GU on Music Theory Print

Guabina

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

Most famous Guabina songs#

In this genre the most important national composition is “Guabina Chiquinquirena” by Alberto Urdaneta and Daniel Bayona. in its traditional version performed by a traditional band like, Guabina @Zikha Hall Open House. There are other samples of music from Tolima Grande as “Guabina Huilense” by Carlos E. Cortes, or “La Suite Colombiana No. 1 – III Guabina” by Gentil Montana, and the Guabina Santandereana (#2) by Lelio Olarte Pardo. Among the new singer-songwriters of Guabina is John Jairo Torres de la Pava from Antioquia.

Guaguancó

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

Percussion#

battery of three conga drummers: the tumbao “salidor” (lowest), tres dos (middle, playing a counter-clave), and quinto (highest, and lead drum). These parts may also be played on cajones, wooden boxes.
claves usually played by a singer
guagua ( catá) (hollowed piece of bamboo)
maraca and/or a chekeré playing the main beats Other instruments may be used on occasion, for example spoons, palitos (wooden sticks striking the side of the drum), and tables and walls played like drums.

Clave#

Rumba clave is the key pattern (guide pattern) used in guaguancó. There is some debate as to how the 4/4 rumba clave should be notated for guaguancó. In actual practice, the third and fourth stroke often fall in rhythmic positions that do not fit neatly into music notation. Triple-pulse strokes can be substituted for duple-pulse strokes. Also, the clave strokes are sometimes displaced in such a way that they don’t fall within either a triple-pulse or duple-pulse “grid”. Therefore, many variations are possible.

Guajira (flamenco)

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

Structure#

Like all flamenco palos, the guajira has a clear structure and consists of beginning, middle and end. The guajira usually begins with an introductory section (falseta) by the guitar which is based on the basic guajira harmony. The guitar resolves into the characteristic guajira chord pattern, over which the singer will sing the instantly recognizable salida. The dancer enters during the guitarist’s falseta or during the salida. The fluid nature of the choreography also allows for improvisation within the structure, including danced falsetas, and escobillas performed a palo seco.

Guajira (music)

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

Guajira de salón, or guajira-son#

From the 1930s, the guajira was refined and popularized by the singer and guitarist Guillermo Portabales, whose elegant style was known as guajira de salón or guajira-son. This is nothing but another case of synonymy within the Cuban popular music, because in spite of being named as guajira, the style of his songs was nothing else but those of the Cuban Son and Bolero-Son; although their lyrics were always related to rural themes. Since the thirties until his death in a traffic accident, in 1970, Guillermo Portabales sang and recorded numerous guajiras de Salón through North and South America with great popular acclaim. Other renowned performers of guajira-son were Celina González, Coralia Fernández, Ramón Veloz y Radeúnda Lima. One of the most famous guajiras-son is the , composed by Joseíto Fernández and internationally popularized during the 1960s by the American folk singer Pete Seeger.

Guangdong music (genre)

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

Instrumentation#

The gaohu is the most common lead instrument used in performing Cantonese music. It was invented by Lü Wencheng (吕文成, 1898–1981) in the 1920s. Prior to this, the erxian was the most common lead bowed string instrument in the Cantonese ensemble. Ensembles led by the erxian and also featuring the tiqin are called yinggong (硬弓, literally “hard bow”) ensembles, while those led by the gaohu are called ruangong (软弓, literally “soft bow”) because the erxian and tiqin have thick bamboo bows, while the gaohu has a thinner, flexible bow. Guangdong music gradually evolved into a string ensemble format by the 1960s, led by the gaohu with ruan, qinqin, yangqin, sanxian, yehu, tiqin and various woodwind (including houguan) and percussion instruments. Alto saxophone, xylophone, violin, piano, electric guitar, and drum set may also be used, in combination with traditional instruments.

