MA on Music Theory Print

Macedonian hip-hop

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

Background#

The Macedonian hip hop started in the 1980s in the then Socialist Republic of Macedonia, but experienced considerable growth after the declaration of independence of the Republic of Macedonia. One of the first critically acclaimed acts was the rock band Super Nova from Skopje, which utilized rap music elements in some of its songs. The group recorded several rap music tracks for the music production branch of the Macedonian Radio-Television, including Hip-hop blues, Rap, Vero and others, some including pop, rock, funk, reggae or other elements. The first members and founders of the bend Super Nova were Viktor Mastoridis (guitar and vocals), Svetislav Gjurik (bass guitar and vocals) and Toni Andonovski (drums). One of those songs was the anti-war themed Rapovanje. Its catchy rhyme, (“Better to rap, than to wage war”) made it very popular across the country in 1989. In the same year, they performed at two prominent festivals in (Subotica and Zajecar). The most notable members of the group were: Vikto Mastoridis (guitar, vocals), Miki Kostadinov (drums), Vlatko Georgiev (keyboards) and Vlasto Janevik-Lucky (bass). One of the notable underground hip hop performers and producers in North Macedonia is Vladimir Agovski-Ago from Skopje. He became involved in the Macedonian hip-hop scene since childhood as a young b-boy in 1986. In the following year, he formed a juvenile rap act called The Masters of Rap and recorded his first studio track in 1988. In 1991, he joined the band Instant Beat, which performed around the country and made recordings in the Macedonian Radio-Television production, which were never officially released. Later, he formed another group, The Most Wanted, which in 1995, released the first Macedonian hardcore rap album, called “Judgment Day”. After the group disbanded in 1996, he continued to work under the name Temnata strana (The Dark Side) and he founded the first Macedoninan hip-hop label, called “Dolina na senkite” abbreviated “DNS” (Valley of the Shadows) to promote his own works and other upcoming Macedonian hip hop acts as well. The group Čista okolina was formed in 1989 by joining several previously existing juvenile rap bands, and later it rose to one of the most prominent hip hop acts in the country. Čista okolina released the album “Noviot aspekt na starata škola” (The New Aspect of the Old School) in the spring of 1996. During its existence, it also released a song together with the prominent alternative rock group Last Expedition. One of the Čista okolina’s former members, Vele Solunčev, later became a frontman of the mixed-style music group appropriately named Mosaique because it combined various elements such as hip hop, jazz fusion, alternative rock and ethno-jazz.

Madchester

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

Pre-Madchester#

The music scene in Manchester immediately before the Madchester era was dominated by the Smiths, New Order, and the Fall, who became significant influences on the Madchester movement. The opening of The Haçienda nightclub in May 1982, an initiative by Factory Records, was also instrumental in shaping Manchester’s popular culture. During its early years, the club primarily featured club-oriented pop music and hosted gigs by artists such as New Order, Cabaret Voltaire, Culture Club, Thompson Twins, and the Smiths. DJs like Hewan Clarke and Greg Wilson contributed to the club’s prominence. By 1986, The Haçienda shifted its focus from being a live venue to a dance club. The Festival of the Tenth Summer in July 1986, organised by Factory Records, reinforced Manchester’s reputation as a hub for alternative pop culture. The festival featured film screenings, a music seminar, art exhibitions, and performances by the city’s leading bands, including an all-day concert at Manchester G-Mex with A Certain Ratio, the Smiths, New Order, and the Fall. According to Dave Haslam, the festival showcased how “the city had become synonymous with larger-than-life characters playing cutting-edge music. … Individuals were inspired and the city was energised; of its own accord, uncontrolled.” In addition to these venues and events, the warehouse parties organised by Steve Adge were crucial in the development of the scene. The Stone Roses’ warehouse parties, first held in 1985, were significant, with DJ Dave Booth supporting the Stone Roses’ live performances. These parties, including the notable “Warehouse 1, The Flower Show” event on 20 July 1985, played a vital role in establishing the band’s following and the burgeoning music scene in Manchester. Booth was an influential DJ in Manchester’s music landscape. He co-created the Playpen nights and the Blood Club and was a resident DJ at several key venues in Manchester’s alternative club network. He began his career at the Roxy Room in Pips and performed at other clubs like Devilles, Berlin, Cloud 9, and Legends, helping to create a network of venues that fostered the growth of Manchester’s alternative music scene. The city’s emerging bands, including the Stone Roses, frequented these clubs and drew inspiration from the diverse music played by DJs. The Haçienda transitioned from making a consistent loss to selling out by early 1987. During that year, it hosted performances by American house artists such as Frankie Knuckles and Adonis. Other clubs in the Manchester area began embracing house music, including Devilles, Isadora’s, Konspiracy, House, Soundgardens, and Man Alive in the city centre, as well as Bugsy’s in Ashton-under-Lyne and the Osbourne Club in Miles Platting. Another key factor in the rise of Madchester was the sudden availability of the drug MDMA in the city, starting in 1987 and increasing in the following year. According to Haslam, " MDMA use changed clubs forever; a night at the Haçienda went from being a great night out to an intense, life-changing experience". The British music scene was such that The Guardian later stated, “The ’80s looked destined to end in musical ignominy”. The Madchester movement flourished as its sound was fresh and innovative, quickly gaining popularity. Music by artists such as the Stone Roses and Happy Mondays began to chart highly in 1989, with New Order releasing the acid house-influenced Technique, which topped the UK Albums Chart.

Madih nabawi

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

Description and subgenres#

A typical performance includes a solo singer, accompanied by a chorus of men with frame drums, the chorus singing a refrain which the soloist improvisationally answers through variation, paraphrasing, or transformation of the refrain, emphasising the characteristics of the respective maqam row or scale.. The chorus sings in unison and a new verse of poetry and prayers or blessings for the audience are added at certain places during the chorus. In North Africa, it resembles ma’luf or andalusi nubah, in Egypt the dur, in Syria the muwashshah, and in Iraq the maqam al-iraqi. According to the article about Islamic religious music in the New Grove Dictionary of Music, “Northern Sudan has a famous madih tradition, going back to Hajj El-Mahi of Kassinger (c 1780–1870), who composed about 330 religious poems of which handwritten copies survive. They are performed by pairs of male singers with the accompaniment of two frame drums (ṭār), at religious festivities, at markets or outside mosques.” Musical genres or subgenres in the madih repertoire include tanzilah (“revelation”), ibtihal (“supplication”), tawassul (“beseechment”), tawshih, and muwashshah.

Madrigal

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

Origins and early madrigals#

The madrigal is a musical composition that emerged from the convergence of humanist trends in 16th-century Italy. First, renewed interest in the use of Italian as the vernacular language for daily life and communication, instead of Latin. In 1501, the literary theorist Pietro Bembo (1470–1547) published an edition of the poet Petrarch (1304–1374); and published the Oratio pro litteris graecis (1453) about achieving graceful writing by applying Latin prosody, careful attention to the sounding of words, and syntax, the positioning of a word within a line of text. As a form of poetry, the madrigal consisted of an irregular number of lines (usually 7–11 syllables) without repetition. Second, Italy was the usual destination for the oltremontani (“those from beyond the Alps”) composers of the Franco-Flemish school, who were attracted by Italian culture and by employment in the court of an aristocrat or with the Roman Catholic Church. The composers of the Franco-Flemish school had mastered the style of polyphonic composition for religious music, and knew the secular compositions of their homelands, such as the chanson, which much differed from the secular, lighter styles of composition in late-15th- and early-16th-century Italy. Stylistically, the music in the books of Arcadelt and Verdelot was closer to the French chanson than the Italian frottola and the motet, given that French was their native tongue. As composers, they were attentive to the setting of the text, per Bembo’s ideas, and through-composed the music, rather than use the refrain-and-verse constructions common to French secular music.

