HA on Music Theory Print

Hacha'a

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

The poetry#

Hacha’a poetry, also known as Tajleebah (from Arabic ), comes from the Arabic root j-l-b (ج-ل-ب), meaning “to drag” or “to turn over,” referring to the classic opening line “I turn you over, oh night, a thousand times” (لاجلبنك يا ليلي الف تجليبة). It is composed in the Hazaj poetic meter. The earliest known poet in this style is Hasan al-Alqawi, who composed in the Salah al-Din region in the mid-19th century during the Ottoman period. Hacha’a poetry describes the suffering of love. The audience hand-claps and interjects verbally with “hacha’a” at the end of each verse as a rhythmic refrain, meaning to lie down, in an encouragement to be finally rid of all the suffering by lying down, whether alone or with the loved one.

Hadhrami music

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

History#

The tradition of Hadhrami song began to take shape in the mid-19th century. Early pioneers emerged among the Ba ‘Alawi communities in Tarim, Seiyun, and Al-Hawtah, where local musicians first professionalised the art of singing and music. Notable figures during this period include Sayyid Omar bin Abdullah Al-Habashi and Ahmed bin Aidarous Al-Habashi, both of whom played pivotal roles in shaping the region’s musical heritage. In Tarim, Sayyed Abdul Qadir bin Hassan Al-Kaf—popularly known as Saeed—became one of the earliest and most esteemed artists of Hadhramaut. Renowned for his voice, intricate melodies, and mastery of traditional instruments such as the oud and the rebab. The origins of Hadhrami music are said to be deeply rooted in ancient traditions, with its origins tracing back thousands of years to the Aad tribe of southern Arabia, with early myths recounting the legend of Jaradatay Aad—a duo of legendary female singers reputed to be among the first to perform in the Hadhramaut region. Hadhrami musical styles are markedly distinct from those of northern Yemen. According to the ethnomusicologist Jean Lambert, the Hadhrami Dan was virtually unknown in Sana’a until the late 1980s, despite the presence of a significant number of political refugees from Hadhramaut in Sana’a. Lambert argues that this phenomenon reflects a longstanding lack of political and cultural integration between Hadhramaut and the rest of Yemen, even though the region is part of the broader Yemeni cultural sphere. Historically, Hadhramaut maintained extensive contacts with regions such as India, Indonesia, and the Arab states of the Persian Gulf. These interactions contributed to a distinctive musical identity that developed largely independently of northern Yemeni traditions. It was only after Yemen’s unification that many Hadhramis began to more fully recognise a unified Yemeni identity and its attendant political responsibilities. Hadhrami music has been deeply influenced by Sufism. Over the centuries, Sufi chanting in Hadhramaut has served as both a cultural melting pot and a creative incubator for local musical traditions. The proliferation of Sufi religious schools (rabat) helped to preserve and continuously develop this art form, which bears similarities to the Tihami chanting style. In many parts of Hadhramaut, annual festivals—coinciding with occasions such as the Islamic New Year, the Prophet’s birthday, the mid-point of Shaʿban, and the Friday of Rajab—feature religious chanting and poetic recitations. Although some conservative segments of society have historically viewed music as contrary to religious principles, these celebrations have persisted as important expressions of communal heritage and artistic practice. The region is renowned for its vast array of over four hundred distinct rhythmic patterns that vary by locality. These rhythms are closely tied to daily activities and special occasions—from planting and fishing to wedding celebrations. A key musical form in the region is al-Dan, a fixed melodic structure in which the melody precedes the lyrics; in contrast, in other songs the lyrics typically come before the melody.

Haimen folk song

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

Essential information#

Cultural heritage name: Haimen folk songs
Subordinate area: Jiangsu · Nantong · Haimen
Haimen folk heritage Numbers: II-3
Heritage category: Folk music
Filing date: 2006
Claimants/declaration units: Nantong Haimen
Heritage levels: Province