Guaracha

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

Early uses of the word#

Though the word may be historically of Spanish origin, its use in this context pertains strictly to the scope of Cuban music. These are excerpts from reference sources, in date order: A Latin American carol “Convidando está la noche” dates from at least the mid 17th century and both mentions and is a guaracha. It was composed or collected by Juan Garcia de Cespedes (1620–1678) in Puebla, Mexico. This is a typical Spanish guaracha, a musical style that was popular in Caribbean colonies. The lyrics say: “Happily celebrating, some lovely shepherds sing the new style of juguetes for a guaracha. In this guaracha we celebrate while the baby boy is lost in dreams. Play and dance because we have fire in the ice and ice in the fire.” The Gazeta de Barcelona has a number of advertisements for music that mention the guaracha. The earliest mention in this source is #64, dated 11 August 1789, where there is an entry that reads “…otra del Sr. Brito, Portugues: el fandango, la guaracha y seis contradanzas, todo en cifra para guitarra…”. A later entry #83, 15 October 1796, refers to a “…guaracha intitulada Tarántula…”. All of these comments make reference to the genre of Guaracha music, but whether they are of the same type is not quite clear. The usage of the word guaracha is rather vast, implying on occasion “to have a good time”. A different sense of the word includes “joke” or “to have fun”. Other definitions include: *“Báile de la gentualla casi desusado” (dance for the rabble, somewhat old-fashioned). Leal comments on this: “The bailes de la gentualla are known on other occasions as bailes de cuna where people of different races mix. The guaracha employs the structure soloist–coro, that is to say, verses or passages vary between the chorus and the soloist, improvisation occurs, and references made to daily matters, peppered with crafty witticisms.” *“Una canción popular que se canta a coro… Música u orquesta pobre, compuesta de acordeón o guitarra, güiro, maracas, etc”. (a popular song, which is sung alternately (call & response?)… humble music and band &c). *“Cierto género musical” (a particular genre of music).

Guatemalan rock

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

Guatemalan Rock Music#

Spanish language rock music originated in mid-1960s Guatemala. One of the biggest acts of this early period was Luis Galich and his band Santa Fé. Santa Fé played gigs and concerts in Guatemala City and across greater Guatemala. Bands such as Plástico Pesado (later renamed Quetzalumán), which was composed of Manu Ramirez, Tacuche, Rollin y Paco Lam, expanded Guatemalan rock, experimenting with psychedelic influences and original material. Other psychedelic bands of the time included: S.O.S. (Rony de Leon, Chepito Hope, David de Gandarias, Armando Fong), Caballo Loco, Apple Pie (Tito Henkle, Luis Zetina, Rico Molina & Gentry), Cuerpo y Alma, Banda Clásica, Cerebro, La Compañía, Siglo XX, Eclipse, and Pastel de Fresa. One remarkable milestone was the unprecedented creation in 1973–74 of the rock opera Corazón del sol naciente (Heart of the Sunrise) by Sol Naciente, a large youth group of dancers, vocalists, an extended chorus, as well as a band which included Guatemalan percussion instruments and unplugged acoustic guitars, piano, and solo violin. Some of the band members later formed the group Alción. A very important and popular band during the late 1990s and early 2000s was Alux Nahual. They are one of the Spanish lyric writing/singing rock bands that have released a number of recordings in Guatemala. In the beginning, they were heavily influenced by progressive rock’ bands such as Kansas (band) and Jethro Tull (band). Though they added a very important native theme to their lyrics, it never really evolved into their sound. Their members are active musicians playing reunion concerts but mostly keep working as individuals producing and performing. Another popular band was Extincion, which opened for bands such as Control Machete and Enrique Bunbury. They were characterized by their hard lyrics and speed metal sounds. Guatemalan rock bands such as Radio Viejo, Ricardo Andrade y los Últimos Adictos (which disbanded after their leader, Ricardo Andrade, was murdered in Sanarate, El Progreso), Bohemia Suburbana, Viernes verde and Viento en Contra enjoyed popularity among high-school and college students during the 1990s and 2000s. Also popular were Fabulas and La Tona, and Bohemia Suburbana, the most influential band to emerge from the scene around that decade. Fusing influences like U2 and Soda Stereo, Bohemia Suburbana created something rooted in well-crafted melodies and arrangements. Their most noted influences came from underground American and European sounds and some from South America and the Caribbean. The band has been active again after their reunion in 2012 called BS20; they released a new album entitled Imaginaria Sonora which put them back in the Guatemalan rock scene. Their recent single/video Pero Nadie received 20,000 views in one day. Additionally, Viernes Verde, who formed in 1993 (around the same time as Bohemia Suburbana) has continued to perform despite numerous lineup changes. Viernes Verde are also the founders of the rock festival La Garra Chapina, which was created by them to help newcomers get into the Guatemalan rock industry. According to their official band web page, the idea of this concert was to transmit their message through audiovisual aids to represent historical Guatemalan moments. This concert event was one of the first to be broadcast in its entirety by national radio stations in Guatemala. It had a full house and has been continued annually since 1999. Viernes Verde started as a grunge band, but has evolved to play different music styles which gives the band one of its distinctive characteristics. The sounds of Viernes Verde, based on the majority of their songs, would be described as alternative rock. One of the main factors that allowed the group to gain such a strong popularity is their ability to appeal to a broad audience. On their first album titled, Cenizas Bajo Tus Pies, they have six tracks in Spanish and four in English. Having songs in both languages allows them the opportunity to connect with a larger audience. Some Guatemalan rock bands active in the present are: Razones de Cambio, El Tambor de la Tribu, Malacates Trebol Shop, Viernes verde, Redhka, La Gran Calabaza, El Clubo, Viento en Contra, Anarkia, Sinattra, Legión, Vitriolo, Bohemia Suburbana, and Especies, among many others. Newer bands, like 4 Tiempos, have emerged in the early 2000s. Hedras Ramos is a young rock guitar player, perhaps the most prolific guitarist representing Guatemala in countries like England and Romania at rock world guitar competitions like Guitar Idol and Ziua Chitarelor 3 respectively. Guatemalan Rock and Roll came to be an influence in the broader Guatemalan society and was synonymous with rebellion, yet it never provided a medium in which a broad base of youth from the 60s and 70s could make something influential enough to affect change in all sectors of society. There were some major factors that prohibited it from being popularly accepted among the country of Guatemalans. During this period, there was a lot of corruption and social unrest in Guatemala. The police would often search and arrest audience members at rock gigs, as well as many other types of gatherings. On occasion, musicians would go missing and never be found or would be found dead. Another factor was that rock music was mainly produced in English. It took some time for the transition of rock music from English to Spanish to be accepted as rock by the people. Today, the sound of the bands has so much to do with what North America produces, and the only efforts to make something original have been attempts to fuse native elements with a rock sound. A unique case on the scene is the rock band Sobrevivencia from Huehuetenango, whose lyrics are sung in Mam, a Mayan language spoken in the Guatemalan northwest. In 2011, a new movement was born called El Ritmo de La Paz created by the company Impulsos Creativos. Its main approach was for new or amateur rock bands to compete for the prize of recording their first album with the company and promotion in the media. 13 amateur bands joined the movement and only seven made it to the finals; they played along with professional bands at Parque de la Industria such as Silent Poetry, Conciencia Sublime, Arena Rock, Nova Epica, Bhios (Huehuetenango), Artifice and Metal Requiem. The winner of the contest was a band called Iridium Mas Alla de Mi Tierra who have been promoted by Impulsos Creativos. They have appeared on national television, and they have been interviewed and their songs played on national radio stations. They are recording their first album as they play numerous concerts. El Ritmo de La Paz is an annual Rock Festival with a message for the utopian peace that every Guatemalan desires.

