LE on Music Theory Print

Lebanese hip-hop

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

Roots and significance#

Scholars attribute the genre of rap to African origins, rooted in West African oral traditions and community story-tellers such as Griots. However, contemporary Hip-hop culture emerged in the late 1970s in New York City. As the genre grew in popularity, the globalisation of rap exported the genre to other regions, where local styles and cultures shaped the genre to represent their milieu. This is a term known as “glocalization” and was coined by French sociologist Roland Robertson in 1994 to refer the localization of globalised products and phenomenas. Lebanese rap began to gain traction as a result of the 2011 Arab revolutions, where rap became a tool of mobilization and opposition in the face of injustice. The revolutions and the role of rap and hip-hop in the region changed the social perception as a genre from one that is exported by the West to a localised version that provided a voice for those marginalised. El Rass in an interview in 2015 when asked what the recurring themes are in Arabic Rap:" On est arrivé à ce stade où les spécificités deviennent vraiment caractéristiques, c’est là que l’on est passé du rap en arabe au rap arabe.” (Translated: We’ve reached the point where these specific traits have really become defining characteristics; that’s when we made the shift from rap in Arabic to Arabic rap.) Atabah (Arabic: عتابة) is a form of improvised Arabic poetry that uses the lyrical nature of the Arabic language in its performance.

Leçons de ténèbres

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

Spelling#

In the original French sources “Leçons de ténèbres” is more common; the spelling “Leçons des ténèbres” is increasingly common in later resources, but modern sources still use “de”, as seen in Sébastien Gaudelus’s Les offices de Ténèbres en France, 1650–1790(2005). The capitalisation of “ténèbres” varies.

Liturgical function#

The tenebrae service uses the text of the Lamentations of Jeremiah, originally deploring the Siege of Jerusalem (587 BC) and subsequent desolation of the city, but applied allegorically to the three days of mourning for Christ between his crucifixion and resurrection. However the context of the French Leçons de ténèbres was often private performance. Delalande’s 15-year-old daughter sang for Louis XIV first in his living rooms and then in chapel, becoming the praise of all Paris. Philidor’s catalogue indicates that Delalande’s three surviving virtuoso solo Leçons de ténèbres were composed for such occasions. A complete set of Leçons de ténèbres for the full three days of Holy Week (Holy Thursday, Good Friday, Holy Saturday; played for practical reasons on the eve of each mentioned day, so: Holy Wednesday, Holy Thursday, Good Friday), would have included nine lessons, with each of these leçons requiring the setting of specific texts from Lamentations, although the conventions of exactly which texts to set varied slightly from the Renaissance to the Baroque, and by local custom. The following represents the typical French baroque schema set by Marc-Antoine Charpentier, which follows the order of the Roman Breviary of St. Pius V as it was promulgated after the Council of Trent in 1568. :Holy Wednesday * Première leçon pour le mercredi Saint – 1:1–5 * Deuxième leçon pour le mercredi Saint – 1:6–9 * Troisième leçon pour le mercredi Saint – 1:10–14 :Holy Thursday * Première leçon pour le jeudi Saint – 2:8–11 * Deuxième leçon pour le jeudi Saint – 2:12–15 * Troisième leçon pour le jeudi Saint – 3:1–9 :Good Friday * Première leçon pour le vendredi Saint – 3:22–30 * Deuxième leçon pour le vendredi Saint – 4:1–6 * Troisième leçon pour le vendredi Saint – 5:1–11 However, in practice composers rarely supplied a complete group of all 9 settings. A notable exception was Charpentier, who authored a complete set Les Neuf Leçons de ténèbres (H. 96–110) and duplicated all the settings several times over. In addition the services required antiphons and supplementary motets – 9 for each day, 27 in total. Charpentier again produced extensively in this genre, such as his Les neuf répons du mercredi saint (H. 111–119, 120–125, 135–137). As with the lessons the French répons are stylistically differentiated from the Renaissance responsories for Holy Week of Victoria and Gesualdo.

Leise

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

German#

The Evangelisches Gesangbuch (EG, the German-language Protestant hymnal used in Germany, Austria, Alsace, Lorraine, and Luxembourg) and the Catholic hymnal Gotteslob (GL, used in Germany, Austria, and South Tyrol) include the following leisen: * “Sei uns willkommen, Herre Christ” (EG 22), revised from the original * “Gelobet seist du, Jesu Christ” (EG 23, GL 252), first stanza 1380, expanded by Luther to the Christmas sequence Grates nunc omnes * “Du Kind, zu dieser heilgen Zeit” (EG 50, GL 254), a modern Christmas leise by Jochen Klepper (1937) * “Ehre sei dir, Christe” (EG 75) * “Holz auf Jesu Schulter” (EG 97, GL 291), a modern Easter leise (Dutch 1963, German 1975) * “Christ ist erstanden” (EG 99, GL 318), expanded by Luther to the Easter sequence Victimae Paschali Laudes * “Jesus Christus, unser Heiland” (EG 102) * “Christ fuhr gen Himmel” (EG 120, GL 319), expanded by Luther * “Nun bitten wir den Heiligen Geist” (EG 124, GL 348), adapted by Luther (the GL version has stanzas by Maria Luise Thurmair and Michael Vehe) * “Gott sei gelobet und gebenedeiet” (EG 214, GL 215), accompanying the Corpus Christi sequence Lauda Sion * “Herr Jesu Christe, mein getreuer Hirte” (EG 217), by Johann Heermann (1630) * "" (EG 231), by Luther * “In Gottes Namen fahren wir” (EG 498), pilgrim song * “Mitten wir im Leben sind” (EG 518, GL 503), by Luther * “Maria durch ein Dornwald ging” (GL 224) * “Meine engen Grenzen” (GL 437; EG-West/Reformed Church 600; EG-Hesse 584; EG-Württemberg 589; EG-Austria 574) * “Sonne der Gerechtigkeit” (GL 481; EG 262/263)

Lento violento

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

Origins#

The first tracks with the lento violento sound were “Anima Ladina” by Ottomix (1991), “Panic Mouse (stress mix)” by Gigi D’Agostino (1996), “Ibiza” by Ottomix (1998) and Alex Castelli’s “Enjoy”, that was co-produced by Ottomix. Although at that time, they were not called “lento violento” yet. These tracks were influenced by the more techno and trance-oriented tracks like Mauro Picotto’s “Lizard”, “Iguana”, “Pulsar”, “Tuttincoro” or “Raggattak” by Joman (Joy Kitikonti), all from the Italian BXR label. While some individual tracks were popular in the clubs, the style itself was not established until DJ/producer Gigi D’Agostino started with a series of productions in 2003, like “Ripassa”. Indeed, he coined the name for this style, and he releases most of his lento violento songs on his own label Noise Maker, using aliases like Dottor Dag, Lento Violento Man, Uomo Suono, Orchestra Maldestra, or La Tana Del Suono, to distinguish these songs from his Italo dance work. Other artists started to create similar tracks after the success of this style. Also several compilation CDs are released with lento violento music, like the Movimentolento series.

Levenslied

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

Artists#

Notable Dutch levenslied singers: *Willy Alberti *Willeke Alberti *Frans Bauer *Peter Blanker *Renée de Haan *André Hazes *Stef Bos *Johnny Jordaan *Pierre Kartner *Tante Leen *Imca Marina *Manke Nelis *Dries Roelvink *Sieneke *Jan Smit *Zangeres Zonder Naam Notable Flemish levenslied singers: *Eddy Wally *Laura Lynn *Will Tura