KI on Music Theory Print

Kidandali

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

Form#

Stylistically, this genre draws directly from two other music genres while indirectly drawing from another. The two genres being Kadongo Kamu and Soukous (lingala). Indirectly, Kidandali is most times cemented by the Dem Bow riddim, a result of the early Ragga influence on Ugandan pop music. The similarity and influence of Kadongo Kamu is seen in the role played by the bass guitar. The bass guitar is the most pronounced instrument and it controls the rhythm and tempo of the song just like in kadongo kamu. The playing pattern is also very similar. Another area where kadongo kamu influence is visible is in the way the vocals are delivered. The music themes are also similar to kadongo kamu. Story telling and giving of advice to listeners is common place. In regards to lingala, the influence is seen in the role the other instruments play, most notably the lead guitar and electric guitar, which are played in a pattern similar to that in lingala music. The use of trumpets is similar to that in lingala. All these factor into making it the most organic style of music in Uganda.

Kilalaky (music genre)

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

History#

Kilalaky has its roots in the cultural traditions of the Sakalava people in Menabe. The genre has evolved over time while maintaining a prominent role in local ceremonies and celebrations, such as the fitampoha festivities near the Tsiribihina River. Kilalaky was very popular in Madagascar from the mid-2000s to the late 2010s. During the mid-2000s, the genre was modernized with the inclusion of modern instruments such as keyboard, bass guitar, and drum kit, used alongside traditional instruments like the kabosy.

Kindie rock

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

Early 20th century#

If one takes the precepts of Stefan Shepard’s Kindie Manifesto as a working definition for kindie music, then it is clear that kindie has existed since at least the early 20th century, with folk singers such as Lead Belly and Woody Guthrie performing and writing many children’s songs throughout their career. Music hall was also a source of children’s music in the past,

1970s–1990s#

During the 1970s, ’80s and ’90s, the field of music for children became more popular in the 1970s and ’80s, due largely to the advent of music-based children’s television shows such as The Bugaloos and Sesame Street. Artists who were separate from television also proliferated, with Canadian Raffi selling millions of albums, while other artists such as Barry Louis Polisar gained popularity and toured widely. Many other artists who still perform for children today began performing in the 1980s and ’90s, including Bill Harley and Cathy Fink & Marcy Marxer.

Kiowa music

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

Development and genres#

Historically, Kiowa music has been strongly focused on dancing, such the gourd dance. Mock sham battles, purifying sweat baths, erecting the center cottonwood pole, building the arbor, bringing the brush in, spreading sand on the ground, building the sacred Taimé altar, unveiling the Taimé by the Taimé keeper, distribution of shields, ritual body painting, leading in the different pledge makers/dancers by their clans accompanied by their painters, prayer, speeches, dancing, eagle whistle blowing, visions and feasting by the pledge makers’/dancers’ families were all ceremonial elements integral to the four-day k’aw-tow. Modern songs called Brush Dance songs and Buffalo Dance songs commemorate the now outlawed Kiowa Sun Dance. Kiowa music, one of the most heavily recorded tribes, is part of the larger Southern Plains Indian music genre. The Kiowa created their flag song to honor warriors of the past, present and their people, their memorial song and the dance bustle in the O-Ho-Mah Lodge warrior society from the Omaha tribe. The modern gourd dance adheres to Kiowa protocol and social mores with the majority of songs composed and/or handed down from Kiowa song makers. The Smithsonian Institution made recordings during the 1930s, 1940s, and 1950s that are close to 19th century music, while Indian House Records and Canyon Records began commercial recording in the 1960s and 1970s and Soundchief began recording in the 1940s. Early 20th Century Kiowa recordings are housed in the Library of Congress’s Archive of Folk Culture, Indiana University American Indian Studies Research Institute, The Oklahoma Historical Society’s Oklahoma History Center, and the Kiowa Tribal Museum. Many Kiowa elders also retain a vast knowledge of traditional songs. New Kiowa songs continue to be composed each year for new events, organizations and individuals. Much of Kiowa music is related to the warrior societies of the 20th century. Society songs of the 19th century have been integrated into existing music. The Kiowas significant contributions to world music include the maintenance of cultural institutions and practices, such as the Black Leggings Society, the Oh-Ho-Mah Lodge, the Kiowa Gourd Clan, Peyote songs, War Journey songs, also known as 49 songs, war mother songs, victory or scalp dance songs, handgame songs, and hymns.

