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Joik

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

History#

As the Sami culture had no written language in the past, the origins of joik are not documented. According to oral traditions, the fairies and elves of the arctic lands gave joiks to the Sámi People. Just Qvigstad, who recorded the Sami oral tradition, has documented this legend in several works. Music researchers believe joik is one of the oldest continuous musical traditions in Europe. with joiking said to resemble magic spells. In the 1950s, it was forbidden to use joiking in Sami area schools. In 2014, a parish council discussed “if they should implement a total ban against music other than church hymns in the churches in Kautokeino and Maze. The proposal was shot down, but many still wonder why joiking in church is such a controversial issue”. Despite this suppression, joiking was strongly rooted in the culture and its tradition was maintained. Joiking is still practiced and is used as a source of inspiration. Recently, joiks are sung in two different styles: a traditional style, known as the “mumbling” style; and a modern style sung mostly by young people, and used as an element in contemporary Sami music.

Jongo

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

Sources#

Carneiro, Edison. “Samba de umbigada.” In: Folguedos Tradicionais. Rio de Janeiro: Funarte/INF, 1982 1961 .
Dias, Paulo. “A outra festa negra.” In: Festa: cultura e sociabilidade na América Portuguesa, edited by I. Jancsó and I. Kantor. São Paulo: Hucitec/Edusp/Fapesp/Imprensa Oficial, 2001.
Lara, Silvia Hunold & Pacheco, Gustavo (orgs.) Memória do jongo: as gravações históricas de Stanley J. Stein. Rio de Janeiro: Folha Seca, 2007.
Meira Monteiro, Pedro & Stone, Michael (orgs.) Cangoma calling: Spirits and Rhythms of Freedom in Brazilian Jongo Slavery Songs. Dartmouth: University of Massachusetts, Luso-Asio-Afro-Brazilian Studies & Theory, vol. 3, 2013. http://www.laabst.net/laabst3/#sthash.yWulDIw0.dpuf
Pacheco, Gustavo. “Jongos.” In: Colin Palmer (ed.) Encyclopedia of African-American Culture and History: The Black Experience in the Americas. New York: Macmillan, 2005.
Ribeiro, Maria de Lourdes Borges. O Jongo. Rio de Janeiro: Funarte/Instituto Nacional do Folclore, 1984.
Stein, Stanley J. Vassouras: A Brazilian Coffee County, 2nd ed. Princeton, N.J.: Princeton University Press, 1985.

External links#

“Pontão de Cultura do Jongo”, web site and cultural program develop by the Universidade Federal Fluminense (UFF) and the National Heritage Institute of Brazil (IPHAN) together with 16 communities that practice jongo in Southeast Brazil: http://www.pontaojongo.uff.br
“Jongo no Sudeste”, dossier produced by the National Heritage Institute of Brazil (IPHAN): http://portal.iphan.gov.br/uploads/publicacao/PatImDos_jongo_m.pdf
“Jongo da Serrinha”, first video shot in Serrinha in the late 70’s, YouTube

Jor (music)

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

Origin and terminology#

Jor (or jod) is an instrumental interpretation of nomtom which is an introductory style that is characterised by its modest rhythm and lack of rhythmic cycle (also known as tal). Jor is present in most Hindustani classical music through the raga, as an articulate and rapid pulse that the alap transitions into, followed by jhala.

In Hindustani music#

Indian classical music is divided into 2 sections: Hindustani and Carnatic Music. Both musical styles inhabit the core traditions of India culture, and are portrayed as one of the most prestigious types of music. These two traditional types of music are both defined by the Sanskrit term “sangita” which refers to the fusion of all the elements, of song, instrumental music and dance. Raga and Dhrupad are the two main forms of Hindustani classical music and form the prominent structure of Indian Classical Music. The musical section of Jor is prominent in Raga and follows the cyclical and linear progression of Hindustani music.

Joropo

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

Tuyero#

Central joropo () is also known as (“Tuyan”), (“Tuyan joropo”) or (“Tuyan beat”). Characteristic of the central states of Venezuela, like Aragua and Miranda, eastern Carabobo and northern Guárico, central joropo, or tuyero (as practiced in the Valles del Tuy along the Tuy River) is sung accompanied by harp (, sometimes replaced by guitar) and maracas. Unlike the nylon strings of the llanera harp, the central joropo harp also uses metal strings, which gave its unique sound. The central joropo singer also plays the maracas and dances, requiring just two performers: the harpist, and the singer-maraquero. Joropo harpists prefer the name “arpisto” rather than , the usual Spanish word for “harpist”. The central joropo him the same considerations are applied around the passage and hit burrowing joropo, except speed, which is slightly lower. Another important distinction is that the central joropo revuelta consists of a chain of musical sections of fixed forms, in the same tone as a Baroque suite, without interruption, but with surprising twists. The movements of the revuelta are called passage; input or call Yaguazo, Yaguazo, and Marisela Guabina input. Sometimes they can call Marisela added to them, and even a small coda. The revuelta is thus equivalent to the batch or shift dance, and its length is probably the reason for its gradual decline in use, being replaced by the execution of the parts in isolation. The arrangement of these sections is of sequential nature, unlike golpes of Llanero joropo, having a cyclic condition. The most characteristic part of tuyero joropo, the Tuyera Revuelta consists of four sections: the exhibition (passage), development (yaguazo and guabina), the instrumental coda named Marisela, and an end known as “monkey call.” They are central joropo own beats flowers and quitapesares. The most famous passages tuyeros are The Hermit Mario Diaz, Dawn tuyero of Cipriano Moreno and Pablo Hidalgo, and El gato enmochilado (Cat in a bag) by Fulgencio Aquino. Caraqueños and central musicians adopted central joropo as inspiration for their works, as in the case of Marisela (Sebastián Díaz Peña), the Alma Llanera (Pedro Elias Gutierrez), the waltz Quitapesares (Carlos Bonet) and even Creole Sonatina of Juan Bautista Plaza. Central joropo lyrics are of a sly, sardonic nature, in contrast to the forceful and violent own burrowing joropo, whose contrapunteos (counterpoints) end up not infrequently in sets and fights. The most characteristic of tuyero folklore piece, “The Tuyero Revolt” (“Revuelta tuyera”), consists of four sections: the exhibition (passage), development (yaguaso and guabina), the instrumental coda (“Marisela”) and an end known as “the call monkey”. The most famous tuyero passages are “El ermitaño” of Mario Diaz, “Amanecer tuyero” of Cipriano Moreno and Pablo Hidalgo, and “El gato enmochilado” of Fulgencio Aquino.