Development history#

Haimen folk song has been recorded in Haimen county annals in Ming Dynasty (AD 958). At that time, people in the labor life produced haimen early folk song which was known then as the folk songs. In 1957, Haimen folk song Rice Remember () was regarded as the national folk song to perform in Beijing, which received Zhou Enlai () and Zhu De’s () kind interview. In 1958, the county government established Haimen folk song troupe in order to protect the inheritance haimen folk songs and large optimize local culture. Each year, the troupe performed more than 100 games in Beijing, Shanghai and surrounding counties. In 1987, Haimen Folk Song Anthology (海门山歌选) was published by China federation press. Besides, it has emerged a great number of outstanding works of folk songs. Little Aig Sister Saw YaoChuan Lang (小阿姐看中摇船郎) was one of the representative works. The edited folk song sang well into the Beijing and the MTV music television was broadcast in Europe TV. In 1984, the production condition of the folk song was established. In August 1985, haimen county held the first folk song party. More than 50 folk singers sang more than 40 songs. Guangming Daily and Xinhua Daily reported this. In July 1986, Song WeiXiang sang Haimen folk song Little Aig Sister Saw YaoChuan Lang (小阿姐看中摇船郎), followed Nantong folk art to perform in Beijing. In 1987, Haimen Folk Song Anthology (海门山歌选), included more than 250 folk songs, was published by the China folk literature and art publishing house. In 1993, the troupe went to Beijing for the second time and succeeded in performing The Green Dragon horn(). In 2207, the folk song entered into the list of Jiangsu province intangible cultural heritage protection. On August 19, 2007 to 21, China. Haimen folk festival was held, which marked the folk culture developed to a new stage of development. On June 14, 2008, haimen folk song officially listed in national “intangible cultural heritage”.

Haitian hip-hop

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

Foundations (1980s-1990s)#

Rap Kreyòl emerged during the final years of the Duvalier family dictatorship, a totalitarian hereditary dynasty that lasted nearly the latter half of the 20th Century. In the late1980s, Master Dji (George Lys Herard) released songs such as “Vakans” and “Sispann”, sparking a movement that would last generations. Early Rap Kreyòl groups and artists established the Haitian hip-hop movement as a medium for political expression, anti-corruption critique, and a tool of democratic mobilization. Often, hardcore beats are used while the artist raps in Haitian Creole. Rap kreyòl has been part of the Haitian culture since the early 1980s with groups such as Original Rap Staff, King Posee, Rap Kreyòl S.A., Masters of Haiti, Fighters, Blackdo, Fam-Squad, Supa Deno, Prince Berlin, Fantom, Toby Anbakè and Muzion attaining prominence, but lately has become very popular with Haitian youth. Another notable group from the 1990s is Black Leaders. The impact of Black Leaders and its members is lasting. Though known primarily for his role in Black Leaders, Don Roy is still an active contributor to Haitian music across many genres. Since the peak of his notoriety, Don Roy has chosen to create in other genres. While still working in a production capacity in genres such as Rap Kreyòl and Reggae, Don Roy has chosen to create and work with prominent artists of the modern roots/Rasin movement. Many Haitian Rap Kreyòl artists have had rough childhoods and difficult living conditions producing rappers who address socio-economic topics in their lyrics. Though similar to mainstream American hip hop in that materialistic imagery is portrayed or lyricized, the negative aspects of less fortunate Haitian society, such as topics concerning slum life, gang warfare, the drug trade, and poverty, are much more.

Haitian Vodou drumming

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

Religious and cultural history and context#

Through the involuntary mass dispersion of slavery, the traditional West African Vodun religions went through the process of Religious syncretism between Roman Catholicism. Due to mass dispersion of the West African population from its indigenous territories, the colonial plantation system created and influenced the Haitian Vodou’s ecotheological perspective. The relationship of Vodou’s belief system lies heavily on ecological systems. The interest in ecotheological ethics are the base of beliefs in Vodou religion, these ethics are ancestor worship, nature spirits, and natural processes such as birth, death, weather, and fertility. In April 2003 Haitian president Jean-Bertrand Aristide officially recognized Vodou as a religion in Haiti. Due to the negative stigma that surrounds the Haitian Vodou, The Haitian government has had a history of previously persecuting those who practiced the religion. Vodou in Haiti was often used as a scapegoat for the country’s issues. This misunderstanding and negative stigma can be noted back to the nation’s founding. The dispute over the validity of the religion, was both beyond and within Haiti.

Hakka hill song

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

History#

The original composers of Hakka hill songs can be difficult to find out as the songs, being a kind of oral literature, have been widespread and orally passed from generation to generation. The tradition, however, most likely originated from Classic of Poetry (The Book of Songs), which influenced Chinese literature for thousands of years. Other than its original influence, Hakka hill songs had continually developed during the migration of the Hakka. Many different cultures during their migration have influenced these songs, such as the cultures of Wu State and Chu State, as well as the culture of the She peoples and the Yao peoples.

Hakka popular music

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

Origin of Hakka popular music#

Before the 1970s, the Hakka music scene featured commercialized Hakka traditional music records, including traditional Hakka narrative singing, mountain songs, and Hakka ballads. Inspired by the creation of Cantonese songs in a Western style in the Hong Kong music scene, Malaysia and Taiwan simultaneously embarked on the development of Hakka popular music starting from the 1970s.

