GA on Music Theory Print

Gaana

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

History#

The term “gaanaa” is the colloquial word in Madras for “music”, which is of Hindostani origin. In literary Tamil, the word Gaanam (கானம்) means “tune”, and in modern Hindi–Urdu gānā means “song”. Kunangudi Masthan Sahib’s songs are still sung by gaana singers today. His Gaana tunes, which ruled the Tamil cinema space, earned him the recognition as the monarch of Gaana music. His Gaana songs encompassed all dimensions of music, blending religious and humanistic touches with themes of moral values, struggles, relationships, life principles, situational emotions, and philosophies on living. Even today, his songs remain popular and serve as reference material for many new composers and singers. Other song types include those that glorify local heroes. In gaana competitions, one singer questions another with a lyric, and the other answers with a lyric of their own. There are more than 500 performers in Chennai who earn their living from these events. Though the major gaana artists are men, and gaana songs are usually written from a male viewpoint, women gaana artists are seeing increasing recognition.

Gabber

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

Origins#

Gabber is a style of electronic music and a subgenre of hardcore. It was derived from house and techno in the early 1990s. blended with house-style breakbeats and hi-hat fillers. The music is generally between 140 and 190 beats per minute with samples taken from films or other tracks. The word gabber comes from an Amsterdam Bargoens slang, based on the Hebrew chaver meaning “mate” or “friend”, loaned through Yiddish. The word gained popularity in the Rotterdam music scene and people started to call themselves “gabbers”. Some, however, state that ‘gabber’ derives from usage at house clubs which gabbers visited, where ‘gabber’ became an insult that club security used to collectively describe these people, with often raucous and hooliganish behaviour, that were often seen as undesirable.

Gabberpop

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

Beginnings and Success#

The genre emerged in the 1990s. The rise of gabberpop is exemplified by groups like Hakkûhbar and Party Animals, which capitalized on the popularity of happy hardcore. These groups gained fame by combining elements of hardcore with more accessible pop music and even children’s nursery rhymes. This approach helped them attract a broader audience. However, some members of the gabber scene viewed this evolution negatively. They saw the rise of “sold-out” artists, such as Gabber Piet and his parody hit Hakke & zage (which mixes children’s pop with gabber), as an attack on the original core of gabber culture.

Gaelic folk music

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

Relation with Brythonic music#

The six Celtic nationalities are divided into two musical groups, Gaelic and Brythonic, which according to Alan Stivell differentiate “mostly by the extended range (sometimes more than two octaves) of Irish and Scottish melodies and the closed range of Breton and Welsh melodies (often reduced to a half-octave), and by the frequent use of the pure pentatonic scale in Gaelic music”.

Gaelic music in the Americas#

The emigration of Scottish Gaels to Cape Breton has also resulted in a unique strain of Gaelic music evolving there. A number of fiddle tunes of Irish and Scottish Gaelic origin have entered the American bluegrass and country repertoires.

Gaelic music

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

Famous Gaelic songs#

Amhrán na bhFiann (“The Soldier’s Song”)
Óró Sé do Bheatha ‘Bhaile (“Oh, Welcome Home”)
Ailein Duinn (“Dark-haired Alan”)
Chì mi na mòrbheanna (“I See the Great Mountains,” also known in English as “The Mist-Covered Mountains of Home”)
Fear a’ Bhàta (“The Boatman”)

External links#

Amhráin as Gaeilge at Omniglot.com
Gaelic songs on Education Scotland website ga:Ceol traidisiúnta na hÉireann gd:Ceòl

Gaelic psalm singing

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

Structure and style#

The psalms are sung unaccompanied, in a style known as “lining out” or “precenting the line,” in which the leader of the performance, or “precentor,” sings a line, after which the rest of the congregation follows, with each member allowed to embellish the melody as they wish, in a free heterophonic fashion. The style of Gaelic psalm singing is influenced by piobaireachd music native to the Scottish Highlands, with frequent and distinctive use of ornamentation and grace notes.

Gagaku

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

Etymology#

The term originated in Japan in the year 701 when the Gagaku-ryō, a government bureau which oversaw music education and performance in the Japanese Imperial Court, was established. The word comes from the Chinese word yayue, originally meaning Confucian ritual music. is the Japanese reading for yayue, but by the time the word was introduced in Japan, its meaning had changed to be Chinese popular music and foreign music. Because was built on elements from foreign music, the Japanese application of the term to this repertoire aligned with how the word was being used in China at the time.