Kirana gharana

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

Background#

Awareness about the Kirana Gharana grew with the rising status of Beenkar Bande Ali Khan in the Gwalior Court and Indore Court in the mid-19th Century. Due to his fame, members of his extended family, such as vocalists Abdul Karim Khan and Abdul Wahid Khan, began describing themselves as from the same gharana. The Kirana Gharana takes its name from the birth place of Bande Ali Khan, Kairana, though the family is said to originate from Saharanpur District. Bande Ali Khan is arguably the most influential Hindustani Classical instrumentalist of the 19th Century. In its initial decades, the importance of Kirana Gharana was derived from his status. Since, the fame of Abdul Karim Khan and Abdul Wahid Khan extended the gharana’s name which came to be associated with singing.

Kirtan

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

Etymology and nomenclature#

The term kirtana (Devanagari: कीर्तन) generally means “telling, narrating, describing, enumerating, reporting”. The Sanskrit root of kirtan is kirt (). The term is found in the Samhitas, the Brahmanas, and other Vedic literature, as well as the Vedanga and Sutras literature. Kirt, according to Monier-Williams, contextually means “to mention, make mention of, tell, name, call, recite, repeat, relate, declare, communicate, commemorate, celebrate, praise, glorify”. The term kirtan is found as anukirtan (or anukrti, anukarana, literally “retelling”) in the context of a Yajna (Vedic ritual offering), which meant a dual recitation of Vedic hymns in a dialogue style that was part of a ritual dramatic performance. The Sanskrit verses in the Shatapatha Brahmana (chapter 13.2, c. 800–700 BCE), for example, are written in the form of a riddle play between two actors. According to Louis Renou, in this text, “the Vedic sacrifice (yajna) is presented as a kind of drama, with its actors, its dialogues, its portion to be set to music, its interludes, and its climaxes.” Generally speaking, kirtan, sometimes called sankirtana (literally, “collective performance”), is a kind of collective chanting or musical conversation. As a genre of religious performance art, it developed in the Indian bhakti movements as a devotional religious practice (i.e. bhakti yoga). But it is a heterogeneous practice that varies regionally, according to Christian Novetzke, and includes varying mixtures of musical instruments, dance, oration, theatre, audience participation, and moral narration. In Maharashtra for example, Novetzke says, a kirtan is a call-and-response style performance, ranging from devotional dancing and singing by a lead singer and audience to an “intricate scholarly treatise, a social commentary or a philosophical/linguistic exposition” that includes narration, allegory, humor, erudition and entertainment—all an aesthetic part of ranga (beauty, color) of the kirtan. Vaishnava temples in Assam and northeastern Indian have large worship halls called kirtan ghar—a name derived from their being used for congregational singing and performance arts. Kirtan is also sometimes called harinam (Sanskrit: harināma) in some Vaishnava traditions, which means " chanting the names of God (Hari)." In regional languages, kirtan is scripted as ; Nepali and ; ; ; / ; Sindhi: / ; ; .

Kizomba

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

Music genre#

The origins of kizomba can be traced to the late 1970s Angola. Most kizomba songs are sung in Angolan Portuguese/Portuguese.

Dance genre#

Semba, a dance and music genre, rose in popularity in Angola during the 1950s. This was as a result of the development of modern Angolan music which is attributed to the musical group Ngola Ritmos. After gaining independence from Portugal, Angola entered a civil war in 1975 that lasted to 2002. As few semba music was being released during this early period, Angolans started to look else where for musicality such as the Caribbean. In the 1980s, when the actual kizomba music was pioneered and got more and more popular, Angolans started to adapt their semba steps according to the tempo and flavour of the Kizomba beats. As such Kizomba (dance) has essentially remained to many Angolans to what is referred to as “Semba Social”, only that it is danced to a spectrum of various music genre such as semba, kizomba or zouk. The emphasis is “Semba social” as Semba is often misinterpreted as “Semba Show” which is a style of Semba that is characterized with fast semba or zouk music alongside various dance tricks. As Kizomba is essentially “Semba Social”, that left room for “Semba Show” to be marketed as Semba by Angolan teachers outside of Angola. The Kizomba dance is a couple dance, in which the torso and right arm of the leader will guide the follower across the dance floor. It is the goal to synchronize perfectly as a couple with the music and express it through elegant footwork, smooth body movement, and attitude, called Ginga (for women) and Banga (for men).