Malaysia#

In 1978, Malaysian musician Chong Sau Lin met Chinese singer Chew Chin Yuin (邱清雲). Chong adapted Sam Hui’s Cantonese song “Genius and Idiot” into a Hakka version called “Ah Po Selling Salted Vegetables” for Chew to perform. The song became a sensation in Malaysia, selling over 100,000 copies. This marked the beginning of the development of Hakka music in Malaysia for more than two decades.

Halloween music

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

Definition#

Halloween music is vaguely defined and ambiguous, but is most commonly considered to include any song that increases in popularity seasonally around two weeks before Halloween. These songs typically include themes of the supernatural, fright, and folklore, and may be intended to arouse fear in listeners.

History#

Halloween music’s precursor is blues music, which was nicknamed “the devil’s music” by detractors. The genre featured secular, and often sexual, lyrics, as well as themes relating to racial oppression. For these reasons, detractors associated it with unholiness. Blues music is defined in part by the blues scale, which can be used to create dissonant and “spooky” sounds. Blues music influenced Halloween songs such as “I Put a Spell on You”. In the 1950s and 1960s, various doo-wop groups, groups influenced by blues music, began to release novelty Halloween-themed songs. “Monster Mash” is an example of such a novelty doo-wop Halloween song. Despite its Halloween themes, doo-wop Halloween music from this era is largely indistinguishable from non-Halloween themed doo-wop music in terms of musical characteristics. Following the 1960s, Halloween music began to split into various other genres aside from the blues and doo-wop. Classic and hard rock music also included sinister themes, and as such have been associated with Halloween. Songs such as “Highway to Hell” and “Sympathy for the Devil”, which are both often considered to be Halloween music, feature blues notes and blues-inspired chord progressions. In the 1970s and 1980s, horror films grew in popularity, and horror film scores also began to be associated with the holiday. The soundtracks of The Exorcist, The Shining, and Halloween are all considered Halloween music.

Hambo

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

History#

One of the potential origins of hambo is the polka-mazurka, a dance with many turns that was popular in Europe during the second half of the 19th century. The term polska-mazurka can also be found in notebooks from the beginning of the 20th century used by Swedish farmer folk-musicians. Mazurka is however today in northern Europe the name of a different dance than hambo, mazurka is played faster with a fast and short jump on the third beat. One of the turns in the dance was developed in about 1900 to a free-standing dance and was danced using older polska music, for example slängpolska, or other variants of polska, but with stronger emphasis on the first beat. In the early 20th century, an easier variant of hambo existed with a short forward step per beat for the first two measures before the turns began. The variants of hambo that are danced today, with so-called dalsteg (dal step) on the first two measures, was probably spread in the 1910s and 1920s. Another potential origin is hambo-polska. From about the middle of the 19th century until the beginning of the 20th century hambo-polska was a very popular dance in parts of Sweden. Printed music exist for maybe a thousand hambo-polskor from this period. The title in printed music can however often be just polska. Hambo-polska, the dance and the music, is a mix between an older polska and newer dance like hambo without dalsteg and no particular stress on the first beat. Music is mostly in major. One theory is that the younger men who worked in the bigger town adopted their steps to new trends in the towns or did not learn the older dance but the younger women who still worked in the old villages kept the steps from an older polska. The very common use of accordion as the dominant instrument for dancing music in the first half of the 20th century was possibly one of the reasons for more stress on the first beat in hambo.

Hamburger Schule

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

Introduction#

As the name indicates, the movement was initially carried by Hamburg based bands like , Kolossale Jugend, Ostzonensuppenwürfelmachenkrebs, Die Erde, Blumfeld, Tocotronic, Die Sterne, , and Die Goldenen Zitronen. Their music didn’t necessarily sound similar, but was characterised by lyrics in German language (not a given in Germany) that gave voice to social criticism and were based on post-modern theory. Consequently, it was lauded by the leftist trade press (especially Spex magazine). The artists themselves didn’t initially perceive these similarities to be particularly important and denied the existence of a homogeneous movement. However, social links and political cooperations suggest that it wasn’t unreasonable to view it as that. Furthermore, it could be surmised that the term Hamburger Schule is a pun on the so-called Frankfurter Schule (‘Frankfurt School’) which is a school of neo-Marxist social theory, social research, and philosophy, centered at the Institute for Social Research (Institut für Sozialforschung) of the University of Frankfurt am Main in Germany. However, it seems more likely to be simply a clever knock at the need for legitimacy, by referencing the way all art movements are titled in German (e.g. Wiener Schule, Berliner Schule, Österreichische Schule, New Yorker Schule, etc.).