Gufeng music

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

History#

Gufeng music was usually called Xianxia music (仙侠; xianxia being a genre of Chinese fiction that is similar to wuxia, but with more mythological elements), and what now seems like a movement began rather quietly in 2005, calling for netizens to write lyrics with ancient-styled poems for the music in some popular PC games, including The Legend of Sword and Fairy and Xuan-Yuan Sword. The name seems to derive from the namesake lyricist column on Fenbei, and the basic concept of Chinoiserie music, a term which describes Western approximations of Chinese music.

Guggenmusik

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

Definition#

Guggenmusik is played during Fasnacht, the Swabian-Alemannic carnival season (Swabian–Alemannic Fastnacht), which is celebrated in various localities as the Basler Fasnacht, Luzerner Fasnacht, Eis-zwei-Geissebei in Rapperswil, and many other terms. The most common explanation of the word “Gugge” is that it may derive from the Alemannic “Sack/Tüte”, meaning “bag”. Other unsourced explanations include the word used for a small children’s trumpet, a (Swiss German) word for “scream”, or the cuckoo’s call. A “Guggemusik” band thus refers to a group of people playing loud music and typically wearing costumes and masks in a uniform style. It is a strongly rhythmic music of distinctive style played with brass instruments, pipes and drums. Although melodies remain clearly recognizable, they are at times played “off-key”, intentionally and often quite skillfully. Driven by a dominant rhythm section, the music sounds twisted and thrilling, very danceable and perfect for spontaneous street concerts during the “wild days” of Carnival. Today there are many types of Guggenmusik to inspire carnival celebrants. Bands usually play well-known pop songs but also folk tunes and children’s music. It is hard to arrive at a single definition of Guggenmusik, as various regions have their own carnival traditions. Besides the traditional brass instruments like trumpet, tuba, trombone, and/or sousaphone as well as drums, (though, specifically, they use drums on carts known as “Schlagzeugwagen”. They also have bass drums, xylophones, & wood blocks) today almost any other “loud” instrument may be in use: steel drum, bagpipe, piccolo, clarinet, saxophone, etc.