Madrigal (Trecento)

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

History#

The origins of the madrigal are obscure, and debated, with one school of thought seeing it as a secular mutation of the conductus of the ars antiqua, and another seeing it as deriving from 13th-century secular monophonic song with an improvised accompaniment. Little Italian music from the 13th century has survived, so links between medieval forms such as the conductus and troubadour song and the music of the trecento are largely inferential. The origin of the name (which appears in early sources as madriale, matricale, madregal, and marigalis) is also unclear; two possibilities are derivation from materialis (in contrast to formalis), designating a poem without a definite form, or from matrix, meaning mother, either as in a song in the mother tongue or music used for Mother Church. The earliest stage in the development of the madrigal is seen in the Rossi Codex, a collection of music from ca. 1350 or earlier, compiled around 1370. It has been suggested that the ornamentation of the upper voices may be improvised above a skeletal structure. Each line of a madrigal often has a long melisma on each of the first and penultimate syllables. In the madrigal’s later stages of development its uppermost voice was often highly elaborate, with the lower voice, the tenor, much less so. The form at this time was probably a development of connoisseurs, and sung by small groups of cognoscenti; there is no evidence of its widespread popularity, unlike the madrigal of the 16th century. By the end of the 14th century it had fallen out of favor, with other forms (in particular, the ballata and imported French music) taking precedence, some of which were even more highly refined and ornamented. By the beginning of 15th century the term was no longer used musically. The later, 16th-century madrigal is unrelated, although it often used texts written in the 14th century (for instance by Petrarch).

Mahāgīta

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

History#

The Mahāgīta evolved into a single style from Pyu, Mon, and Burman musical traditions. The Mahāgīta also incorporates musical traditions of conquered kingdoms; the Yodaya songs are modeled on the musical style of the Ayutthaya kingdom, while the Talaing songs are based on the songs of the Mon people.

Pre-colonial origins#

Kyo, bwe, and songs are considered to constitute the oldest parts of the Mahāgīta repertoire, serving as the main court music before the Konbaung dynasty. The oldest songs of the kyo genre are the “Three Barge Songs,” which describe a king’s passage up the Irrawaddy River to Tagaung in , have variously been dated to the late Toungoo period (1531–1752). Bwe songs honor the king, while songs honor the Buddha or the king as a protector of the Sāsana. Both genres date to the Konbaung dynasty, . Myawaddy Mingyi U Sa was the most prominent composer of songs in the bwe and genres. Patpyo songs were popular in the late Konbaung dynasty, and are the most numerous in the corpus. These songs have a rhythmic foundation resembling drumbeats, and require the highest level of performance technique and knowledge. Ledwethankhat songs constitute a minor genre, and are characteristically sharp and active, with fast, short rhythms. These songs are always followed by songs traditionally performed at equestrian, martial arts, and archery events. Bawle songs, which are plaintive songs, date to the 1800s; the earliest song, “Sein Chu Kya Naung” (), composed by a Konbaung princess to persuade her husband to return to her side, was composed after 1838.

Mahori

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

History#

Mahori is a form of Thai classical music that has a long history in Thailand, dating back to at least the Ayutthaya period. Although it was already a well-established form of music in Thailand during that time, in 1931, Prince Damrong, the author of the History of Thai Music had asserted that the Thai mahori was of Khmer origin and created by the ancient Khmer and later adopted and elaborated in Thai society. However, historical records indicate that the mahori music “Say Samon” (later called “Sansoen Phra Narai”) was already recorded in the Du Royaume de Siam in 1687 by Simon de La Loubère, a French envoy who visited Ayutthaya at that time. And also, Nicolas Gervaise, a French priest and traveler who had visited Ayutthaya, recorded a Mahori music called “Sout Chai” in the book Histoire Naturelle et Politique du Royaume de Siam in 1688. Initially, only men were permitted to play mahori; however, as its popularity grew, women from royal backgrounds began to play as well. In the Ayuthaya period, women were not permitted to act onstage outside royal service, and women were trained only to play in the mahori. However, King Rama IV removed this restriction and allowed women to act onstage, which caused women’s mahori to decline as women increasingly chose to act instead. Traditionally, the ensemble consisted of four players: the krajappi, a saw sam si, a thone, and a singer. The Wong Mahori consists of both the string and piphat instruments, often reduced in size to accommodate female performers. While Thai classical music was somewhat discouraged as being outmoded and backward-looking during Thailand’s aggressively nationalistic modernization policies of the mid-twentieth century, the classical arts have benefited recently from increased governmental sponsorship and funding as well as popular interest as expressed in such films as Homrong: The Overture (2003), a popular fictionalized biography of a famous early 20th century ranat ek player and composer Luang Pradit Phairao.

Mahraganat

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

History#

The origins of mahraganat (mahragan songs) lie in the popular (aka sha’bi or shaabi) neighborhoods and streets of Egypt. In 2006–7, wedding DJs began combining shaabi music and electronic dance music with influences from reggaeton, grime and rap. In 2011, the Revolution began and the genre reflected the political turmoil as DJ Figo, released his first big single entitled “Ana Baba, Y’lla” Initially, mahragan received no airplay on radio or television and spread online by means of such sites as YouTube and SoundCloud. Like mulid (a different sub-genre of sha’bi music) it is dance music, not meant for sitting and listening. Mahragan street performances inspire wild, sometimes acrobatic dancing, combining hip-hop moves with raqs baladi (Egyptian folk dancing). In 2014, mahragan DJ Souissy signed a record deal and artists such as EEK (which is purely music without lyrics) brought the genre to the mainstream in Egypt. By summer 2014, mahraganat had become popular throughout all of Egypt. Outside of Egypt, the genre was popularised by alternative culture magazine Audio Kultur and the Cairo Liberation Front. Dance music blog Generation Bass also helped introduce mahraganat to European audiences. In 2014, a group of mahragan DJs toured the Netherlands. The genre was considered vulgar by some older and more conservative Egyptians. This is because of the social status of the performers and fans, the controversial topics and style of lyrics, use of obscenities, and personal style of the mahragan fans. In 2016, Nagham FM radio station banned maharagan songs from its programs, citing that they did not “match Egyptian customs and traditions”. However, television shows and music producers moved to cash in on the new trend, signing certain artists, such as Oka & Ortega, who have performed more widely since 2013 and recorded some commercials, and many hit songs. On Valentine’s Day 2020, a concert was held in Cairo Stadium featuring many stars, and Hassan Shakoush, a leading Mahraganat singer, was also invited to the concert alongside his Mahraganat co-singer, Omar Kamal, where they performed their superhit, Bent El-Geran (The Neighbor’s Daughter). In light of this event, there was some momentum on social media criticizing what they called a lack of age appropriateness of parts of the lyrics such as using many Egyptian street slurs and slang words, which some other artists considered as deviation from Egyptian values. Moreover, criticisms were frequently referring to one other explicit line in their hit song stating “I drink alcohol and smoke Weed”. However, the singers reacted by releasing a video where they claimed that what happened was an inadvertent mistake, and that they aren’t advising youth to switch to alcoholism or get drunk. In the video, they apologized and explained that the wrong version was played even though another version had already been recorded where the explicit line was altered. Shortly after, the Egyptian union of musicians decided to ban Mahraganat music in Egypt and to deny Mahraganat singers their memberships, including actor and Mahraganat performer Mohamed Ramadan.

Mainstream hardcore

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

History#

The mainstream hardcore sound derives from early hardcore (still called gabber at the time). In the late 1990s, early hardcore became less popular than Hardstyle. After surviving underground for a number of years, in 2002 Gabber regained some popularity in the Netherlands, although the sound is more mature, darker, and industrial. Some producers started embracing a slower style characterized by a deeper, harder bass drum that typically had a longer envelope than was possible in the traditional, faster style. In this aspect, this new form of gabber obviously cannot be considered less powerful than its precursor. This newer sound was referred to as “New Style” or “Mainstream” and as the tempo got slower and slower it began to become similar to Chicago hard house. Many hardcore enthusiasts hated Chicago hard house and the club scene it typified, and frequently DJs would be booed by one group of fans and cheered for by another at the same party, depending on the tempo and style of music they were playing. This is similar to the rivalry and mutual dislike that surfaced earlier between fans of “regular” hardcore and happy hardcore. Eventually the two styles met in the middle, and most gabber today is produced in a range of 160-180 bpm. This style is typically a bit slower than the Rotterdam style of the mid-1990s.