Hamd

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

In the five pillars of Islam#

In the five pillars of Islam, the concept of Hamd is in each pillar to emphasize the importance of this word. In the first pillar Shahada, Muslims praise Allah for the blessings of being born Muslim and the belief in one god and his prophet. They also praise Him for giving them better health and wealth than those who suffer. The second pillar is Salat which is performing prayer, Muslims pray five times a day in order to keep remembering Allah and this allows a direct link between the worshipper and God. In each prayer Muslims recite Surah (passage), Al-Fatiha and choose the next surah they would like to recite, but Al-Fatiha must always be recited in order for prayers to be accepted. The third pillar is giving Zakat which is the act of giving a percentage of a Muslim’s income to certain classes of needy people; this allows Muslims to remember the poor and to never forget that everything belongs to Allah. Therefore they should be thankful for what they have at all times. Fasting is the fourth pillar, and this emphasizes the depth meaning of Hamd in the holy month of Ramadan. Muslims fast every year for a month from sunrise to sunset. This helps purify the worshiper’s soul and helps them gain true sympathy with the hungry in addition to remind them of their blessings and amounts of food they have. The fifth pillar is Hajj, the pilgrimage to Mecca, the concept of Hamd is implemented in the action of Muslims visiting the Kaabah or House of God. In all five pillars in Islam, Hamd is used either by action or words. In all aspects of Islam, Hamd is used and can only be used for Allah alone. Hamd is the root word for AlHamdulillah which means praise to Allah. When a Muslim thanks or praises Allah for his favours and bounties it can be done by reciting the word or by act of prayer.

Hanmai

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

History#

Hanmai can be traced back to Errenzhuan culture which has similarities in the form of performance. MC Shitou was one of the first internet sensations to emerge from the rise of online videos in 2008. Other leading MCs includes MC Jiuju (7 million followers on YY), MC Azhe, and MC Gaodi.

Style#

Hanmai is similar to rap music. Hanmai lyrics usually revolve around simple stories of imaginary martial art heroes and ancient conquerors who are in love with beautiful people, accompanied by rhythm and beats downloaded from the internet.

Hanukkah music

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

Hanukkah blessings#

There are three Hanukkah blessings (Modern Hebrew: בְּרָכוֹת לֵחֲנֻכָּה Berakhot Laḥanukka, Lit: Hanukkah blessings) that are sung for lighting the candles of the menorah. The third blessing (shehecheyanu) is only sung on the first night. After the two or three blessings are sung, Hanerot Halalu is chanted. The following blessings are transliterated according to proper Modern Hebrew. The popular tune for these blessings was composed by Samuel E. Goldfarb and his brother Israel Golfarb in the early 20th century.

Hapa haole music

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

Etymology#

“Hapa haole” is a Hawaiian term referring to someone of part-Hawaiian, part-foreign ancestry. It emerged after Christian missionaries in Hawaii introduced the term “half” to Hawaiians, which became “hapa” in Hawaiian.

Style#

Hapa haole is described as Hawaiian music that uses primarily English lyrics, with both real and mock Hawaiian words sometimes included. Its lyrical content usually focuses on the people, culture, and nature of the Hawaiian Islands. Early hapa haole was influenced by music popular in the mainland United States in the early 20th century, especially ragtime. Throughout its evolution, hapa haole began to comprise other styles of music, including Hawaiian swing, rock and roll, and rap with English lyrics.

Happy hardcore

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

Origins#

The breakbeat hardcore rave scene was beginning to fragment by late 1992 into a number of subsequent breakbeat-based genres: darkcore (tracks embracing dark-themed samples and stabs), hardcore jungle (reggae basslines and influences became prominent), and 4-beat also known as “happy hardcore” where piano rolls and uplifting vocals were still central to the sound. DJs such as Slipmatt, DJ Sy , DJ Seduction , Clarkee , Wishdokta, DJ Dougal, DJ Vibes , and Billy Daniel Bunter continued to play and put out music of this nature throughout 1994 – notably Slipmatt’s ‘SMD’ releases, Wishdokta recording as the ‘Naughty Naughty’ pseudonym, and Seduction on his Impact Records label, as well as the labels Hectic, Homegrown, Kniteforce, and Just Another Label. Dreamscape, Helter Skelter, and Fusion were among the raves where the music was played.