Guitarrada

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

History#

The popularization of the electric guitar in Brazil in the 1950s and 1960s bringing elements of surf music, instrumental rock and guitarists such as The Ventures and Dick Dale, together with the creation of Jovem Guarda in the 1960s, influenced musicians from Pará in the adoption of the electric guitar and the development of the style. The beginning of the guitarrada was the release of the album Lambadas das Quebradas, in 1978, by Mestre Vieira. In 1996, the group Cravo Carbono was formed in Belém and in 1998 released the album Mundo Açu. In the same year, guitarist Ximbinha (at the time known as Chimbinha) released the album Guitarras Que Cantam. In 2003, Cravo Carbono guitarist Pio Lobato created the musical project Mestres da Guitarrada, together with Mestre Vieira, Mestre Curica and Aldo Sena, which released the album Mestres da Guitarrada in 2004.

Gunka

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

Meiji Restoration period#

During the Meiji Restoration Period, Western composers and teachers taught Japanese people to write and make music in the Western classical tradition. Military marches were adopted in Japan, as part of a trend of Western customs integrating into the Japanese culture. Gunka was one of the major Western-influenced musical forms that emerged in this period and were used to encourage patriotism in the post-restoration era.

Empire of Japan#

In 1871, Japan founded the Imperial Japanese Army and Navy band. During the late nineteenth century, Japanese conductors japanized the band repertoire. Japanese gunka were consciously constructed to engender loyalty and warm feelings towards the nation. In 1921, a disarmament agreement signed at the Washington Conference of 1921 obligated Japan to reduce its army during the Taishō Era (1912-1926) and the first years of Shōwa, which included the suspension of five of six army bands. As the Japanese Navy was not affected by the agreement, the Navy bands remained without problems. In this peace period, the main topic of gunkas was the importance of working hard, such as happened the songs “Battleship Duties” (Kansen Kinmu, by Setouguchi Tōkichi), and “Monday, Monday, Tuesday, Wednesday, Thursday, Friday and Friday” (Getsu Getsu Ka Sui Moku Kin Kin, by Egucho Yoshi). Up until the surrender of the wartime Japanese government in 1945, gunka were taught in schools both in Japan proper and in the larger Empire. Some gunka songs derived from children songs called shōka. In 1893, the Japanese educator Isawa Shūji released the shōka public school song “Come, Soldiers, Come” (Kitare ya Kitare). This song became a melody in military marches, called “Defense of the Empire” (Mikuni no Mamori), and was also included in the song “Kimigayo March” (Kimigayo Kōshinkyoku). Another gunka derived from a shōka was War Comrade (Sen’yū), released in 1905 and remains popular. The song talks about loyalty and friendship and advocated assisting a fellow soldier in battle, which was against the Japanese military code. For that reason, the song was banned during the Asia-Pacific War. Shōka songs “Lieutenant Hirose” (Hirose Chūsa, 1912), “The Meeting at Suishiying”, (Suishiei no Kaiken, 1906) are other examples of public school songs that became part of the gunka repertory.

Gunla Bajan

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

Performances#

Societies based on locality or caste, in which membership is hereditary, organize Gunla Bajan performances. These groups follow an annual calendar of public performances. They also conduct music lessons and hold religious festivals, hymn singing sessions and feasts. The most important activity of the year is making daily pilgrimages during Gunla to Swayambhu and other Buddhist sites playing Gunla music. The main days during the holy month are Bahidyah Swahwanegu (बहीद्यः स्वःवनेगु), when devotees playing Gunla music visit sacred courtyards to view the images of Bahidyah (Dipankara Buddha) and paubha paintings put on display for the festival; and Nisala Chhawanegu (निसला छा:वनेगु), when offerings are made to Swayambhu and concerts are held at one’s neighborhoods. Gunla musical bands also lead processions during New Year’s Day of Nepal Sambat.

Guoyue

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

Names#

The term appeared in various ancient texts and had various different meanings before the 20th century. It was used as early as the Sui-Tang period to refer to court music or . In the Music Record section of History of Liao, it was used to distinguish the music of the Khitan rulers from that of the Han Chinese. During the Qing dynasty it was used to refer to the kind of ceremonial court repertoire that was seen as a representation of China. Later, after Communist victory in 1949, a new term , short for (民族音乐) meaning national or people’s music, was used in mainland China to encompass all compositions and genres for traditional instruments including music of ethnic minorities. In Taiwan it continues to be known as , but in other Chinese communities, it may also be referred to as (for example in Singapore and Malaysia) or (in Hong Kong).