Mainstream jazz

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

Jazz in the mainstream#

After Dance defined mainstream jazz in the 1950s, the definition changed with the evolution and progression of jazz music. What was mainstream then would not be considered mainstream now. In a general sense, mainstream jazz can be considered what was most popular at the time: For example, during the Swing era, swing and big band music were in their prime and what target audiences were looking for. Although bebop was introduced into jazz during that time, audiences had not developed an ear for it.

Mainstream rock

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

Format background#

Mainstream rock stations represent a cross between classic rock, active rock and alternative rock on the programming spectrum, in that they play more classic rock songs from the 1970s and 1980s and fewer songs from emerging acts than active rock and alternative rock stations, and only rarely play songs on the softer edge of the classic rock format or the harder edge of the active rock format. They program a balanced airplay of tracks found on active rock, alternative rock and classic rock playlists, but the music playlist tends to focus on charting hard rock music from the 1970s through the 2000s. Mainstream rock is the true successor to the widespread album-oriented rock (AOR) format created in the 1970s. However, mainstream rock can be used as a modernized update of classic rock if any radio station playlist has to cut back on some active rock artists and songs due to ratings and popularity demand, which is an absolute variable in each local market by each state and each franchised or locally owned radio company operation. To this day, there are a select few mainstream rock programmed stations that will purposely play any new rock artist while keeping the classics involved, which sits on a borderline scale being influenced by active rock strongly. Meanwhile, some stations consist of playing all 40 years worth of rock hits, ranging from classic hard rock and hair metal artists all the way to 2000s hard rock and metal artists, the format is an open variable. Acts that receive heavy airplay on classic rock stations, including the Beatles, Elton John, Fleetwood Mac, Eagles, or Supertramp receive some airplay on mainstream rock stations, albeit less frequently than acts like Green Day, Nirvana, Pearl Jam, Foo Fighters, Red Hot Chili Peppers, or Alice in Chains. Classic hard rock artists of the mid to late 1970s to the late 1980s as well as all of the 1990s alternative and grunge artists completely highlight what mainstream rock is. It is less common to hear many newer rock artists. Mainstream rock has evolved into a sequel for the classic rock radio format. It has begun to remove hard rock and metal artists that are from the early 2000s as well as the 2010s on some rock radio stations, to avoid overlapping into the active rock format. This is a following trend since almost all classic rock stations rarely play harder songs and artists within their format. Outside the United States and Canada, mainstream rock refers generally to rock music deemed “radio friendly”. It very rarely is referred to as a specific radio format.

Maithili music

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

Religion and Culture#

It is the folksong of Bhilini, one of the many Maithili Music classics, that influenced Gautam, the Buddha, to draw the essence of his all-time great philosophy -Madhyama marg. As a result, Mithila has been established as a great cultural center and Vidya-kshetra. Its cultural, mainly scholastician, history dates back to millenniums. Its pristine glory is recorded in the Vedas and the Satpath Brahmana. Maithili Music is said to be the song of the gods. Many of the songs are used as way to pray to the gods. Songs relating to agriculture and Devotional songs are the two main type songs which can see as prayers to the God above. The songs describe the outstanding traits of the gods and goddesses and sometimes the traits of their worshipers. These songs called gosaunik git or gosaun . The Maithili region lies in part of North India and Nepal which is wet and lush green as it is covered with bamboo structures, paddy fields and ponds . It is said to look like the resting place of goddess Kali and Durga which are prominent in the worship rites of the masses. There many songs which are based on the surrounding are as if describing the beauty and the grandeur of the goddesses resting place Furthermore, In South Asia where marriages for women are a religious event Maithili song are played to a great extent. Women most often classify wedding songs according to the name of the rituals, however generally the auspicious day of marriage begins with the Suhag song and concludes with the samdaun. However, singing many songs during weddings might be a bit problematic now due to the fact that nowadays people waste less time and pay less money for their weddings. Furthermore, there are some Maithili music that describe the hardships faced by woman in the Maithili region. Maithili women, located in south-eastern Nepal, are pitted against one another in their pursuit of security and resources in the context of patrilineal formations. There are many folksongs that talk about the injustice of woman at the hands of men and their many of the folksongs that talk about women thinking of counter measures and alternate ways to survive in the world dominated by men. This is also the time when themes of feminism started to appear in folksongs . Maithili Music has been based around the daily lives of normal men. As a result, the lyrics include a lot of references of objects, gods, seasons and surrounding area of Maithili. These references can help to understand the beauty of the region and can also tell us a lot about the society of the past. These references, further, have also been used as metaphors to comment on the society of the past and its norms. Maithili folksongs include a lot of songs about gods as previously mentioned, but they also have a lot of songs relating to seasons and agriculture. Songs whose themes are based around the rainy or the monsoon season are associated with farmers praying to the gods for favourable climate to cultivate. There are also many songs related to farmers asking for a good harvest. There are many themes relating to good harvest because agriculture was one of the main occupations in the past as well in the present. In Maithili music even the reference of nature helps in bringing out the meaning of the music’s lyrics. In the Maithili region of Nepal the use of pond signifies and refers to a woman’s perspective and knowledge of worldly matters .

Mákina

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

Early 1990s: Origins#

Dance music in Spain became prominent in 1988 with the rise of acid house. Mákina followed this trend and has its origins in the early 1990s in Valencia, Spain. Derived from another style called bakalao, the local name given to an association of electronic dance music played together with pop and rock tunes in Valencian clubs in the second half of the 1980s.

Mid-1990s: Breakthrough and success#

The genre gained prominence in 1991 when Spanish producer Chimo Bayo released his single, “Así me gusta a mí”. The song succeeded throughout Europe and the genre soon gained prominence. The genre became extremely popular throughout Spain from 1995 to 1997, as many mákina-oriented singles reached number one on the Spanish Singles Chart. Spanish mákina group EX-3 had two number-one singles, “Extres” and “Ex-P-Cial” in 1995 and 1996, respectively. Perhaps the most recognized mákina single in the United States is “Streamline” by Newton, which was popularized by a 2006 Pepsi television advertisement starring Jimmy Fallon. From the late 1990s to current times, the genre is the staple of the rave scene in North East England and Scotland. Following the closures of the most prominent venues – in particular The New Monkey nightclub – its popularity has slightly faded in those areas and has been partially replaced with scouse house. Despite this, it still retains a strong cultural legacy, regularly heard blasting from coaches when Newcastle United and Sunderland AFC play away matches.

Makossa

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

Etymology#

The word “makossa” is originated from the Duala words “m’a” and “kossa”. “Kossa” is a term that was a term at the edge of neologism expressed initially as a cry of exhortation, and as “a kind of swear word that has the status of a stimulus, a spur. In the book Le Makossa: une musique africaine moderne, a passage including this quote is written as follows: :“En effet, le terme Makossa, dérive de « m’a kossa » qui veut dire littéralement en langue duala et au pluriel les contorsions; au singulier « di kossa » la contorsion. Ce vocable « Kossa » est un terme à la lisière du néologisme et du cri d’exhortation, mieux, une sorte de juron ayant statut de stimulus, d’aiguillon.” : “Kossa is a kind of exclamation, a cry of joy that is usually uttered to give more vigor, and more energy to the dance.” In the original French version, a passage including the translated version of this quote reads: :“Remy MINKO MBA poursuit: « Kossa est une sorte d’exclamation, un cri de joie que l’on pousse généralement pour donner plus de vigeur, plus d’énergie à la danse. Il s’agit donc d’une sorte de stimulus qui doit nécessairement provoquer une réaction positive ».”