Gagok

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

Musical characteristics#

Gagok is performed by male singers (namchang) and female singers (yeochang), either solo or in duets. Vocal lines are characterized by very long vowels, few syllables and a range limited to about two octaves. Songs are structured in multiple sections combining vocal and instrumental parts. The repertoire includes 41 compositions, collectively known as Mannyon changhwanjigo (“Song of Long-Lived Joy”), with 26 pieces for male voices and 15 for female ones. Pieces are performed in different modalities conveying varying emotions: pyeongjo (peaceful), ujo (energetic), and gyemyeonjo (melancholic).

Gaita zuliana

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Galant music

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Music styles#

This movement featured a return to simplicity and immediacy of appeal after the complexity of the late Baroque era. The galant style developed a set of stock melodic and harmonic patterns known as galant schemata. This meant simpler, more song-like melodies, decreased use of polyphony, short, periodic phrases, a reduced harmonic vocabulary emphasizing tonic and dominant, and a clear distinction between soloist and accompaniment. Carl Philipp Emanuel Bach and Daniel Gottlob Türk, who were among the most significant theorists of the late 18th century, contrasted the galant with the “learned” or “strict” styles. The “strict” style refers to the use of counterpoint with multiple independent voices working against each other (such as Bach’s fugues). Galant composers deliberately favored a single and singable melody played over simple accompaniment. The German empfindsamer Stil, which seeks to express personal emotions and sensitivity, can be seen as a closely related North-German dialect of the international galant style. This musical style was part of the wider galant movement in art at the time. The word “galant” derives from French, where it was in use from at least the 16th century. In the early 18th century, a galant homme described a person of fashion, who was elegant, cultured and virtuous. The German theorist Johann Mattheson appears to have been fond of the term. It features in the title of his first publication of 1713, Das neu-eröffnete Orchestre, oder Universelle und gründliche Anleitung wie ein Galant Homme einen vollkommenen Begriff von der Hoheit und Würde der edlen Music erlangen. (Instead of the Gothic type rendered here in italics, Mattheson used Roman to emphasize the many non-German expressions. Mattheson was apparently the first to refer to a “galant style” in music, in his Das forschende Orchestre of 1721. He recognized a lighter, modern style, einem galanten Stylo and named among its leading practitioners Giovanni Bononcini, Antonio Caldara, Georg Philipp Telemann, Alessandro Scarlatti, Antonio Vivaldi and George Frideric Handel. Not every contemporary was delighted with this revolutionary simplification: Johann Samuel Petri, in his Anleitung zur praktischen Musik (1782) spoke of the “great catastrophe in music”. The change was as much at the birth of Romanticism as it was of Classicism. The folk-song element in poetry, like the singable cantabile melody in galant music, was brought to public notice in Thomas Percy’s Reliques of Ancient Poetry (1765) and James Macpherson’s “Ossian” inventions during the 1760s. This simplified style was melody-driven, not constructed on rhythmic or melodic motifs as so much classical music was to be: “It is indicative that Haydn, even in his old age, is reported to have said, ‘If you want to know whether a melody is really beautiful, sing it without accompaniment. This simplification also extended to harmonic rhythm, which is generally slower in galant music than is the case in the earlier baroque style, thus making lavish melodic ornamentation and nuances of secondary harmonic colorings more important. The affinities of galant style with Rococo in the visual arts are easily overplayed, but characteristics that were valued in both genres were freshness, accessibility and charm. Watteau’s fêtes galantes were rococo not merely in subject matter, but also in the lighter, cleaner tonality of his palette, and the glazes that supplied a galant translucency to his finished pictures often compared to the orchestrations of galant music. This style of music was often expressed through forms like keyboard sonata, Opera Buffa and Intermezzo, Minuet, Trio, Waltz, Polonaise, Gavotte, Divertimento, and chamber music (either accompanying keyboard or wind and string ensembles). Galant music faded and transitioned into the Classical period largely as Haydn and Mozart’s music began to develop more structural complexity and motivic development and strayed away from the use of galant schemata. As forms became more sophisticated, it gradually eclipsed the lighter and more ornamental galant style.