Harana (serenade)

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

Form#

Harana is widely practiced in many parts of the Philippines with a set of protocols, a code of conduct, and a specific style of music. The formula of Harana follows three parts: pagatawag (to call out), pagtug-an or pagsugid (to confess), and finally pagtubag (to reply). Traditionally, the suitor or manliligaw will visit the house of the girl he is trying to woo, and sing by her window until she comes out to either accept or deny him. Such, is the act of pagatawag. The suitor may or may not be accompanied, but usually his companions will be playing a guitar or provide back up vocals as he sings (pagtug-an or pagsugid). Ideally, the dalaga or young lass will choose to accept him in her act of pagtubag. If serenaders are successful, the house’s family may feel inclined to invite them in for food and drink. More often than not, the serenaded and their families show little interest in the serenader, with some going to the extent of vocally voicing their disapproval. Regardless of result, the serenaded often becomes the subject of teasing among members of their close community.

Hard bop

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

Characteristics#

Hard bop is sometimes referred to as “funky hard bop”. Jazz critic Scott Yanow distinguished hard bop from the broader world of bop by saying that " t empos could be just as blazing but the melodies were generally simpler, the musicians (particularly the saxophonists and pianists) tended to be familiar with (and open to the influence of) rhythm & blues and the bass players (rather than always being stuck in the role of a metronome) were beginning to gain a little more freedom and solo space." Hard bop has been seen by some critics as a response to cool jazz and West Coast jazz. As Paul Tanner, Maurice Gerow, and David Megill explain, “the hard bop school…saw the new instrumentation and compositional devices used by cool musicians as gimmicks rather than valid developments of the jazz tradition.” However, Shelly Manne suggested that cool jazz and hard bop simply reflected their respective geographic environments: the relaxed cool jazz style reflected a more relaxed lifestyle in California, while driving bop typified the hectic atmosphere of New York City. Some writers, such as James Lincoln Collier, suggest that the style was an attempt to recapture jazz as a form of African-American expression. Whether or not this was the intent, many musicians quickly adopted the style, regardless of race.

Hard NRG

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

1980s–early 1990s: Roots in UK hard house and EU techno#

Acid house of the late 1980s was the ‘happier’ (playful/fun) side of dance music exemplified by Italian piano-house (Italo disco/hi-NRG of the early 1990s) and this began to progress into a scene of its own. Throughout the first half of the 1990s, house music which was more akin to the soulful, disco influenced dance music of the 1980s, continued to flourish. By the mid-1990s, uplifting house music in this vein was in abundance and producers in the UK such as The Sharp Boys were providing their own interpretation of the sound. They upped the BPMs a little, chopped up the disco samples into bite size loops, chucked a load of filters in and created music that was pure dance floor business. This was the sound that provided the basis for the origins of UK hard house. At the time, it was exclusive to the gay scene in the UK and for a while known as “Hand Bag House” or “Hard Bag”. Hard house as a style was epitomized in the early days by producers such as Paul Janes, The Tidy Boys, Pete Wardman, Steve Thomas, Ian M, Alan Thompson, Captain Tinrib, DJ Ziad and Tony De Vit. Some of the above-mentioned names were heavily involved in the club night ‘Trade’, which is widely regarded as the home and birthplace of UK hard house with Tony De Vit as the ‘godfather’ of UK hard house. In the early 1990s, producers like Joey Beltram had transposed the sound of U.S. techno to Belgium, and added their own twist to it. This new brand of techno was darker, harder, and generally nastier than anything that had preceded it. The techno that had emerged from Detroit in the US had the seemingly paradoxical quality of somehow being soulful while at the same time being 100% electronic. The Belgian techno sound ripped out this soul, and replaced it with something altogether more sinister. It was this style of music that gave birth to the sound of the “Hoover”, a gritty sound produced by the Roland Alpha Juno 2 synthesizer and so called because of its apparent similarity to the noises made by vacuum cleaners.

Hard rock

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

Definitions#

Hard rock is a form of loud, aggressive rock music. The electric guitar is often emphasised, used with distortion and other effects, both as a rhythm instrument using repetitive riffs with a varying degree of complexity, and as a solo lead instrument. The bass guitar works in conjunction with the drums, occasionally playing riffs, but usually providing a backing for the rhythm and lead guitars. In the late-1960s, the term heavy metal was used interchangeably with hard rock, but gradually began to be used to describe music played with even more volume and intensity. While hard rock maintained a bluesy rock and roll identity, including some swing in the back beat and riffs that tended to outline chord progressions in their hooks, heavy metal’s riffs often functioned as stand-alone melodies and had no swing in them. In the 1980s, heavy metal developed a number of subgenres, often termed extreme metal, some of which were influenced by hardcore punk, and which further differentiated the two styles. Despite this differentiation, hard rock and heavy metal have coexisted with one another, with bands frequently flirting with the boundaries of, or hybridizing the genres.