Malagueña (genre)

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

History and Etymology#

The malagueña traces its origins back to Andalusia, evidenced clearly in the name, as “malagueña” pertains to the city of Málaga in southern Andalusia. This link is further evidenced by the malagueñas palo of flamenco, which has a similar harmonic progression to the Venezuelan genre. There is a further possibility that the malagueña entered Venezuela not directly from Andalusia but instead through settlers from the Canary Islands. Isleño folk music also includes a style of malagueña which derives from the flamenco palo. Like the Venezuelan malagueña, the isleño malagueña’s timple accompaniment marks the beats of the 3/4 time, where in flamenco it is more common to perform the malagueñas in “cante libre”. Furthermore, multiple verses are typically performed in the isleño and Venezuelan malagueñas, whilst in flamenco it is not uncommon to perform only one verse. Given these commonalities with the Canary Islands malagueña, coupled with Venezuela’s long history of Canarian settlement and immigration, there is support to the origin of the Venezuelan malagueña in the Canary Islands as opposed to the Spanish mainland. Margariteño musician and composer José Elías “Chelías” Villaroel proposes an alternate etymology for the malagueña, suggesting that the genre was originally entitled halagüeña (from halagar “to flatter”) due to the flattering nature of the lyrics, and only later was the “m” added via conflation with the existing musical styles from Spain and Andalusia. He also attests that it originated in the Venezuelan state of Sucre.

Malagueñas (flamenco style)

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

Origins#

Malagueñas derive from local variety of the Fandangos, a type of dance that, with different regional variations and even different names, became very popular in great part of Spain in the 18th century. Although nowadays malagueñas are a typical instance of “cante libre”, performed at libitum and normally not used for the dance, folkloric fandangos were originally sung and played at a fast speed, with a rhythmic pattern in , to accompany dance. Some of these primitive fandangos from Málaga, called Verdiales are still performed nowadays at folkloric gatherings by large non-professional groups called “Pandas”, which use a high number of guitars, “bandurrias” (a sort of mandoline), violins, and tambourines.

Malawian hip-hop

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

Early history#

By the late 1990s, the scene began to gain traction with a few rap songs being released to the public. The early 2000s is when more artists started to embrace the music and participated in hip-hop culture. At this time, personal computers started to become more popular and recording hardware such as microphones and digital audio interfaces became more affordable and available. Pirated versions of Digital Audio Workstations (DAWs) such as FL Studio, Ableton Live, REAPER, and Cakewalk enabled individuals to produce and record their own music in home studios. The launch of Television Malawi in 1999 also provided a platform for rappers to have their music videos beamed to a national audience. The music video to Wisdom Chitedze’s song Tipewe was on regular rotation on the station in its early days and is often cited as the first Malawian rap music video. In the early to mid-2000s artists such as Nospa G, M Krazy, David Kalilani, and Gosple helped push the music further. Much like other forms of Malawian music, a lot of the early hip-hop released contained social commentary, religious, and introspective themes. But as the years passed, a wider variety of subject matter was adopted. The rap group Biriwiri Released a highly popular single titled “Daily Daily”, which helped ingratiate hip-hop to a wider audience due to its playful and relatable lyrics about being in a relationship with someone you want to see on a daily basis. Other notable rappers who were early on the scene include Criminal A, Bantu Clan, Real Elements, Dynamike, Dominant 1, and Knights of the Round Table. By the late 2000s the scene had picked up further with artists such as Barry One, Basement, Mandela Mwanza aka Third Eye, Hyphen, Fredokiss, and Tay Grin gaining notoriety. Tay Grin’s music video for the song Stand Up was featured considerably on Channel O. He was not the first Malawian rapper to get his song on that station; that accolade goes to the Real Elements. However, Tay Grin’s song got much more airplay. In 2009, Phyzix released his debut studio album The Lone Ranger LP which contained the hit singles Cholapitsa and Gamba which brought him a lot of attention. At the same time The Dare Devilz who were based in Blantyre, Malawi started getting a lot of airplay and became instrumental in producing music for the likes of Fredokiss and a variety of Blantyre-based rappers. Urban secondary schools and colleges such as the Malawi Polytechnic and the Chancellor College became hubs for young people who were interested in rap. Many rappers honed their skills during variety shows, public fun fairs, and college social weekends and so on. In the mid-2000s many colleges recorded and released cyphers via online platforms such as YouTube to showcase some of their hip-hop talent.

Malay gamelan

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

Terminology#

The term gamelan refers to a family of Southeast Asian percussion-based ensemble traditions characterised by metallophones, gongs, drums and related instruments. It is derived from the Javanese word gamel, meaning “to strike” or “to hammer”, a reference to the predominantly struck percussion instruments typical of these ensembles. In maritime Southeast Asia, the term has historically been used for a range of related musical traditions with regional variations in instrumentation, repertoire and performance practice. In the Malay world, gamelan came to denote a distinct court ensemble tradition associated with the royal courts of Johor-Riau, Riau–Lingga, Pahang and later Terengganu, from which the modern Malay gamelan tradition developed. The nomenclature of the tradition has varied over time in accordance with its principal centres of patronage. Historical sources most commonly refer to gamelan Pahang, reflecting the development of the tradition within the Pahang royal court during the nineteenth century. The term gamelan Melayu (“Malay gamelan”) became increasingly common during the late twentieth century and is now the designation most widely used in Malaysia, particularly in academic writing, cultural institutions and heritage discourse. In contemporary usage, the term generally refers to the court gamelan tradition historically associated with the royal courts of Pahang and Terengganu rather than to gamelan music more broadly. Its wider adoption coincided with the revival of the tradition after the 1960s, when performances expanded beyond the royal courts into universities, cultural organisations and public arts programmes. Although Malay gamelan shares historical connections with the broader gamelan traditions of the Southeast Asian archipelago, particularly those of Central Java, it developed distinctive characteristics in repertoire, instrumentation, musical structure, choreography and performance practice. Compared with Central Javanese gamelan, Malay gamelan generally employs a smaller ensemble and places greater emphasis on accompanying court dance performance, while differing from Balinese gamelan in its musical texture, tempo and ceremonial function.

Malaysian contemporary music

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

Background#

The MPO forum brought together six talented young composers, Ahmad Muriz Che Rose, Chong Kee Yong, Vivian Chua, Johan Othman, Tay Poh Gek and Adeline Wong, from around the country and abroad, to Kuala Lumpur, to compose music for the orchestra. Spread over two years, the forum introduced six new compositions for chamber orchestra and four for full orchestra. Chong Kee Yong, who had won numerous awards in Europe, emerged as the winner of the forum and won the Malaysian Philharmonic Orchestra International Composers Award 2004 with his symphony work The Starry Night’s Ripples. The Forum was also a success from the audience standpoint, as all concerts were well attended and enthusiastically received by the music-going public as well as by the media. The success of the Forum is a key factor in raising the profile on Malaysian contemporary music in Malaysia, although the composers who participated, as well as a number of others who were not represented, have been composing music in this medium for a number of years, the majority of their output having been premiered abroad. That is to say, this does not mean that there was no activity in the field prior to the Forum, only that such efforts were not highly visible or organised. Information on serious composition in the 1980s through to the 1990s by composers such as Tazul Tajuddin (whose Etudes for chamber orchestra was performed in 1995 in USA), Dr Valerie Ross (who was awarded Malaysian Young Composer (1988) by the Asian Composers’ League in Hong Kong), Razak Abdul Aziz (who began composing vocal works as early as 1980) is only now slowly becoming available, although a comprehensive survey of the pre-millennium period is still in need. As cited by a Malaysian research paper in the late 1990s, the lack of such musical activities in Malaysia prior to the 21st Century is largely attributed to the absence of professional ensembles in the country who were able to support composers, although key issue has been one of a total absence of infrastructure rather than one of talent. Fortunately for the Malaysian art music scene progress in the current period has been brisk, and the number of serious composers and compositions in this field is increasing. The 2006-2007 series of Composers Forums in Kuala Lumpur, for example, introduced new voices such as Ng Chong Lim, Teh Tze Siew, Yii Kah Hoe and Mohd Yazid Zakaria. In 2008 Off The Edge magazine based in Kuala Lumpur collaborated with the Malaysian Composers Collective and HSBC Bank Malaysia Ltd to produce the country’s first CD anthology of contemporary Malaysian music called Faith, Hope & Chaos. In 2009 the Malaysian Composers Collective collaborated with Goethe Institut to hold the country’s first ever three-day contemporary music festival, the KL Contemporary Music Festival 09. Titled Urban Soundscapes, the festival featured guest composers from around the country and the South East Asia region and Germany, with music performed by international new music groups Ensemble Mosaik and Hong Kong New Music Ensemble with a host of Malaysian musicians. The festival held concerts, workshops and a two-day conference at Segi University College Kota Damansara, and also included a late night electroacoustic concert at the Central Market Annexe and an art exhibition on the theme of the city. KLCMF 09 also held the region’s first ever Southeast Asian Young Composers Competition which received over 60 entries from Malaysia, the Philippines, Thailand, Indonesia, Singapore, Vietnam and Thailand. This article offers only a brief introduction to Malaysia’s growing contemporary music movement, in the absence of a full study on the subject. It also places emphasis on the western-based formal tradition, and on composers largely trained in this tradition, purely as a matter of focus on an area that is particularly lacking in information, notwithstanding the very notions of art music or western-based music is itself evolving rapidly today with the blurring of lines between western and eastern instruments and the smearing of borders between various genres such as avant-garde, minimalism, world music and jazz, amongst others.

