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Lu opera

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

Artistic characteristics#

The aria of Luju consists of two main types, homophony and coloratura. Homophony is for narrating and coloratura is for operetta. A lot of falsetto is used in the aria. In some occasion, artists on the stage or backstage would sing together to exaggerate the atmosphere. The instruments played in Luju are gongs, drums and Gaohu, etc. The performing approaches of Luju draw on the experience of other Chinese operas, such as Peking opera and Huiju.

Luddi

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

Luk thung

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

Origin#

Luk thung traces its roots from phleng Thai sakon, which adopted Western instrumental characteristics like the orchestra and electronic instruments in the time of King Rama IV. Phleng Thai sakon continuously evolved throughout the time of King Rama V, and was showcased in numerous films and stage performances. Atiphob Pataradetpisan’s, “Waltz Pleumchit” (“Delighted Mind Waltz”) in 1903 was recorded to be the first Thai sakon song. During Plaek Phibunsongkhram’s government (1938-1944), phleng Thai sakon became a form of propaganda for the government to broadcast its political ideology of modernization in Thailand. In 1939, Eua Sunthornsanan formed the first Thai sakon band, called Suntharaporn, using a number of classically trained musicians who had lost their royal appointments following the 1932 coup. Eua Sunthornsanan served the Prime Minister, Plaek Phibunsongkhram, as the head of Thailand’s main orchestra, and the music section for Thailand’s Public Relations Department. He dominated the music industry by composing over 2,000 songs, leading him to become one of the most influential pioneers of phleng Thai sakon. Some of his notable records were, “Phleng Wattanatum” (“Culture song”), “Phleng Faai” (“Cotton song”), and “Phleng Saang Thai” (“Building Thailand song”). In 1944 the Romvong dance was introduced by the Phibun government’s Fine Arts Department when it issued ten “Ramvong Matrathan” (“standard circle dances”) to compete against Western dance music. It is suggested that Phibun and his wife, La-iat, had observed rural “Ramthon” (“Drum Dance”) performances while visiting Phetchabun province and surrounding areas. La-iat noted some of the texts and melodies and these notes formed the basis of the Fine Arts Department’s Ramvong Matrathan. This was a critical step in the future formulation of luk thung. Ramvong went on to become a highly successful musical genre in Thailand for a decade after the mid-1940s. It was Ramvong that bought northeastern performers such as Tumthong Chokchana (a.k.a. Benjamin), born in Ubon, and Chaloemchai Sriruecha, born in Roi Et, into the Thai music industry and so paved the way for the heavy northeastern influence on luk thung music when it emerged.

Lullaby

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

Etymology#

The term ’lullaby’ derives from the Middle English lullen (“to lull”) and by e (in the sense of “near”). It was first recorded circa 1560. A folk etymology derives lullaby from “Lilith-Abi” (Hebrew for “Lilith, begone”). In the Jewish tradition, Lilith was a demon who was believed to steal children’s souls in the night. To guard against Lilith, Jewish mothers would hang four amulets on nursery walls with the inscription “Lilith – abei” “Lilith – begone” .

Lundu (dance)

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

History#

The interconnectedness of Lusophone countries dates back to the Atlantic Slave Trade, between Portugal, Brazil and regions of Africa. In the 15th century, the Portuguese were the primary exporters of African slaves to the Americas, and with slaves came their musical traditions. Throughout the 17th and 18th centuries, there was a massive Brazilian presence in Angola, enabling a cultural exchange between the two Portuguese colonies. This exchange enabled subtle amalgamations of musical styles between Angola, Brazil and other African slave trade countries. The establishment of a creole population in Brazil led to further cultural developments in language, religion and art. In 1859, French journalist Charles Ribeyrolles described Afro-Brazilian free practices on a fazenda in Rio de Janeiro province:

Lusophone music

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

Definition#

The term “Lusophone” comes from Lusofonia, a term that designates the community of Portuguese-speaking peoples. In music, it specifically denotes vocal and lyrical compositions expressed in Portuguese.