Galician chant

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

History#

The tradition of Galician chant arose as part of the broader East Slavic chant heritage and was influenced by both the Byzantine and local Ukrainian musical idioms. Printed collections and regional anthologies of Galician chant began to appear in the late 19th century; the first Ukrainian regional compilations of church chant were published in 1894. The repertoire preserves older Kyivan-style melodies as well as Western-influenced harmonizations that developed under the Austro-Hungarian cultural sphere.

Galician rumba

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

Origin#

According to Miguel Pérez Lorenzo, there are testimonies about the inclusion of the “Rumba” in the Galician bagpipe’s (gaita) repertoire since the 19th century. He also says in reference to the bagpiper from Ourense, Xoán Ferreiro: “He played, we imagine, those pieces that he heard from his father, other bagpipers, and the band… Jerónimo (father of this bagpiper, who passed away in 1940) emigrated to Cuba, where he lived until five years before his death… those years in Cuba served him to include “rumbas and “boleros” in his repertoire… which now Don Xoán plays. With the exception of the processional pieces that Don Xoán used to play; sometime in the mass and other times walking behind the “Saint” in the procession, the rest was mainly for the people to dance in the fests and romerías.

Galliard

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

Dance form#

The galliard is not an improvised dance, but rather, it consists of choreographed patterns of steps, which occupy one or more measures of music. In one measure, a galliard typically has five steps; in French such a basic step is called a cinq pas and in Italy, cinque passi. This is sometimes written in English sources as sinkapace. These steps are: right, left, right, left, cadence. The galliard is an athletic dance, characterised by leaps, jumps, hops and other similar figures. The main feature that defines a galliard step is a large jump, after which the dancer lands with one leg ahead of the other. This jump is called a cadence, and the final landing is called the posture. The cadence is typically preceded by three quick hops with alternating feet. The sources generally describe movement patterns starting on the left foot, then repeating it starting with the right foot. A galliard pattern may also last twice as long, or more, which would involve 11 steps, or 17 steps. The galliard was a favourite dance of Queen Elizabeth I of England, and although it is a relatively vigorous dance, in 1589 when the Queen was aged in her mid-fifties, John Stanhope of the Privy Chamber reported, “the Queen is so well as I assure you, six or seven galliards in a morning, besides music and singing, is her ordinary exercise.” While most commonly being an entire dance, the galliard’s steps are used within many other forms of dance. For example, 16th-century Italian dances in Fabritio Caroso’s (1581) and Cesare Negri’s (1602) dance manuals often have a galliard section. One special step used during a galliard is lavolta, a step which involves an intimate, close hold between a couple, with the woman being lifted into the air and the couple turning 270 degrees, within one six-beat measure. Lavolta was considered by some dancing masters as an inappropriate dance. Another special step used during a galliard is the tassel kick (“salto del fiocco”). These steps are found in Negri’s manual and involve a galliard step usually (though not always) ending with a spin. The easier steps involve single spins of 180 or 360 degrees; later, more difficult steps involve multiple sequential spins and spins of up to at least 540 degrees. During the spin, the dancer kicks out to touch a tassel suspended between knee and waist height.

Gallican chant

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

History#

Several sources attest the existence of a distinctive Gallican rite in the Frankish lands between the 5th and 9th centuries. The Celtic Rite and Mozarabic rite, which are liturgically related to the Gallican, are sometimes collectively referred to as “Gallican” as opposed to the different structure of the Roman rite. Lack of a central authority led to the development of local traditions of the Gallican rite in Francia, sharing a basic structure but varying in details. These traditions endured until the Carolingian dynasty. During a papal visit in 752-3, Pope Stephen II had Mass celebrated using Roman chant. According to Charlemagne, his father Pepin and Chrodegang of Metz abolished the Gallican rites in favor of the Roman use, in order to strengthen ties with Rome that would culminate in Charlemagne’s elevation to Holy Roman Emperor. Charlemagne completed the job his father had begun, so that by the 9th century the Gallican rite and chant had effectively been eliminated. However, the Roman chant brought to the Carolingian churches was incomplete, and ended up incorporating musical and liturgical elements from the local Gallican traditions. The resulting Carolingian chant, which developed into Gregorian chant, was a Romanized chant, but one in which traces of the lost Gallican repertory may still be found.