Malaysian hip-hop

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

History#

Malaysian hip hop music started in the late 1980s and early 1990s with rap groups such as KRU, 4U2C, NICO (later Nico G), Naughtius Maximus, and HQA. Their so-called “rap music” was not accepted by the mainstream media which was dominated by government-owned stations; 4U2C gathered a cult following despite this while other acts had to change to a more pop-ish sound. In 1991, local rapper HQA released the classic album Baguvix. At around the same time, another group called Krash Kozz was the only group to introduce the new jack swing hip hop sound to Malaysian listeners, but they disbanded after their third album, New Jack the Street Beat was released. Nico G produced Malaysia’s first fully Malay-language fully rap album in 1993. Malaysian 1990s were trying times, when the pioneers of the local hip hop scene were trying hard to break the monotony of rock music, love ballads and pop sounds, which are staples in the Malaysian music scene, with the fans of these genres refusing to accept this new form of music. However, the younger generation, especially those in the urban areas, were more curious and receptive; they were more positively in-tuned to receive this new culture that was creating waves across the globe, which was further expedited and cemented by the introduction of records from American hip hop artists like the N.W.A, Brand Nubian, Gang Starr, Cypress Hill, and many others. In 1994, Naughtius Maximus, Malaysia’s first genuine hip hop collective, was formed by the merger of four hip hop groups - Whyness, Deceased, Reffugeez and Under Pressure. A year later, they release their only self-titled album which was touted as Malaysia’s first genuine hip hop album. However, not long after its release, Malaysian public broadcaster Radio Televisyen Malaysia (RTM) banned 9 of the album’s 13 tracks because it is too “westernized”. There were also groups from the underground scene that have established themselves such as The Rebel Scum, but it was Poetic Ammo that “made it big”. Yogi B’s repertoire in general pioneered the subculture of Malaysian Indian hip-hop which developed as a medium of grievances for the socioeconomically disenfranchised Indian community as well as expressions of cultural pride. One of the “powerhouses” of hip hop in Malaysia is Too Phat, which consists of Malique and Joe Flizzow. They were signed to EMI International’s Positive Tone division and produced their first hit album, Whutthadilly?, and their first single was “Too Phat Baby”. Hip-hop has come a long way in Malaysia as seen from its growing industry and the success it has garnered in the mainstream music landscape. In 2010, three of Malaysia’s biggest rappers—SonaOne, Joe Flizzow and Altimet—collaborated on a track called “Who Do It Better”. In the song, Altimet, who was wearing an Eric B & Rakim T-shirt, raps in Malay about being schooled by hip-hop’s earliest stars. In 2014, Joe Flizzow and SonaOne worked together on a track called “Apa Khabar” that talks about how far hip-hop has come in Malaysia. The track won two national music awards. That same year, SonaOne, was awarded the best song for “No More”, the first time an English song managed to clinch the title at the Malaysian Anugerah Industri Muzik.

Malaysian popular music

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Origin and influences#

Malaysian popular music has its origin in local musical traditions and popular European music styles. Some early musical styles, performers, and songs of kroncong and lagu-lagu rakyat (folk songs) were common to the musical cultures of Malaysia and Indonesia. Starting in the 1920s, local social dance and entertainment music such as asli, inang, joget, dondang sayang, zapin, and masri were adapted by bangsawan troupes to Anglo-American dance band arrangements but retained a local folk character, eventually developing into modern Malay popular music. Bangsawan troupes originated in the 19th century as a form of opera called wayang parsi that developed as an adaptation of Persian theatre brought to Malaya by performers from Bombay. They portrayed stories from diverse groups such as Indian, Western, Islamic, Chinese, Indonesian, and Malay, with music, dance, and costumed acting. The musicians were mostly local Malays, Filipinos, and Goans, and they often incorporated Chinese, Middle Eastern, and Indian elements in their songs. Western popular music has continually influenced Malaysian popular music since its early days. In the pre-World War II era, songs based on Anglo-American and Latin American dance music sung in Malay were popular. These songs were accompanied by dance bands that became known as orkes Melayu (Malay orchestra). The orkes Melayu, which influenced dangdut, was played at dance halls in amusement parks, bangsawan shows, and other festivities. Early singers were often Filipinos originally brought to Malaya by the British to form the Selangor State Band, a military band. In the 1960s and 1970s, influenced by Western rock bands, a modified rock combo called kugiran (an acronym of “kumpulan gitar rancak”, meaning rhythmic guitar bands) often accompanied singers. From the 1970s to the 1980s, a Western orchestral sound also became popular as musical accompaniment on albums, which is widely assumed to be due to the influence of RTM Orchestra.

Malaysian rock

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Rock kapak#

Rock kapak is considered one of the most iconic and popular types of rock in Malaysia. Emerging in the late 1980s, it is characterized by its heavy guitar riffs, melodic vocals, and often emotionally charged lyrics. Pioneering bands such as Search, Wings, XPDC, and helped define this genre, combining elements of classic rock with local musical influences. These bands enjoyed massive popularity throughout the 1990s and became a cornerstone of the Malaysian rock scene.

Malhun

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Origins#

The mǝlḥun first emerged as a pure literary creation, as a poetic genre today known in Morocco under the name of “qasida” (meaning “poem”) (Arabic: القصيدة) or “zajal” (Arabic: الزجل). It developed in the Tafilalet oases of southern Morocco in the fifteenth century before it spread to other parts of the Maghreb. The Mal’aba of Al-Kafif az-Zarhuni (ملعبة الكفيف الزرهوني) is considered to be the oldest known form of the Malhun, dating back to the Marinid dynasty era (14th century). The Mal’aba describes the union’s attempt of the Maghreb by the sultan Abu al-Hasan Ali ibn Othman. Written in Moroccan Arabic, it represents the origins of the modern Malhun. Ibn Khaldun mentions it at the end of his Muqaddimah as one of the main lyrical epics of the art called “Mala’ib” (ملاعب).

Malianteo

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Origins and characteristics#

The term malianteo originates from Puerto Rican youth slang and is derived from the word maleante (gangster). Malianteo originated in Puerto Rico and has been described as a successor to 1990s “underground” reggaeton. The subgenre has spread to other countries such as Peru, Malianteo sharply contrasts with the party-centered imagery commonly associated with mainstream reggaeton. Malianteo rappers often seek to project a strong and intimidating image. Cosculluela, Zaramay, Some mainstream reggaeton artists use malianteo to indicate they have remained “authentic”, having not forgotten their roots and being close to their fans.

Malipenga

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History#

First accounts of Malipenga dance were done after the end of the First World War. Its origins are linked to the system of military parades introduced by the British officers of the King’s African Rifles that fought against the Germans. Several studies consider malipenga as a variant of beni, like kalela and mganda. In Malawi, mganda and malipenga are names used interchangeably. After the end of the war, the veterans that returned home adopted British military and administration terminology and formed “governments” called “bomas” in the form of a Malipenga dance movement, with a strong influence of military parades and bands. Malipenga in Chitumbuka, Chitonga, and Cinyanja means “trumpets”. The location where dancing takes places is called “boma”.