Jota (music)

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

Etymology#

The medieval word “xiota” (pronounced or ), derives from Mozarabic šáwta “jump”, ultimately from Latin saltāre “to jump”. Due to phonetic changes, it has become jota (pronounced ) in modern Spanish (reborrowed to Valencian as , or ) and (pron. ) or (pron. ) in Aragonese; ; ; .

Aragonese jota#

The Aragonese jota is the best-known expression of Aragonese folklore. It dates as far back as the 18th century, and reached the pinnacle of its splendor in the 19th century. Due to the complexities of the dance steps and manner of singing, the jota has evolved. Since the end of the 19th century, heavily choreographed versions have often been made for zarzuelas, movies, contests, festivals, and other entertainments. The most pure forms of the jota can still be found in Calanda, Alcañiz, Andorra, Albalate, and Zaragoza. Nowadays there exist many modern varieties of the jota which are performed by various folkloric groups. Among the most popular can be found: Jota de San Lorenzo (Huesca), Jota Vieja, Aragón Tierra Bravía, Gigantes y Cabezudos, La Dolores (these two are taken from the zarzuela and opera respectively of the same names), and the danza de la Olivera.

Jovem Guarda

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

History#

Brazilian rock began in 1955, with Bill Haley, with the arrival of artists such as Elvis Presley and Chuck Berry to success, several young people in Brazil began to admire this new style. In 1956 the first Brazilian rock band, The Jordans, appeared. In 1957, the singer Celly Campello, who is now considered the mother of Brazilian rock, appeared. At the beginning of the 1960s, several Brazilian rock artists and bands began to appear, having a lot of influence from Elvis Presley, Chuck Berry, Jerry Lee Lewis and others. In 1963 the song “She Loves You” by the Beatles was very successful in Brazil; the chorus “Yeah, Yeah, Yeah” became so popular among young people that the chorus became the name of the first Brazilian youth movement, the rock and roll movement. “Iê, ie, iê” became very popular throughout Brazil. In 1965 TV Record in São Paulo decided to show a program named Jovem Guarda every Sunday. The program would present Brazilian rock artists and bands featuring “Iê, iê, iê”. The Jovem Guarda program was presented by three artists who stood out in Iê, iê, iê, the singers Roberto Carlos and Erasmo Carlos, two of the pioneers of Brazilian rock, and the singer Wanderléa. The program was successful from the first episode, for this reason, the name of the movement was replaced by the youth from Iê, iê, iê to Jovem Guarda, after which, the singer Roberto Carlos was responsible for creating several slangs that were used by millions of young people in Brazil until today, including “Barra Limpa Mora!,” “Que Broto Lindo,” “Minha Caranga,” “Eai Bicho” and the most famous “É Uma Brasa Mora!” The Young Guard had mainly the Beatles as an influence, with rock and roll, pop rock and psychedelic rock. The band The Brazilian Bitles was the first to apply psychedelia in Brazilian rock. The name The Brazilian Bitles is a parody of the Beatles, but they are one of the most important bands in the Jovem Guarda. With the end of the program in 1968, the movement began to become weak with the emergence of tropicália, another very famous movement in Brazil. The Jovem Guarda were responsible for revolutionizing music in Brazil. As the country was going through a military dictatorship, many albums by international bands and artists were not sold in Brazil, so it was with the Beatles, that their songs were often released in compilations of greatest international hits. For this reason, several artists and bands from Jovem Guarda made versions of international songs with lyrics totally different from the original, following the same rhythm. It was very popular at the time, and before recording, the artists got in contact with the original composers to be able to record the version. The Jovem Guarda was similar to Beatlemania, with fans screaming and even invading the stage just to see their idols. Jovem Guarda changed the way of thinking of the youth of the time, being a movement that revolutionized Brazilian music with the use of rhythms. more agitated, with the voice screamed in some songs and also by the use of the organ in many songs. One of the most important bands in Jovem Guarda is the band Renato e Seus Blue Caps, who stood out with versions of Beatles songs such as “Menian Linda” version of “I Should Have Known Better” and “Meu Primeiro Amor” version of “You’re Gonna Lose That Girl.” The name Jovem Guarda was born from the phrase of the Russian leader Lenin: “The future belongs to the young guard because the old one is outdated.”