KL on Music Theory Print

Klapa

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

Description#

A klapa group consists of a first tenor, a second tenor, a baritone, and a bass. It is possible to double all the voices apart from the first tenor. It is usually composed of up to a dozen male singers. In recent times, female vocal groups have been quite popular, but in general male and female groups do not mix. Although klapa is a cappella music, on occasion it is possible to add a gentle guitar and a mandolin (instrument similar in appearance and sound to tamburitzas). Klapa can also be accompanied with synthesizer keyboards, usually simulating percussion instruments.

Klasik

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

References#

Baily, John. “Music of Afghanistan: Professional Musicians in the City of Herat”. 1988. Cambridge: Cambridge University Press.
Baily, John. “The naghma-ye kashal of Afghanistan”. 1997. British Journal of Ethnomusicology, Vol. 6, pp 117–163.
Baily, John. “A System of Modes Used in the Urban Music of Afghanistan”. Ethnomusicology, Vol. 25, No 1, pp 1–39.
Doubleday, Veronica. “Red Light at the Crossroads”. 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 3–8. Rough Guides Ltd, Penguin Books.

Klezmer

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

Etymology and usage#

The term , as used in the Yiddish language, has a Hebrew etymology: klei, meaning “tools, utensils or instruments of” and zemer, “melody”; leading to k’lei zemer , meaning “musical instruments”. Previously the musician may have been referred to as a () or other terms. After the term became the preferred term for these professional musicians in Yiddish-speaking Eastern Europe, other types of musicians were more commonly known as or . Twentieth-century Russian scholars sometimes used the term “klezmer”; Ivan Lipaev did not use it, but Moisei Beregovsky did when publishing in Yiddish or Ukrainian. During that time, through metonymy it came to refer not only to the musician but to the musical genre they played, a meaning which it had not had in Yiddish. Early 20th century recording industry materials and other writings had referred to it as Hebrew, Jewish, or Yiddish dance music, or sometimes using the Yiddish term Freilech music (“Cheerful music”). The term ‘klezmer’ to refer to a genre of music was popularized as a marketing term in the late 1970s by Revival bands; Walter Zev Feldman, whose 1979 LP with Andy Statman used the term, claims credit for this shift in usage.

KL on Music Theory Print

Klapa

Description#

Klasik

See also#

References#

Klezmer

Etymology and usage#