Mallsoft

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

History#

Mallsoft originated in the early 2010s, with the release of Vacant Places by Hantasi in 2012 via self-released limited edition CD run of 100 copies. Initially, it was not characterized as a vaporwave release, but was tagged as mallsoft later in March 2013. Other artists, such as Cat System Corp, Disconscious, and 식료품groceries, would soon follow up with their releases of the mallsoft genre.

Characteristics#

Some artists simply slow down and reverberate 1980s pop songs to make them sound as if emanating from the overhead speakers in an empty or abandoned mall. YouTube videos frequently pair mallsoft tracks with images of malls, with an emphasis on those that appear to have been produced in the 1980s and 1990s. The visuals intend to invoke a sense of loneliness along with the cold nature of meandering through overly corporate mercantile environments.

Maloya

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

Description#

Compared to séga, which employs numerous string and wind European instruments, traditional maloya uses only percussion and the musical bow. Maloya songs employ a call-response structure.

Instruments#

Traditional instruments include: *roulér – a low-tuned barrel drum played with the hands *kayamb – a flat rattle made from sugar cane tubes and seeds *pikér – a bamboo idiophone played with sticks * sati – a flat metal idiophone played with sticks *bob – a braced, struck musical bow

Mambo (music)

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

Origins in Cuba#

The earliest roots of mambo can be traced to the danzón de nuevo ritmo (danzón with a new rhythm), later known as danzón-mambo, made popular by the charanga Arcaño y sus Maravillas conducted by flautist Antonio Arcaño. Orestes López and his brother Israel López “Cachao”, main composers of the Maravillas, were the first to denominate a final upbeat, improvised section of the popular Cuban danzón as a mambo. This innovation was a key step in the process of evolution of the danzón, which over the years had progressively lost its structural rigidity to the benefit of musicians and dancers alike. Prior to the danzón de nuevo ritmo, in 1910, José Urfé had first added a montuno (typical son improvised closing section) as a final part of his composition El bombín de Barreto. This was a swinging section consisting of a repeated musical phrase, which introduced some elements of the son into the danzón. During the mid-to-late 1930s, some members of the Arcaño group were saying vamos a mambear (“let’s mambo”) when referring to the montuno or final improvisation of the danzón. It was Arcaño’s cellist, Orestes López, who created the first danzón called “Mambo” (1938). In this piece, some syncopated motives taken from the son style were combined with improvised flute passages. Antonio Arcaño described the mambo as follows: “Mambo is a type of syncopated montuno that possesses the rhythmic charm, informality and eloquence of the Cuban people. The pianist attacks the mambo, the flute picks it up and improvises, the violin executes rhythmic chords in double stops, the double bass inserts a tumbao, the timbalero plays the cowbell, the güiro scrapes and plays the maracas rhythm, the indispensable tumba (conga drum) reaffirms the bass tumbao and strengthens the timbal.”

Mando (music)

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External links#

Goan culture article
Collection of Mandos

Mandopop

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Beginning of recording industry in China#

The Chinese-language music industry began with the arrival of the gramophone. The earliest gramophone recording in China was made in Shanghai in March 1903 by Fred Gaisberg, who was sent by the Victor Talking Machine Company (VTMC) in the U.S. to record local music in Asia. The recordings were then manufactured outside China and re-imported by the Gramophone Company’s sales agent in China, the Moutrie (Moudeli) Foreign Firm. The Moudeli Company dominated the market before the 1910s until the Pathé Records () took over the leading role. Pathé was founded in 1908 by a Frenchman named Labansat who had previously started a novelty entertainment business using phonograph in Shanghai around the beginning of the 20th century. The company established a recording studio, and the first record-pressing plant in the Shanghai French Concession in 1914, and became the principal record company to serve as the backbone for the young industry in China. It originally recorded mainly Peking opera, but later expanded to Mandarin popular music. Later other foreign as well as Chinese-own recording companies were also established in China. Early in the 20th century, people in China generally spoke in their own regional dialect. Although most people in Shanghai then spoke Shanghainese, the recordings of the pop music from Shanghai from the 1920s onwards were done in Standard Mandarin, which is based on the Beijing dialect. Mandarin was then considered as the language of the modern, educated class in China, and there was a movement to popularize the use of Mandarin as a national language in the pursuit of national unity. Those involved in this movement included songwriters such as Li Jinhui working in Shanghai. The drive to impose linguistic uniformity in China started in the early 20th century when the Qing Ministry of Education proclaimed Mandarin as the official speech to be taught in modern schools, a policy the new leaders of the Chinese Republic formed in 1912 were also committed to. Sound films in Shanghai which started in the early 1930s were made in Mandarin because of a ban on the use of dialects in films by the then Nanjing government, consequently popular songs from films were also performed in Mandarin.

Manele

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History#

Early references to the terms manea and manele appear in Romanian texts from the late 18th and early 19th century, during the period of Turkish suzerainty over the Romanian principalities, as a genre of dance music brought by Roma from Istanbul. In the 1960s a type of lăutarească manea appeared, by adding texts to the geampara, a type of lăutaresc genre of Turkish origin. The modern manele originated in the 1980s and early 1990s as translations and imitations of Turkish and Arabic songs. A well known Romanian manele singer, Adrian Copilul Minune traces it to a genre known as “turceasca” (Turkish). The genre has been rocked by accusations of plagiarism a number of times, with manele singers adapting popular songs from Greece, Bulgaria, Serbia and Turkey, without giving due credit. The accusations increased especially after the hit “De ce mă minți” (“Why are you lying to me?”) proved to be a mere cover of Despina Vandi’s song “M’agapas”/“Ah kardoula mou”. Further plagiarism accusations surrounded a well known manele singer’s track called “Supărat” (“Upset”) which was proven by third parties to be plagiarized from a Croatian song (Umoran by Jasmin Stavros). Although this song was not technically a manea, it furthered the controversy surrounding this music genre and Romania’s image. Most radio and television channels or media boycott manele music.

Mangue bit

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Origin#

The basis for Mangue started towards the end of Brazil’s military dictatorship at the beginning of the 1980s. The relaxation of censorship increased the availability of imported music, especially from the United States and the United Kingdom, leading to an increase of Brazilian-made rock music. In Recife, university students, including some of the founding characters of the movement, DJ Renato L. and Fred 04, started a radio show called Décadas, further facilitating the influence of rock music, especially underground music from England, leading to a large increase in Recife-based rock bands. Fred 04 notes that when Mundo Livre S/A began in 1984, poor economic circumstances and the lack of a music circuit in Recife, made it especially difficult for them, and similar music groups to find places to play. In the early 90s, Paulo Andre Pires, who would become Nação Zumbi’s impresario, began producing shows in Recife and invited both local and international bands to perform. Despite being both being cited as founders for the Mangue movement, Chico Science and Nação Zumbi (CSNZ), and Mundo Livre S/A have different influences and backgrounds. Chico Science was born to a lower-middle-class family in the neighborhood of Rio Doce in the city of Olinda. Having grown up being surrounded by regional folk music he also was heavily influenced by music of Recife such as maracatu, ciranda, embolada, and côco. Chico with his friend, Jorge du Peixe, joined several groups; Legião Hip Hop, Orla Orbe, and Loustal, before finding and meeting members of Lamento Negro, a bloco afro specializing in samba-reggae, in 1990 and forming what would be CSNZ. Lead singer Fred 04, described the idea for the band as “a fusion, a bridge between Johnny Rotten of the punk band. the Sex Pistols and Jorge Ben a pioneering Brazilian pop musician who fuses funk. soul. and samba and Moreira da Silva a samba musician from the 1930s and ’40s , understand? …. It would be a type of new wave but very Brazilian, really very Brazilian, that would be identified neither as rock nor as MPB an acronym for Música Popular Brasileira, “Brazilian Popular Music” “. When first hearing Chico Science in a mashup performance of Loustal and Lamento Negro, he thought the combination of the local/global juxtaposition, as well as the difference in geographical location, could launch what would become the Mangue movement into something that would highlight Recife’s diversity.