Gambang kromong

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

Instruments#

Gambang kromong orchestral instruments consist of: gambang kayu (a xylophone-like instrument), kromong (a set of 5 toned bonang), two Chinese rebab-like instruments called ohyan and gihyan with its resonator made out of a small coconut shell, a diatonic pitched flute that is blown crosswise, kenong and gendang drums. Western instruments such as trumpets, guitars, violins, and saxophones may also be included.

History#

Nie Hoe Kong, Kapitein der Chinezen, a musician and Dutch-appointed leader of the Chinese community in mid-18th-century Batavia, is considered one of the early figures who developed the Gambang kromong. In its first appearance in Batavia, the orchestra was called gambang. Later in the beginning of the 20th century, they began to use additional instruments, the bonang or kromong, so it is called gambang kromong. During that period, almost every part of Batavia had a gambang kromong orchestra. Gambang Kromong reached its peak of popularity around 1937. One of the popular groups was Gambang Kromong Ngo Hong Lao, whose players were all ethnic Chinese people. The instruments used in the orchestral group were considered to be the most extensive. For the wealthy Chinese, it was a custom to liven up a party by calling a gambang kromong orchestra, usually accompanying a song. Gambang kromong was also performed during the Cap Go Meh festival, sometimes with plays.

Gambian hip-hop

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

Griot#

Like many other West African countries, the Gambia has a history of griot storytelling going back eight centuries. Griot is widely considered to be a precursor to rapping, and was a kind of rhythmic, rhyming storytelling accompanied by drums and sparse instrumentation.

Origins of modern hip-hop#

The modern hip-hop scene in the Gambia started in the late 1990s after the Gambia opened its National Television, Gambia Radio & Television Services (GRTS) in 1995. The first Gambian rap group was Black Nature, founded in 1995. Other early groups were “Dancehall Masters”, “Masla Bi”, “Da Fugitivz”, “Born Africans” and many others. Now there are various award ceremonies held to promote Gambian artists in the music industry. In 2007, Black Lynx and One Tribe Sound, the best known hip hop movements and promoters in the country, joined forces as the Afric Alliance, and came up with the open mic show where rappers were invited to perform.

Gamelan

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

Etymology#

The word comes from the Javanese word () in the ngoko register, which refers to playing of percussion instruments or the act of striking with a mallet, and the noun-forming suffix . The gamelan in the Sundanese is Degung (), the word Degung apparently is an old Sundanese term, which refers to gongs and gong ensembles. For this reason, the words degung and gong are essentially synonyms for the word . At the same time, the expression gamelan degung may be a way to point at a gamelan ensemble tuned to degung scale. The term () refers to classical gamelan music and performance practice, and comes from the Javanese word () of Sanskrit origin, meaning ‘intricate’ or ‘finely worked’,

Gamelan degung

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

Instruments#

The instrumentation of gamelan degung is quite flexible. It may include: * bonang/kolènang: two rows of seven small bulbous gongs. It differs from its Javanese counterpart in that the rows are each placed on either side of the player. * saron/peking: a high-pitched bronze metallophone with fourteen keys. Usually, there are two sarons in a single set. * panerus: another bronze metallophone, similar to the peking but pitched an octave lower. * jengglong: six bulbous gongs suspended from the same frame. Could be played like bonang, or hanged. * goong ageung: a large gong. * pancer: a smaller gong, secondary gong. * A set of kendang, consisting of one large (kendang indung) and two small double-sided drums (kulantér). * suling degung: a four-holed bamboo flute. * suling kawih: a six-holed bamboo flute, interchangeably used with suling degung * gambang: a wooden xylophone. * kacapi: a zither. In classical degung, the bonang serves as a conductor for the whole ensemble. Except in certain modern compositions, it is rarely absent.

