gained funk rock hits such as “Sing a Simple Song” and “Thank You (Falettinme Be Mice Elf Agin)”. The Jimi Hendrix Experience album Electric Ladyland also included a couple of funk rock songs, such as “Gypsy Eyes” and “Still Raining, Still Dreaming”. George Clinton has been considered the godfather of this genre since 1970. Clinton created the name “P-Funk” include Funkadelic and Parliament for the innovative new concepts of funk that he culled from former members of James Brown’s band (such as Maceo Parker, Bootsy Collins and Fred Wesley) and new young players such as Eddie Hazel. His groups, Funkadelic and Parliament, practically defined funk since the release of the influential funk rock Funkadelic classic Maggot Brain (1971). Later funk rock albums by the group include Cosmic Slop, Standing on the Verge of Getting It On, Hardcore Jollies and Let’s Take It to the Stage. Later albums such as One Nation Under a Groove and Electric Spanking of War Babies had a bit more radio-friendly sound but still preserved much of group’s funk rock approach. Grand Funk Railroad pioneered the bass driven hard rock funk style in 1970 so well portrayed in their cover of the Animals song Inside-Looking Out and later picked up by Rage Against the Machine. Composer and guitarist Frank Zappa demonstrated the merge of styles in albums like Overnite Sensation, in themes such as “I’m the Slime”, covered in concert decades later by Funkadelic. Other pioneers evolved in the 1970s are American artists Rick Derringer, Redbone, the Bar-Kays, and Mother’s Finest. “We called ourselves funk rock”, recalled Mother’s Finest singer Glenn “Doc” Murdock. “I think we invented that. We even had a house where we all lived and we named it ‘Funk Rock, Georgia’. We felt that we were headlining that whole genre. We played with Lynyrd Skynyrd and AC/DC. Those bands had a lot of funk in their music. The real problem for us was when we played in black clubs. They told us we were too loud.” Funk rock acts were not favored by R&B recording companies. For example, Nile Rodgers, guitarist of Chic, wanted to be a rock band like Roxy Music, but they eventually became a disco act after being turned down by recording companies. Despite its considerable influence on later popular music, funk rock was not a very visible phenomenon during the 1970s. Only a few funk rock acts could be seen on record charts, notably David Bowie (“Fame”, 1975), Aerosmith (“Last Child”, 1976), The Rolling Stones (“Hot Stuff”, 1975), Gary Wright (“Love Is Alive”, 1976) and Steve Winwood (“I’m A Man”). When Glenn Hughes left Trapeze and joined Deep Purple along with David Coverdale, Deep Purple’s next two albums contained elements of funk and soul. When Ritchie Blackmore left Deep Purple in 1975, the band’s next album Come Taste the Band with Tommy Bolin was even more funky than its predecessor Stormbringer. However, Deep Purple broke up in 1976 and Tommy Bolin died from a drug overdose.

Funknejo

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

Characteristics#

Funknejo combines rhythmic and production elements derived from funk carioca with melodic and instrumental features associated with sertanejo universitário. It is commonly used electronic beats such as the tamborzão alongside accordion, acoustic guitar, and synthesizers.

History#

Although the term funknejo emerged during the 2010s, journalists have identified earlier musical connections between sertanejo and funk carioca. In 1969, the sertanejo duo released “Jack, O Matador”, a song incorporating dialogue inspired by Western films. During the 1990s, funk production teams including Equipe Pipo’s and DJ Mamut sampled the recording in funk montages, creating an early intersection between the two musical traditions. Funk carioca itself developed through the incorporation of diverse musical influences. Originating from Miami bass and electronic dance music (EDM) during the late 1980s, the genre later incorporated elements from other Brazilian styles, including frevo and samba. The use of accordion in funk recordings, which later became associated with funknejo, appeared in “Gaiteiro 96”, released in 1996 by DJ Marlboro and DJ Pepe. The recording also sampled material by Léo Canhoto & Robertinho. In 2011, singer-songwriter Michel Teló recorded a sertanejo version of “Ai Se Eu Te Pego”, a song whose earlier version incorporated elements of funk before being adapted into forró. Teló’s recording achieved international commercial success. In 2012, the duo João Lucas & Marcelo released “Eu Quero Tchu, Eu Quero Tcha”, which became one of the first commercially successful recordings to combine sertanejo universitário with the rhythmic characteristics of funk. The song is frequently identified as a milestone in the popularization of the term funknejo. During the same period, sertanejo artists also adopted the practice of recording response songs, a format already established in funk. One example was Naiara Azevedo’s “Coitado”, released as a response to “Sou Foda” by .