Hard trance

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

History#

The hard trance sound developed out of the breakbeat hardcore/hardcore era which itself developed from Belgian New Beat industrial style of Techno. When the hardcore breakbeat production community split into its separate subgenres, hard trance began to develop within the breakbeat hardcore production community. Hard trance went on to become one of the dominant and most successful electronic music styles throughout the 1990s in mainland Europe and around the world. The British electronic music scene split off into other styles such as jungle/drum and bass, hardcore, techno and house.

Hardbag

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

Examples#

The following releases are considered notable examples of the genre: *1992: “Don’t You Want Me” – Felix (Deconstruction label, UK No. 6) *1994: “La Luna” – The Ethics (produced by Patrick Prins) (Effective label, UK No. 13) *1994: “Crazy Man” – Blast (Media label, UK No. 22) *1994: “The Ultimate” – Antic (Hooj Choons, UK No. 71) *1995: “Burning Up” – Tony De Vit (:VC: label, UK No. 25) *1995: “Hooked” – 99th Floor Elevators feat. Tony De Vit (Labello Dance, UK No. 28) *1995: “To the Limit” – Tony De Vit (:VC: label, UK No. 44) *1995: “Play this House” – BB Club (Positiva label, UK No. 65) *1994: “Bits & Pieces” – Artemesia (Hooj Choons, UK No. 46) *1995: “Let’s Whip it Up” – Sleaze Sisters Feat. Vicki Shepard (UK No. 46) *1995: “Listen to the Rhythm Flow” – Diva Rhythms (Tripoli Trax) *1995: “Fee Fi Fo Fum” – Candy Girls (:VC: label, UK No. 23) *1995: “Wham Bam” – Candy Girls (:VC: label, UK No. 20) *1995: “Oh! What a World” – Sister Bliss (Go! Beat label, UK No. 40) *1995: “U Girls” – Nush (:VC: label, UK No. 15) *1995: “Passion” – Amen UK (Deconstruction label, UK No. 15) *1995: “Joanna” – Mrs Wood (React label, No. 34; “Joanna” was remixed by Sash! in 1997, peaking at No. 31) *1996: “Forever Young” (Red Jerry remix – Interactive, UK No. 28) *1996: “There’s Nothing I Won’t Do” - JX (Hooj Choons, UK No. 4)

Hardbass

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

History#

Hardbass first began to emerge in the late 1990s, mainly in the Saint Petersburg electronic dance music underground, when the pumping house genre, built around the bamboo bass, or donk bass (a type of metallic bass synthesizer sound, first invented by Klubbheads in 1997), became a staple in local raves. To increase the energy of the parties, Saint Petersburg producers and DJs started to increase the BPM of the pumping house they played and produced, eventually reaching 150 BPM and beyond. Saint Petersburg producers would include distinct whistles and other samples into their production, which would later crystallize into the hardbass sound as it is generally known. At the same time the characteristic lingo of hardbass formed, such as terms for hardbass music itself, like; kolbasa meaning sausage, a derivative of kolbasitsya, a jargon verb meaning hard partying; pump, or pamp, short for pumping house; nasos, the literal translation of the word pump into Russian. In 2010, XS Project, a group of four music producers from Saint Petersburg, released a satirical movie on YouTube, together with radio presenters of Gop FM station, accompanying their Bochka, Bass, Kolbasyor (kick drum, bass and kolbasyor) track, which was released in 2003. In the movie, several artists, DJs, and radio presenters, disguised as gopniks, danced in gopnik style on a Saint Petersburg children’s playground. The movie was intended to mock the so-called subculture of rave gopniks – young people in tracksuits who would go to rave parties in Russia not to have a good time, but to get intoxicated and cause trouble. The dance moves for hardbass dancing mostly included disorganized feet stomping, jumping and specific hand gestures, with hands clenched in fists with thumb and pinky fingers protruding.

Hardcore (electronic dance music genre)

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

Early 1970s to early 1980s#

Hardcore is rooted in the 1970s and early 1980s industrial music, specifically the elements of hard electronic dance music. Groups such as Throbbing Gristle, Coil, Cabaret Voltaire, SPK, Foetus and Einstürzende Neubauten produced music using a wide range of electronic instruments. The message diffused by industrial was then very provocative. Some of the musical sounds and experimentation of industrial have directly influenced hardcore since the beginning of the movement.