Gamelan Gadhon

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

The instruments and their functions#

The rebab, a two-stringed fiddle, is the melodic leader of the ensemble. The rebab player signals changes between sections of a piece, and to a new piece. The gendér is a tube-resonated metallophone with fourteen keys suspended by string above metal tubes. The gendér plays improvisatory patterns called cengkok which link one seleh note to the next. Each pattern can be played in many ways and the musician chooses how to play each one at the time, according to the style of the piece, the pathet, the irama, and other musical considerations. The slenthem is a low-pitched tube-resonated metallophone played with a large padded mallet held in one hand, with the other hand is used for damping the ringing key as a new key is sounded. The melodic framework of a piece, sometimes called the balungan, is played on the slenthem. The kendhang, two-headed drums played with the hands, control the tempo of the music and signal changes in irama. Different drums are used according to the style of the music; some lively and others more restrained. The kendhang player usually begins and ends on the ketipung and kendhang ageng, switching to more elaborate patterns on the medium-sized ciblon drum. The gongs — kempul (small hanging gongs) and kenong (large horizontal gongs) — act as structural markers and punctuate the form, depending on the type of piece being played. The gong ageng (large gong) marks the end of each of the largest melodic phrases; these are called gongan, and a piece can have one or several of these. Several other instruments can also be included: the gambang (xylophone), suling (end-blown bamboo flute), and siter (plucked stringed instrument). Vocal parts called gerong (for male singers) or sindhen (for female singers) can be added in certain sections of pieces, as can alok, vocal cries that accent certain parts of the form or melody.

Gamelan gender wayang

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

Religious and cultural context#

I Wayan Loceng reports that “Gender wayang, one of the most ancient musical ensembles existing in Bali, accompanies shadow theatre as well as tooth filings, cremations, and other religious ceremonies.” He describes repertoire from Sukawati, noting that the area is famous for shadow play and the development and maintenance of the gender wayang tradition. The ensemble is ubiquitous in Bali, however, due to its ritual importance, and distinct regional styles feature divergent repertoire.

Gamelan gong gede

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

Style#

Usually performed by a temple orchestra of over forty musicians, music written for the gong gede is sedate and graceful, following an andante tempo. It fluctuates in cycles, one fast, one slow, one loud, and one soft. The beat is provided by the largest gong.

Popularity#

During their colonization of Bali in the late nineteenth century, the Dutch dissolved the courts. The use of the gong gede became limited to temple music. It was later superseded in popularity by gong kebyar, a more up-tempo form of gamelan played with smaller gongs, that originated in Balinese villages in the late 19th century and became widely popular in the 1920s and 1930s.

Gamelan gong kebyar

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

History#

Gamelan gong kebyar was first documented to exist in North Bali in the early 1900s. The first public performance was in December 1915 at a gamelan gong competition in Jagaraga, North Bali. Following their invasion of the island, Dutch occupiers responded to international criticism by building cultural institutions. They sponsored these competitions until Japanese forces ended their rule in World War II.

Religious and cultural significance#

In addition to island-wide arts competitions, gamelan gong kebyar has become an essential part of modern Bali Hindu ceremonies. They are required for annual birthday ceremonies for temples, odalan, as well as major holidays as accompaniment for sacred dances. They are also appropriate for the class of rituals centered around human life, Putra Manusia, such as weddings.

Gamelan jegog

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

Instruments#

Jegog instruments have a four-note scale that roughly corresponds to the four pitches of a dominant 7th chord in Western music. All instruments have eight bamboo keys. Some instruments have two keys for each pitch slightly detuned so that the pitches beat when they are played together. Other instruments have a two octave range with four pitches in a low octave and the same four pitches an octave higher. In this case the instrument will be paired with another instrument that is slightly detuned. Taken together the ensemble has a range of five octaves. Most Jegog ensembles have instruments that have keys that are made of bamboo that are split at one end and then half of the tube is removed. The other end remains intact and functions as a resonator for the split part. The keys are suspended on a wooden frame and struck with mallets (called pangguls), made out of wood or rubber. There are also Jegog ensembles with instruments called Jegog Tingklik. These smaller instruments are used primarily with children. The keys are made of bamboo slats mounted above a resonator box.

Gamelan joged bumbung

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External links#

Gamelan Kori Mas
Gamelan Sekar Jaya

Gamelan Sekaten

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Gamelan semar pegulingan

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Discography#

(1972/January 28, 2003). Indonesia: Bali: Gamelan Semar Pegulingan: Gamelan of the Love God. Nonesuch Explorer Series. Recorded in Teges Kanyinan, Pliatan, Bali by Robert E. Brown.
(2009). Bali: Semara Pagulingan: Antique Balinese Court Gamelan. Mekar Bhuana. Recorded in Sanur, Bali by Vaughan Hatch (Antida Studio).