Funkot

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

History#

Funkot was born in 1990 by a music group from Indonesia, Barakatak. Barakatak was initially recruited by Doel Sumbang, a Sundanese musician from West Java, hence, Barakatak made Sundanese music. However, Barakatak changed their genre to House after moving to Jakarta and working with Rony Loan. They were invited to a discotheque in Jakarta called Diskotik Zodiak, where they tried to take drugs (No anti-narcotics law exist yet in Indonesia at that time). This influenced them to attempt making music with new lyrics and musical styles. They came up with a song titled Musiknya Asyik, inspired by the sensation of taking drugs (previously titled Sudah or Belum?). This song is regarded as the origin of Funkot music, which became popular in the country.

Funkstep

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

History#

Since the dubstep movement in 2001, funkstep has gained more listeners and therefore more record producers to produce this music style. Funkstep took shape since 2012 by blending the genres of dubstep, drumstep, drum and bass, UK funky and electro house.

Characteristics#

The changes of speed in funkstep are evident, since drumstep will register at anywhere from 150 to 170 BPM as a result of its 2-step beat and French and electro house by contrast between 120 and 130 BPM. This problem is usually solved by playing the song during its drumstep or even dubstep parts in half speed, as compared to the occurring house in similar parts. Most funkstep songs start with calm intros, which can sometimes be mixed up with drumstep because of its dubstep and drum and bass-like drums. But after starting with a typical funkstep riff and changing the bassdrum to a consistent four on the floor, it is easy to recognize the bridge to more complex house music, which is typical for a funkstep song. A song can contain these bridges and changes repeatedly, which mostly indicate the drops and highlights. Funkstep is also often associated with glitch because of its arsenal of distorted sounds. Since funkstep contains parts sounding similar to different variations of house, drum and bass and drumstep, it is attractive for listeners of several styles of music and pretty diverse. Since 2009, notable scene reports were trying to simply explain the idea of funkstep to the audience, posting headlines like “Dubstep + Funky House = Funkstep”.

Funky house

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

Production and characteristics#

Funky house music draws inspiration from the rhythmic complexity and soulful vibe of 1970s and 1980s funk and disco. Key production characteristics include disco strings, funk-inspired basslines, vocal samples, and tempo and synth effects. A description of those characteristics features lush, orchestral disco strings that contribute to a vibrant and immersive sound. The deep, groovy basslines provide rhythmic depth, creating a compelling foundation for each track. The genre often incorporates vocal loops or samples from older soul and disco records, blending familiar elements with fresh, innovative twists. Typically produced at around 128 BPM, funky house tracks are characterized by synthesized effects such as swooshes, swirls, and filters, lending the music a bouncy, uplifting vibe that defines its unique energy.

Furiant

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

Etymology#

Besides the dance, the word is also used in the Czech language to describe a stubborn, arrogant, boastful person with bloated self-confidence. The word is recorded in the Czech language since the end of the 18th century, then meaning “a rebel” or “a disturber of peace”. In this meaning, it appears in Jan Antoš’ 1777 opera “De Rebellione Boemica Rusticorum” and in the ballad “Chvála sedláků”, also from the 1770s. It is unclear how the dance became known under the name “Furiant”, and the origin of its name is controversial. John Paul Bohumil Dudek suggested the word comes from the Latin word furians, through one way or another. In Bohemia, Farmers were often attributed with attributes connected to the word in its other meanings in Czech, including unrest, hubris, and arrogance (for example, in Ladislav Stroupežnický’s 1887 play “Naši furianti”); It is possible that the close connection between the dance and farmers has led to the dance’ naming. Moreover, other Bohemian folkdances with mixed meter were also termed with related names such as the “Sedlák” (farmer) or the “Kozel” (billy goat). Ladislav Urban wrote in his book “The Music of Bohemia” (1919): Other explanations for the name were suggested as well: Jaroslav Markl proposed the word arrived through French influence during the Napoleonic wars, and a possible connection to an earlier German dance by the name “Furie” was proposed as well in German circles. A dance in the that name is found in Johann Joachim Quantz’s Versuch einer Anweisung die Flöte traversiere zu spielen (1752) and in Daniel Gottlob Türk’s Klavierschule (1789).