Hardcore hip-hop

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

History#

Music experts have credited Run-DMC as the first hardcore hip-hop group. Other early artists to adopt an aggressive style were Schoolly D in Philadelphia and Too $hort in Oakland. Before a formula for gangsta rap had developed, artists such as Boogie Down Productions and Ice-T wrote lyrics based on detailed observations of “street life”, while the confrontational and aggressive lyrics and chaotic, rough production style of Public Enemy’s records set new standards for hardcore hip-hop and hip-hop production. Though initially a largely East Coast phenomenon, by the late 1980s, hardcore rap increasingly became largely synonymous with West Coast gangsta rap, with artists like N.W.A infusing “gangsta” themed stories of gritty gang life. In the early 1990s, hardcore hip-hop again became associated with the East Coast as Wu-Tang Clan emerged with minimalistic beats and piano-driven sampling, which became widely popular among other hardcore hip-hop artists of the time. and M.O.P. incorporated yelling in their lyrics. In the 2010s, punk rap combined elements of hardcore hip-hop and hardcore punk, with artists like Denzel Curry at the forefront.

Hardcore punk

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

Characteristics#

Hardcore historian Steven Blush credits Minor Threat’s Ian MacKaye with starting a “die-hard mindset that begat almost everything we now call Hardcore”, which was virulently anti-music industry and anti-rock star. Other writers have also attributed hardcore to a reaction against artsy and mellower sub-genres that punk grew into, such as post-punk and new wave. Hardcore punk additionally broke with original punk rock song patterns and visuals, favoring lower-key aesthetics.

Hardcore punk in the United Kingdom

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

1980s#

The first wave of UK hardcore punk is often referred to as “UK 82” or simply “second wave punk”. The sound of the groups from this era is called street punk through its building upon the previous punk sound and added the heavy drumbeats and distorted guitar sound of new wave of British heavy metal bands and Motörhead. The term “UK 82” was taken from Edinburgh band the Exploited’s song of the same name. They contrasted with early American hardcore bands by placing an emphasis on appearance. Frontman Walter “Wattie” Buchan had a giant red mohawk and the band continued to wear swastikas, an approach influenced by the wearing of this symbol by 1970s punks such as Sid Vicious. Because of this, the Exploited were labelled by others in the scene as “cartoon punks”. Formed in 1977 in Stoke-on-Trent, Discharge were of the most prominent bands in UK 82. AllMusic calls the band’s sound a “high-speed noise overload” characterized by “ferocious noise blasts.” The sound of their many imitators was dubbed as D-beat, referring to the band’s distinctive drum beat. According to writer Ian Glasper, the Varukers from Leamington Spa, are often cited as the original D-beat band, due to their close sonic proximity to Discharge. Bands from this era, particularly Discharge and GBH were influential upon the development of multiple heavy metal styles, such as thrash metal and black metal, being cited as an influence by bands including Slayer, Anthrax, Sepultura and Metallica. Other prominent groups from this era include Broken Bones, Chaos UK, English Dogs. In the second half of the 1980s, it became increasingly normalised for UK hardcore bands to be influenced by heavy metal styles. At this same time, a sect of bands began making music with more elements in common with US groups than their UK contemporaries. The most notable of these included Heresy, the Stupids and Filler.

Hardstyle

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

Origins#

The exact origin of hardstyle cannot be specifically defined; however, it is clear the characteristic of hardstyle originates from hard trance (notably hard trance’s ‘reverse bass’, and artists such as German deejay Scot Project) with influence from other genres such as hardcore, this genre is what is now known as early hardstyle. As it progressed, the genre gathered characteristics from other electronic music genres and refined its own sound and identity. Over time, the BPM of hardstyle music increased, from a range of 135 to 150 to a range of 150 to 160. Some hardcore producers brought hardstyle elements back to the hardcore scene, which made modern hardstyle and hardcore very similar and often indistinguishable in some cases, only differing in BPM. The first event credited as a hardstyle event was Qlubtempo, which took place in the year 2000 in Zaandam. Qlubtempo was the first event produced by Q-dance, a Dutch event company which would later go on to produce hardstyle festivals in other countries in Europe, Australia, North America, South America and Asia. In 2001, Q-dance produced the first edition of Qlimax. Q-dance trademarked the term “hardstyle” on the 4th of July, 2002, after both Qlimax and Qlubtempo proved to be successful. Since its inception, Q-dance has guided the evolution of hardstyle music with its events and is often involved with hardstyle artists on a creative level. In 2003, Q-dance hosted the first edition of Defqon.1. The first few years of hardstyle were characterized by a tempo of around 140–150 BPM, a distorted kick drum sound, vocal samples, dissonant synth sounds known as “screeches” and the use of a “reverse bass”, a hard kick distorted offbeat bass within the same beat. Around 2002, more hardstyle labels emerged. Fusion Records (with DJ Zany and others) and Scantraxx (founded by Dov Elkabas) were the two largest Dutch Hardstyle labels in that period. At this point in time, hardstyle artists were primarily from either the Netherlands or Italy.