Manhan folk song

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

History#

The word Manhan originates from Mongolian, meaning touradon (sand beaches or desert), a landscape typical of Zhunger Banner (Ordos), which is also the birthplace of the Manhan Folk Song. In 1996, Zhunger Banner was named the “Hometown of Manhan Folk Song of China” by the Ministry of Culture of the People’s Republic of China. In 2008, Manhan folk song was listed as an Intangible Cultural Heritage. The Ordos were predominantly Mongols. The 19th century, while Jiaqing and Daoguang of Qing dynasty were emperors, witnessed the migration of Han Chinese into the Zhunger area where Mongolians gather, following an imperial edict that more people should inhabit that land. The population and economy (agriculture and animal husbandry) supplied material for folk arts and thus gave birth to Manhan Folk Song. Under the Qing dynasty, various Chinese novels were translated into Mongolian Traditionally, Ordos territory was divided into seven banners. The Manhan Folk Song is peculiar to Zhunger Banner for two major reasons. Many songs are named after places and persons there, such as “Shuangshanliang Song”, “Heyanliang Song”, “Heidaigou Song”, “Jvhetan Song”, and “Deshengxi Song”. For example, “The Coquettish Woman”, “A Playboy to Recruit Soldiers” are famous songs of the second kind. Manhan Folk Song singing styles include solo, love duet and unison. The love duet is the most popular. Usually the woman raises a question and the man answers, or vice versa. Lyrics can be improvised and often tell a story about daily life. When a man and a woman sing in duet with co-tune cavity, the man often employs falsetto. The songs are very popular in Zhunger Banner (Ordos). Dalate Banner (county) in Ordos and Tumote Banners (Huhhot and Baotou) of Inner Mongolia Autonomous Region in China.

Manila sound

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

Characteristics#

Manila sound is styled as catchy and melodic, with smooth, lightly orchestrated, accessible folk/soft rock, sometimes fused with funk, country, light jazz and disco. However, broadly speaking, it includes quite a number of genres (e.g. pop, vocal music, soft rock, folk pop, disco, soul, Latin jazz, funk etc.), and should therefore be best regarded as a period in Philippine popular music rather than as a single musical style. Manila sound typified the prevailing pop sound of the era, and drew its influences from the singer-songwriter genre of American music during the 1970s. A majority of Manila sound songs were composed in Tagalog or Taglish, although some were also written entirely in English. Sometimes, these songs included “juvenile lyrics”, and less frequently, “swardspeak” (aka “gayspeak”, i.e. homosexual slang) recast with novelty, comedic or satirical undertones.

Māori music

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

Waiata#

Songs (waiata) are sung solo, in unison, or at the octave. Types of songs include lullabies (oriori), love songs (waiata aroha), and laments (waiata tangi). Traditionally all formal speeches are followed by a waiata sung by the speaker and their group of supporters. Some of the smaller wind instruments are also sung into, and the sound of the poi (raupō ball swung on the end of a flax cord) provides a rhythmic accompaniment to waiata poi.

Mapalé

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History#

The Mapalé was born as a song and dance of fishermen’s work. It emerged on the Colombian Caribbean coast, thanks to the cultural influence of trafficked Africans who mainly came from Angola. When they managed to escape their captors, they founded quilombos or communities in remote places such as Palenque de San Basilio, where they affirmed their cultural heritage. Born in the Caribbean, it was introduced along the banks of the Magdalena River. It continues to be danced in descendants communities from Colombia to Panama to Peru and Ecuador. Originally the dance was performed at night and accompanied by the yamaró and quitambre drums, the palms of the hands, and singing. Subsequently, its theme emphasized sexual rejoicing and became more frenetic. The choreography evolved from its African essence, both in its simple costumes, and in the machete (a work tool used in fishing). Some definitions indicate that the rhythm comes from a festival because of the abundant fish. The Mapalé has strong movements for which you must have good body management and discipline.

Mapouka

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

External links#

Youle sabina via YouTube
Nigui Saff K dance – Dr Pitté via YouTube

Mappila songs

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History#

Mappila songs have been in circulation for over seven centuries, with the first dated work Muhyidheen Mala attributed to Qadi Muhammad in 1607 AD. Thereafter a large number of literary materials were produced in this medium; one authority has calculated that of these more than 1600 items, complete or fragmentary, were known by 1976. Over the centuries, various types of Mappila Pattu were composed, in accordance with the religious and political surroundings in the lives of the Mappilas of Malabar. The early centuries were primarily based on devotional works, while the colonial era was marked by the battle song genre called Padappattu. Various other categories also grew during the centuries with subjects ranging from romantic ballads and marriage songs to philosophical ideas, sea journeys and even flood ordeals.

Marabi

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External links#

South African Music: Marabi

Maracatu

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Maracatu Nação#

Maracatu nação (also known as maracatu de baque virado: “maracatu of the turned-around beat”), the most well-known of the maracatu genres, is an Afro-Brazilian performance genre practiced in the state of Pernambuco, mainly in the cities of Recife and Olinda. The term, often shortened simply to nação (“nation”, pl. nações), refers not only to the performance but to the performing groups themselves. Maracatu nação’s origins lie in the investiture ceremonies of the Reis do Congo (Kings of Congo), who were enslaved people who were granted leadership roles within the enslaved community by the Portuguese administration. When slavery was abolished in Brazil in 1888, the institution of the Kings of Congo ceased to exist. Nonetheless, nações continued to choose symbolic leaders and evoke coronation ceremonies for those leaders. Although a maracatu performance is secular, traditional nações are grouped around Candomblé or Jurema (Afro-Brazilian religions) terreiros (bases), and the principles of Candomblé infuse their activities. Traditional nações perform by parading with a drumming group of 80–100, a singer and chorus, and a coterie of dancers and stock characters including a king and a queen. Dancers and stock characters dress and behave to imitate the Portuguese royal court of the Baroque period. The performance also enacts pre-colonial African traditions, like parading the calunga, a doll representing tribal deities that is kept throughout the year in a special place in the nação’s headquarters. The calungas, usually female, are traditionally made of either wax and wood or of cloth. They may have clothing made for them in a similar Baroque style to the costumes worn by the other members of the royal court. The calunga is sacred, and carrying this spiritual figurehead of the group is a great responsibility for the female Dama de Paço (Lady-in-Waiting) of the cortège. The musical ensemble consists of alfaia (a large wooden rope-tuned drum), gonguê (a metal cowbell), tarol (a shallow snare drum), caixa-de-guerra (or “war-snare”), abê (a gourd shaker enveloped in a net of beads), and mineiro (a metal cylindrical shaker filled with metal shot or small dried seeds). The song form is call and response between a solo singer and (usually) a female chorus. Today there are around 20 nações operating in the cities of Recife and Olinda. Although several have an unbroken line of activity going back to the 19th century, most have been set up in recent decades. Well-known nações include Estrela Brilhante, Leão Coroado, and Porto Rico. Each year they perform during the Carnival period in Recife and Olinda. Maracatu Nação Pernambuco, while not a traditional maracatu, was primarily responsible for introducing the genre to overseas audiences in the 1990s. The genre has inspired the establishment of performing groups in a number of cities outside Brazil, including Lisbon, Toronto, Quebec City, New York City, Austin, Washington, D.C., Cologne, Berlin, Hamburg, Vienna, Lyon, Stockholm, London, Edinburgh, Brighton, Madison, Oakland, San Diego, Seattle, Portland, Manchester, Bristol, Oxford, Melbourne, Brisbane, and Madrid.

Maracatu Nação

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History#

The oldest record of Maracatu Nação dates back to 1711, but the year of its origin is uncertain. However, it is clear that it originated in Pernambuco and has transformed ever since. There are Maracatu Nação groups all over Brazil, as well as abroad, especially in Europe and North America.