References#

- Mekar Bhuana about Gamelan Semar Pagulingan by Vaughan Hatch

Gamelan surakarta

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

Description#

A typical large, double gamelan in contemporary solo (Surakarta) will include, in the sléndro set, one saron panerus (or saron peking), two saron barung, one or two saron demung, one gendér panerus, one gender barung, one slenthem (or “gender panembung”), one bonang panerus and one bonang barung (each with twelve gongs), one gambang kayu, one siter or celempung, one rebab, one suling, one pair of kethuk and kempyang, one set of three to five kenong, one set of three to five kempul, one to three gong suwukan, and one gong ageng. The complementary set of pelog instruments will include two each of gender panerus, gender barung, gambang and siter or celempung, the first of each pair tuned to the pelog bem subset of five tones (tones 1,2,3,5,6), the second to the pelog barang subset of five tones (2,3,5,6,7). The pelog bonang will each have fourteen gongs. The slendro and pelog gamelan will usually share the drums (kendang), including one each of ketipung, kendang ageng (or kendang gendhing), ciblon, kendang wayangan, and, in the largest gamelan, a large hanging drum, the bedug. Archaic ensembles may still include such instruments as the gambang gangsa, slentho (in place of slenthem), and bonang panembung. A typical performance ensemble includes a female vocal soloist (pesinden) and male chorus (gerongan); in certain passages, the singers clap rhythmically (keplok).

Ganga (music)

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

Description#

Ganga is an expressive form of singing. Although both men and women regularly perform ganga, it is extremely unusual for them to perform together, although it was not unusual for Catholic and Muslim men to perform together. Ganga is culture is mainly situated in small towns and villages. Ganga is a dissonant form of singing, using two clashing notes to project sound over long distances. For example, if one person is singing a C note, a second person sings either a half-step above or below (B or C). Ganga is traditionally sung by sheepherders across stretches of valleys, for long-distance communication with each other.

Gangsta rap

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

Schoolly D and Ice-T#

Philadelphia rapper Schoolly D is generally considered the first “gangsta rapper”, significantly influencing the more popular early gangsta rap originator, Ice-T. Ice-T was born in Newark, New Jersey in 1958. As a teenager, he moved to Los Angeles where he rose to prominence in the West Coast hip hop scene. An early case of using “gangsta” as an adjective and a compliment came in his 1984 single Body Rock. In 1986, Ice-T released “6 in the Mornin’”, which is regarded as the second gangsta rap song. Ice-T had been MCing since the early 1980s, but first turned to gangsta rap themes after being influenced by Schoolly D’s self-titled debut album, and especially the song “P.S.K. What Does It Mean?” (1985), which is regarded as the first gangsta rap song. Ice-T continued to release gangsta albums for the remainder of the 1980s: Rhyme Pays in 1987, Power in 1988 and The Iceberg/Freedom of Speech…Just Watch What You Say in 1989. Ice-T’s lyrics also contained strong political commentary, and often played the line between glorifying the gangsta lifestyle and criticizing it as a no-win situation. Schoolly D’s works would heavily influence not only Ice-T, but also Eazy-E and N.W.A (most notably in the song “Boyz-n-the-Hood”), as well as the Beastie Boys on their seminal hardcore hip hop-inspired album Licensed to Ill (1986). Schoolly D would continue to release hardcore hip hop with the albums Smoke Some Kill (1988) and Am I Black Enough for You? (1989).

Garage house

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

Characteristics#

In comparison to other forms of house music, garage includes more gospel-influenced piano riffs and female vocals.

History#

Garage house was developed in the Paradise Garage nightclub in New York City and Club Zanzibar in Newark, New Jersey, United States, during the early-to-mid 1980s. There was much overlap between it and early house music, making it difficult to tell the two apart. It predates the development of Chicago house, The direction of garage music was primarily influenced by the New York City discothèque Paradise Garage where the influential DJ Larry Levan, known for his musical versatility and innovation, played records. According to Blues & Soul, contemporary garage music started with Boyd Jarvis and Levan’s The Peech Boys. Jarvis, using the Visual moniker, was behind 1983 recordings “Somehow, Someway” and “The Music Got Me” , the latter especially influential, The popularity of the genre in the UK gave birth to a derivative genre called UK garage.