Hardvapour

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

Beginnings#

On 29 November 2015, Canadian vaporwave producer Wolfenstein OS X (or WosX for short) released End of World Rave, the earliest notable hardvapour release, The album featured music that intentionally opposed aspects that were typically associated with the vaporwave sound. which announced the “death” of vaporwave and a “new era.” The album features a spoken word track with the lyrics, “Now, in the beginnings of the end of the world, vaporwave is dead. From now on, it will only be… the hardvapour.”

Harmonica concerto

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

References#

Franklin Stöver - Duo-Concertante (2007) for 16-hole harmonica, ‘cello & orchestra

External links#

Classical Harmonica
http://www.chamberblues.com

Harmonie

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

Terminology#

Horace Fitzpatrick writes: From about 1756 onward the Emperor in Vienna and the Austrian nobles kept house bands called Harmonien, usually made of pairs of oboes, horns, bassoons, and after about 1770, clarinets. These wind groups formed part of the household musical staff, and provided serenade for banquets and garden parties. Joseph II kept a crack Harmonie for his private delectation, drawn from the principal wind players of the Imperial opera. His successor Franz II carried on this practice. According to Haydn biographer Rosemary Hughes: “Feldharmonie” or simply “Harmonie,” was the wind band, maintained by most noblemen even when they could not afford a larger orchestra, for performing at hunting parties and other outdoor entertainments. Roger Hellyer, writing in the Grove Dictionary notes that while the Harmonie generally had an aristocratic patron, the same music was sometimes also played by street musicians. A letter by Wolfgang Amadeus Mozart to his father Leopold (3 November 1781) noted that street musicians had serenaded him with his own composition, the wind serenade K. 375. In English, the word “Harmonie” exists only as a technical term of historical musicology. In other European languages, such as Dutch, French and German, the term may also refer to a modern wind band.

Harpsichord concerto

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

The Baroque harpsichord concerto#

The harpsichord was a common instrument in the 1730s, but never as popular as string or wind instruments in the concerto role in the orchestra, probably due to its relative lack of volume in an orchestral setting. In this context, harpsichords were more usually employed as a continuo instrument, playing a harmonised bass part in nearly all orchestral music, the player often also directing the orchestra. Bach’s Brandenburg Concerto No.5 in D major, BWV 1050, may be the first work in which the harpsichord appears as a concerto soloist. In this piece, its usual continuo role is alternated with prominent solo obbligato episodes in all three movements. In the first movement the harpsichord, after rapid scales up and down the length of its range, embarks on a solo cadenza which lasts for 3–4 minutes, while the orchestra is silent.

Harsh noise

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

Characteristics#

Harsh noise is an extreme subgenre of noise music characterized by its rejection of music theory and traditional song structure, with little or no conventional melody, rhythm, or harmony. Artists typically employ effects pedals, synthesizers, manipulated recordings, or custom-built electronics to generate distortion and feedback, resulting in compositions of dense static, electronic screeches, and abrasive sonic bursts. Performances often incorporate improvisation, and the style is frequently described as inaccessible and lacking commercial appeal. Harsh noise is primarily associated with underground music, with regional scenes emerging internationally in Japan, England, Canada, Indonesia and America.

Hauntology (music)

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

Etymology#

The term hauntology was introduced by French philosopher Jacques Derrida in his 1993 book Specters of Marx as a term for the post-Marxist understanding of what is perceived as the tendency of Karl Marx’s ideas to “haunt Western society from beyond the grave”.

Characteristics#

In music, hauntology is predominantly associated with a British electronic music trend but it can apply to any art concerned with the aesthetics of the past. The trend is often tied to notions of retrofuturism, whereby artists evoke the past by utilising the “spectral sounds of old music technology”. The trend involves the sampling of older sound sources to evoke deep cultural memory. Critic Simon Reynolds stated in a 2006 article that “this strand of ‘ghostified’ music doesn’t quite constitute a genre, a scene, or even a network. … more of a flavour or atmosphere than a style with boundaries”, Hauntological music draws on varied postwar cultural sources Other British influences include obscure musique concrète composers and Joe Meek’s album I Hear a New World, Sampling is used to “evoke ‘dead presences’” which are transformed into “eerie sonic markers”. Artists often mix antique synthesiser tones, acoustic instruments, and digital techniques, as well as found sounds, abstract noise, and industrial drones.

Hausa music

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

Hayashi (music)

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