Brazil#

Brazil is the largest Lusophone country and home to globally influential musical genres: * Samba – An Afro-Brazilian rhythm central to Carnival celebrations. * Bossa nova – A fusion of samba and jazz, internationally popularized in the 1960s. * Forró – A northeastern genre incorporating accordion, triangle, and zabumba. * MPB (Música Popular Brasileira) – Encompasses sophisticated urban music blending traditional and modern styles. * Axé music, funk carioca, tropicália, pagode, sertanejo – Regional and national genres reflecting diverse Brazilian identities.

Lute song

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

The English lute ayre#

In England, the lute song was usually called an “ayre”, possibly borrowed from the French word, air. The first written record of the lute songs or ayres is a 1597 publication First Booke of Songes or Ayres, which was composed by John Dowland. This is considered the beginning of the popularity of the lute songs, that set the standard for other composer’s songbooks of English ayres. The music was printed on the page, so that when placed in the center of a table it could be read by the performers around the table. John Dowland’s ayres, like other composers, used music from dance forms such as pavane, galliard and jig, for the melody. Philip Rosseter, court musician, composer, and theatrical manager, published a collection in 1601, A Book of Ayres, with composer and poet Thomas Campion. The compositions were short, homophonic songs with minimal phrase repetition with their own lyrics. The last book published was by John Attey in 1622, called First Book of Ayres. The format of these songbooks was intended to be performed with a solo voice and an accompaniment, but some did include variations for multiple voices and additional instruments. It is possible that lute songs were composed before these books were published, but the written record of such songs starts with John Dowland. The consort song, popular in England during the reign of Henry VIII, leads to some consideration that the lute songs were composed prior to 1597. Other composers of lute songs during this time include John Danyel, Robert Jones, Pilkington and Alfonso Ferrabosco.

Lutheran chorale

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

Lutheran hymns#

Starting in 1523, Martin Luther began translating worship texts into German from the Latin. He composed melodies for some hymns himself, such as “Ein feste Burg ist unser Gott” (“A Mighty Fortress Is Our God”), and even a few harmonized settings. For other hymns he adapted Gregorian chant melodies used in Catholic worship to fit new German texts, sometimes using the same melody more than once. For example, he fitted the melody of the hymn “Veni redemptor gentium” to three different texts, “Verleih uns Frieden gnädiglich”, “Erhalt uns, Herr, bei deinem Wort”, and “Nun komm, der Heiden Heiland”. The first Lutheran hymns were published in 1524. These included the (known as the first Lutheran hymnal) and the Erfurt Enchiridion (both with unaccompanied melodic settings), as well as Johann Walter’s , the first to contain part song settings of Lutheran hymns. Luther and his contemporaries referred to these vernacular hymns as geistliche Lieder (spiritual songs), Psalmen (psalms), christliche Lieder (Christian songs), and geistliche (or christliche) Gesänge or Kirchengesänge. The German word Choral, which was originally used to describe Latin plainchant melodies, was first applied to the Lutheran hymn only in the later sixteenth century. In the modern era, many Lutheran hymns are used in Protestant worship, sometimes sung in four-part harmony. A four-part harmony is the traditional method of organizing chords for 4 different voice ranges: soprano, alto, tenor and bass (known together as ‘SATB’). The term ‘voice’ or ‘part’ refers to any musical line whether it is a melody sung by singers, a long note played on an instrument or anything in between.

Lutheran hymn

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

History#

Lutheran hymnals include: * Achtliederbuch, a.k.a. the first Lutheran hymnal (1524). Contains, among others, “Nun freut euch, lieben Christen g’mein”, “Es ist das Heil uns kommen her”, “Ach Gott, vom Himmel sieh darein”, “Es spricht der Unweisen Mund wohl” and “Aus tiefer Not schrei ich zu dir”. * Erfurt Enchiridion (1524) * Eyn geystlich Gesangk Buchleyn (1524) * Becker Psalter (1602) * Praxis pietatis melica (1640/47) * Neu Leipziger Gesangbuch (1682)