Garage punk (fusion genre)

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

Etymology#

The earliest known use of the term “garage punk” appeared in Lenny Kaye’s track-by-track liner notes for the 1972 psychedelic music compilation Nuggets to describe a song by the 1960s garage rock band the Shadows of Knight as “classic garage punk”. The term “punk rock” was originally used to describe the music of mid-1960s American garage bands. When referring to 1960s groups, the term “garage punk” is usually deployed interchangeably with “garage rock”. MTVs Beverly Bryan says that “garage punk” may be used “more likely” to refer to “garage rock” or “garage revival”. While garage bands varied in style, the label of garage punk has been attributed by critic Michael Hann to the “toughest, angriest garage rockers” such as the 13th Floor Elevators and the Sonics.

Garage rock

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

The term “garage rock”, often used in reference to 1960s acts, stems from the perception that many performers were young amateurs who rehearsed in the family garage. While numerous bands were made up of middle-class teenagers from the suburbs, others were from rural or urban areas or were composed of professional musicians in their twenties. Though it is impossible to determine how many garage bands were active in the era, according to various accounts their numbers were extensive and widespread. According to Mark Nobles, it is estimated that between 1964 and 1968 over 180,000 bands formed in the United States, and several thousand US garage acts made records during the era. Garage bands performed in a variety of venues. Local and regional groups typically played at parties, school dances, and teen clubs. For acts of legal age (and in some cases younger), bars, nightclubs, and college fraternity socials also provided regular engagements. Occasionally, groups had the opportunity to open at shows for famous touring acts. Some garage rock bands went on tour, particularly those better-known, but even more obscure groups sometimes received bookings or airplay beyond their immediate locales. Groups often competed in “battles of the bands”, which allowed musicians to gain exposure and a chance to win a prize, such as free equipment or recording time in a local studio. Contests were held, locally, regionally and nationally, and three of the most prestigious national events were held annually by the Tea Council of the US, the Music Circus, and the United States Junior Chamber. Performances often sounded amateurish, naïve, or intentionally raw, with typical themes revolving around the traumas of high school life and songs about “lying girls” being particularly common. The lyrics and delivery were frequently more aggressive than that of the more established acts of the time, often with nasal, growled, or shouted vocals, sometimes punctuated by shrieks or screams at climactic moments of release. Instrumentation was frequently characterized by basic chord structures played on electric guitars or keyboards often distorted through a fuzzbox, teamed with bass and drums. Guitarists sometimes played using aggressive-sounding bar chords or power chords. Portable organs such as the Farfisa were used frequently and harmonicas and hand-held percussion such as tambourines were not uncommon. Occasionally, the tempo was sped up in passages sometimes referred to as “raveups”. Garage rock acts were diverse in both musical ability and style, ranging from crude and amateurish to near-studio level musicianship. There were also regional variations in flourishing scenes, such as in California and Texas. The north-western states of Idaho, Washington and Oregon had a distinctly recognizable regional sound with bands such as the Sonics and Paul Revere & the Raiders.

Garba (dance)

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

Etymology#

The word garba comes from the Sanskrit word () for “womb” and so implies gestation or pregnancy — life. Folk dances in Gujarat are frequently performed to mark the first menstrual cycle or are performed to mark a marriage.

Dance, music and symbolism#

Traditional_Folk_dance_garba_dress.jpg Garba dressing: traditional dressing male is kediyu while the traditional female dress is chaniya choli. Gagra choli.jpg Young girl dressed in Ghagra choli. Modern garba is also heavily influenced by Dandiya Raas, a dance traditionally performed by men. The merger of these two dances has formed the high-energy dance that is seen today. Traditional garba music accompanying the dance involves the dhol and dholak (Indian drums), cymbals and shehnai (an Indian flute). The dance is a counterclockwise circle dance, alternatively participants can form concentric circles moving in opposite directions. The dance gathers speed as it progresses. Its main aspect consists of encircling an image or symbolic representation (like a clay pot), representing the shakti of goddess Durga. Garba dances honour the nine forms of Durga during the Navaratri (“Nine Nights”) festival and celebrates fertility and womanhood.