Furniture music

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

The music#

Although other selections of Erik Satie’s music can be experienced (and are sometimes indicated) as furniture music, Satie himself applied the name only to five short pieces, composed in three separate sets: * 1st set (1917), for flute, clarinet and strings, plus a trumpet for the first piece: ** 1. Tapisserie en fer forgé – pour l’arrivée des invités (grande réception) – À jouer dans un vestibule – Mouvement: Très riche (Tapestry in forged iron – for the arrival of the guests (grand reception) – to be played in a vestibule – Movement: Very rich) ** 2. Carrelage phonique – Peut se jouer à un lunch ou à un contrat de mariage – Mouvement: Ordinaire (Phonic tiling – Can be played during a lunch or civil marriage – Movement: Ordinary), * 2nd set, Sons industriels (Industrial sounds, February/March 1920), for piano duet, 3 clarinets and trombone: ** Premier Entr’acte: Chez un “Bistrot” (First Entr’acte: At a “Bistro”) ** Second Entr’acte: Un salon (Second Entr’acte: A drawing room) * 3rd set (1923), commissioned by Mrs Eugène Meyer jr. (living in Washington DC), for small orchestra: ** Tenture de cabinet préfectoral (Wall-lining in a chief officer’s office) The first set was apparently never performed (nor the score published) during Satie’s lifetime. The second set contained reminiscences of popular tunes by, amongst others, Camille Saint-Saëns and Ambroise Thomas. It was premiered in Paris the year it was composed, as intermission music to a lost comedy by Max Jacob. During these intermissions the audience was invited to visit an exposition of children’s drawings in the Galerie Barbazanges that was hosting the premiere. Indications of the intentions of the artists giving the first performance are found in the manuscript of the score: Furnishing divertissement organised by the group of musicians known as the “Nouveaux Jeunes” Furnishing music replaces “waltzes” and “operatic fantasias” etc. Don’t be confused! It’s something else!!! No more “false music” Furnishing music completes one’s property; it’s new; it doesn’t upset customs; it isn’t tiring; it’s French; it won’t wear out; it isn’t boring –quoted in Gillmor, 1988, p 325-326 See also the Entr’acte article for more details regarding the circumstances of this first, and only documented, public performance of furniture music during Satie’s lifetime, assisted by the composer himself. The separate commissioned piece was sent to America. There are no known public performances or publications of this music prior to leaving the European continent. This piece is sometimes presented as furniture music No. 3. As Satie’s pieces of furniture music were very short pieces, with an indefinite number of repeats, this kind of furniture music later became associated with repetitive music (sometimes used as a synonym of minimal music), but this kind of terminology did not yet exist in Satie’s time.

Future bass

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

History#

The genre was pioneered by Scottish producers Rustie and Hudson Mohawke, who began producing future bass tracks in 2010. One of the first popularity-fueling releases in the genre was Rustie’s album Glass Swords, released in 2011. Later, in 2013, the Flume remix of Disclosure’s song “You & Me” brought the genre into the mainstream, and through the mid-2010s future bass became popular in the United Kingdom, United States, Japan, China, Korea and Australia.