Garifuna music

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

Genres#

Nonsecular musical genres within the Garifuna culture stem from a fusion of West African ancestral worship and Amerindian shamanism. Examples of Garifuna music rituals include Adügürühani (also known as dügü), a healing ceremony; Arairaguni, an invocation to determine illness; Amuyadahani, a ritual in which family members make offerings to their ancestors; and Achuguhani (Chugú), “feeding the dead”.

Dügü (Feeding the Dead)#

The Garifuna tradition of Adügürühani is a ritual that takes place when a Garifuna individual becomes ill and must consult a shaman in the hopes of restoring their health. The shaman will consult with the ancestral spirits (gubida) that have inflicted the illness upon the individual. Drums are played during the dügü, which is thought to have a calming effect on the individual who is possessed by the gubida. The drumming is performed in triple meter and is accompanied by song and dance. Often there are two to three drums, and the ensemble of drummers is called dangbu. The drums are constructed using mahogany or mayflower wood and animal skins (usually deer, goat, or peccary). During construction, the drums are rubbed with a cassava wine and then subsequently blessed with the smoke of buwe—a sacred herb. These techniques suggest the presence of both African and Amerindian influences in drum construction, indicative of a fusion of African and Amerindian culture in Garifuna sacred music. The gender roles documented in the musical performances of dügü suggest that traditional Garifuna society emphasizes matrilineality and matrifocality. “The texts of most dügü songs refer to ancestors as female (grandmother or great-grandmother, even if the dügü is being given in honor of a man)… It may also be a reflection of gender-based empowerment, because older women predominate as organizers, ritual participants, and composers of ritual songs.” Gender roles are often portrayed in music. “Music performance can and often does play an important role in inter-gender relations, for the inequalities or asymmetries perceived in such relations may be protested, mediated, reversed, and transformed, or confined through various social/musical strategies.” The matrilineatlity demonstrated in the Garifuna dügü ritual demonstrates an authentic (non-westernized) aspect of West African and/or Amerindian culture, which remained unaffected by Spanish (and subsequently, British) colonization.

Għana (folk music)

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

Informal Għana#

Throughout its history, informal għana situations frequently occurred among both men and women. The informal sessions shed light on the importance of the music in day-to-day life of the Maltese. The very origins of għana can be traced back to early peasant farmers. A book published in 1838 by Anglican missionary and orientalist George Percy Badger titled Description of Malta and Gozo includes examples of Maltese folk songs, accompanied by his comments, such as to highlight the talent of the Maltese for rhyming. He even describes seeing singers engaged in dialogic singing, who reply to each another in song: I have often stood and listened to individuals seated upon two opposite trees, or engaged in some kind of labour, singing answers to each other in rhyme, without any previous meditation. This the natives call taqbeel. The subjects vary according to circumstances, sometimes partaking of the nature of epic poetry, and sometimes of satire upon the faults of character of each. Professor Philip Ciantar, in his article From the Bar to the Stage puts together the writings of a number of foreign and Maltese scholars who make the claim early għana instances represents both the “simple … life of the Maltese working class”, and the “intact natural environment of the island”. Ciantar argues that the roots of għana are buried deep within traditional Maltese way of life, so much so that the two become synonymous with each other.

GA on Music Theory Print

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Origins#

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Beginnings and Success#

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Relation with Brythonic music#

Gaelic music in the Americas#

Gaelic music

Famous Gaelic songs#

External links#

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Structure and style#

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Etymology#

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Musical characteristics#

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Galant music

Music styles#

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Origins of modern hip-hop#

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Instruments#

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The instruments and their functions#

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Religious and cultural context#

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Style#

Popularity#

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History#

Religious and cultural significance#

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Instruments#

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See also#

External links#

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See also#

Further reading#

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See also#

Discography#

References#

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Description#

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Description#

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Garage house

Characteristics#

History#

Garage punk (fusion genre)

Etymology#

Garage rock

Social milieu and stylistic features#

Garba (dance)

Etymology#

Dance, music and symbolism#

Garifuna music

Genres#