Future garage

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

Details#

Future garage incorporates a variety of influences from UK garage and softer elements from 2-step garage. The name was coined by Whistla before the appearance of Future Garage Forum in November 2009. In Issue 108 of MusicTech Magazine from March 2013, it was suggested that future garage should employ re-pitched vocals, soft leads with a round attack or an acoustic lead, subbass or a square wave bass with a modulating filter, and a four-to-the-floor or 2-step garage drum beat with off-the-grid hi-hats. The distinct swing in future garage drum beats is the focus on “late” or humanized hi-hats between the kick and snare patterns.

Future house

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

Etymology#

The term “future house” was coined by French DJ Tchami and was first used to categorise his 2013 remix of Janet Jackson’s “Go Deep” on SoundCloud. Tchami used the term without considering it a genre saying in a 2015 interview “Future house was meant to be ‘any kind of house music that hasn’t been invented yet,’ so I never considered it as a genre. I guess people made it what it is because my music was specific and leading to build a bridge between house and EDM, which isn’t a bad thing”. Later, in 2016, the popular online music store for DJs Beatport added Future house as one of three new genre tags. The genre has been credited as also being pioneered by Oliver Heldens and Don Diablo.

Future rave

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

History#

In 2019, French producer David Guetta and Danish producer Morten Breum paired together to produce some tracks, the style of which they would later call Future Rave. The first two tracks produced in this style by the pair were “Never Be Alone” with Aloe Blacc and an official remix of Avicii’s “Heaven.” In 2022, the pair went on a US Tour under the title Future Rave, including an appearance at EDC, and started a residency at Hï Ibiza under the same title. In 2022, after a 4-year hiatus, Hardwell came back to play the Ultra Music Festival and his set was described as Future Rave and Future Techno. He released the track Black Magic which has been described as “synth-packed, captivating track that immerses its listeners into the world of techno.”

Future soul

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

Futurepop

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

Characteristics#

Futurepop is mainly characterized by its “technoid” Tom Shear of Assemblage 23 described the style ironically as “mostly people who can’t sing over ’90s era trance patches”.

Etymology#

Ronan Harris of VNV Nation credited himself with the term “futurepop” during a discussion with Apoptygma Berzerk vocalist Stephan Groth to describe the sounds of their music and similar groups at the time. According to Sorted Magazine writer “Girl the Bourgeois Individualist”:

Futurism (music)

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

Pratella’s Manifesto of Futurist Musicians#

The musician Francesco Balilla Pratella joined the movement in 1910 and wrote the Manifesto of Futurist Musicians (1910), the Technical Manifesto of Futurist Music (1911) and The Destruction of Quadrature (Distruzione della quadratura), (1912). In The Manifesto of Futurist Musicians, Pratella appealed to the young, as had Marinetti, because only they could understand what he had to say. He boasted of the prize that he had won for his musical Futurist work, La Sina d’Vargöun, and the success of its first performance at the Teatro Comunale at Bologna in December 1909, which placed him in a position to judge the musical scene. According to Pratella, Italian music was inferior to music abroad. He praised the “sublime genius” of Wagner and saw some value in the work of Richard Strauss, Debussy, Elgar, Mussorgsky, Glazunov and Sibelius. By contrast, the Italian symphony was dominated by opera in an “absurd and anti-musical form”. The conservatories encouraged backwardness and mediocrity. The publishers perpetuated mediocrity and the domination of music by the “rickety and vulgar” operas of Puccini and Umberto Giordano. The only Italian Pratella could praise was his teacher Pietro Mascagni, because he had rebelled against the publishers and attempted innovation in opera, but even Mascagni was too traditional for Pratella’s tastes. In the face of this mediocrity and conservatism, Pratella unfurled “the red flag of Futurism, calling to its flaming symbol such young composers as have hearts to love and fight, minds to conceive, and brows free of cowardice”. His musical programme was: *for the young to keep away from conservatories and to study independently; *the founding of a musical review, to be independent of academics and critics; *abstention from any competition that was not completely open; *liberation from the past and from “well-made” music; *for the domination of singers to end, so that they became like any other member of the orchestra; *for opera composers to write their own librettos, which were to be in free verse; *to end all period settings, ballads, “nauseating Neapolitan songs and sacred music”; and *to promote new work in preference to old.