Parade#

The maracatu parades are an example of the ancient African courts, since the blacks, when kidnapped and sold into slavery, carried their titles of nobility back to Brazil. The parade is formed by a flag or banner opening the wings. At the back is the dama do paço, who carries the mystical calunga, representing all the group’s spiritual entities. Respectively, the iabás (popularly called baianas) follow and, shortly afterwards, the court, the king and queen of the maracatu, titles handed down hereditarily. This wing represents the nobility of the Nação. On each side are the slaves or catirinas, usually young women wearing chiton dresses. Keeping the rhythm of the parade, the batuqueiros follow. The instruments are diverse: alfaias, boxes or taróis, ganzás and abês, these led by women who are at the head of the group and who make their playing a spectacle in itself.

March (music)

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

Characteristics#

Marches can be written in any time signature, but the most common time signatures are , (alla breve , although this may refer to 2 time of Johannes Brahms, or cut time), or . However, some modern marches are being written in or time. The modern march tempo is typically around 120 beats per minute. Many funeral marches conform to the Roman standard of 60 beats per minute. The tempo matches the pace of soldiers walking in step. Both tempos achieve the standard rate of 120 steps per minute. Each section of a march typically consists of 16 or 32 bars, which may repeat. Most importantly, a march consists of a strong and steady percussive beat reminiscent of military field drums. A military music event where various marching bands and units perform is called tattoo. Marches frequently change keys once, modulating to the subdominant key, and occasionally returning to the original tonic key. If it begins in a minor key, it modulates to the relative major. Marches frequently have counter-melodies introduced during the repeat of a main melody. Marches frequently have a penultimate dogfight strain in which two groups of instruments (high/low, woodwind/brass, etc.) alternate in a statement/response format. In most traditional American marches, there are three strains. The third strain is referred to as the “trio”. The march tempo of 120 beats or steps per minute was adopted by the Napoleonic army in order to move faster. Since Napoleon planned to occupy the territory he conquered, instead of his soldiers carrying all of their provisions with them, they would live off the land and march faster. The French march tempo is faster than the traditional tempo of British marches; the British call marches in the French tempo quick marches. Traditional American marches use the French or quick march tempo. There are two reason for this: First, U.S. military bands adopted the march tempos of France and other continental European nations that aided the U.S. during its early wars with Great Britain. Second, the composer of the greatest American marches, John Philip Sousa, was of Portuguese and German descent. Portugal used the French tempo exclusively—the standard Sousa learned during his musical education. A military band playing or marching at the traditional British march tempo would seem unusually slow in the United States. March music originates from the military, and marches are usually played by a marching band. The most important instruments are various drums (especially snare drum), horns, fife or woodwind instruments and brass instruments. Marches and marching bands have even today a strong connection to military, both to drill and parades. March music is often important for ceremonial occasions. Processional or coronation marches, such as the popular coronation march from Le prophète by Giacomo Meyerbeer and the many examples of coronation marches written for British monarchs by English composers, such as Edward Elgar, Edward German, and William Walton, are all in traditional British tempos.

Marfa (music)

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

Origin#

Marfa is a Yemeni Arabic word used for the kettledrum. Due to the Hadhrami people’s influence on the culture of the Ethiopian Siddis, the word marfa became a symbol of the music played using the kettledrum. Kettledrums are replaced with Handi kettledrums

Forms#

Marfa music is created from three different musical rhythmic beats also called teen maar taal. The music is performed only by men, whereas dances and jiggling are common among both men and women. Popular marfa rhythms include: * sewari * bamb sheklah * ya abu bakar-ya abu salah * salaam almukallah * jumbali zimbali * benazeer benazeer * ahlan wasahlan

Mariachi

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

Name#

The origin of the word is disputed, but prominent theories attribute it to deep roots. One states that it comes from the name of the wood used to make the dance platform. Another states that mariachi comes from the indigenous name of a tree called pilla or cirimo; yet another states that it came from an image locally called María H (pronounced Mari-Ache). It is possible to use the terms mariachi and ranchera interchangeably. Although they have different meanings, one can describe mariachi music as ranchera music and vice versa. Mariachi refers to a Mexican folk music tradition within a larger genre called ranchera music (music from the ranch). Mariachi refers to many things: a certain body of repertoire, a musical style, a robust singing style, a solo singer or performer in a charro suit, and/ or an ensemble. The oldest references to mariachi documented are more than 100 certificates of baptisms, burials and marriages in which the Mariachi ranch appears, between 1832 and 1850. It was located near the river Santiago, in Nayarit. The word mariachi was once thought to have derived from the French word (‘marriage’), dating from the French intervention in Mexico in the 1860s, related to the music’s appearance at weddings. This was a common explanation on record jackets and travel brochures but was disproven with the appearance of documents that showed that the word existed before this invasion: In 1981, a letter written by Catholic priest Cosme Santa Ana to the archbishop in 1852 was discovered in the archives of a church, where he complains about the noise as well as the drinking and gambling antics of the “mariachis,” long before the French occupation.

Marinera

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

History#

The origins of the dance can be traced to Spanish, Moorish, Andean, and Romani people rhythmic influences. Although the dance had informally been around in Peru since the colonial era, it was formally recognized as “Marinera” in honor of the Navy of Peru, or the Marina de Guerra del Peru in 1879 during the War of the Pacific. According to the Peruvian historian Rómulo Cúneo y Vidal, the Zamacueca was itself a dance of rest during the era of the Inca Empire. Thus, coming from such a far natively Peruvian background, the dance is itself simply a derivation of an ancient Peruvian dance. Ancient pottery dating from the Pre-Columbian era called huacos depicted people resting in Zamacueca positions. The first Marinera to be written in musical notation was La Concheperla composed by Abelardo Gamarra Rondó and José Alvarado, by Rosa Mercedes Ayarza de Morales in 1894…

Maroon music

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

Marrabenta

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

Etymology#

The name may be derived from the Portuguese word rebentar (arrabentar in the local vernacular), which means “to break”. This may refer to the cheap musical instruments used in this music, which are often played energetically until they fall apart. Vocalist Dilon Djindji claims this refers to the energetic performances he delivered while on tour across Mozambique, as the intensity and vitality of his shows led audiences to believe that he was ‘breaking’ the emotional limits of those in attendance. The musicians who played Marrabenta came to be called arrabenta. Over time, the name Marrabenta has grown in popularity and continues to be used today.

Martial industrial

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

History#

Laibach were one of the first bands to incorporate military marches in their industrial music and display politically provocative aesthetics. Front 242 was also known for adding a futuristic military influence to their music too. Boyd Rice and Douglas P., the noise and neofolk pioneers, respectively, adopted such attitude at several occasions to its extreme. Allerseelen, either through ritual hymns or alchemical folklore followed in the same vein. Similarly militant but less provocative and more esoteric were the heroic choral outputs of ACTUS. Les Joyaux de la Princesse developed the genre further, offering a particularly mesmerizing style of dark ambient intermingled with historical samples, speeches and interbellum chansons. The Moon Lay Hidden Beneath a Cloud / Der Blutharsch enriched this tradition, adding darkwave medieval melodies to the mix. Finally, In Slaughter Natives and Puissance expanded the genre towards orchestral and neoclassical paths, respectively.

Martial music

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

March music#

The notion of march music began to be borrowed from the Ottoman Empire in the 16th century. The Ottomans were believed to have introduced the first military bands in the thirteenth century, called mehter or Janissary bands. The music is characterized by an often shrill sound combining bass drums, horns (boru), bells, the triangle and cymbals (zil) and several other traditional instruments. The sound associated with the mehterân exercised an influence on European classical music, with such composers as Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven all writing compositions inspired by or designed to imitate the Ottoman music.

Mashup (music)

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

History#

The 1967 Harry Nilsson album Pandemonium Shadow Show features what is nominally a cover of the Beatles’ “You Can’t Do That” but actually introduced the “mashup” to studio-recording. Nilsson’s recording of “You Can’t Do That” mashes his own vocal recreations of more than a dozen Beatles songs into this track. Nilsson conceived the combining of many overlaying songs into one track after he played a chord on his guitar and realized how many Beatles songs it could apply to. This recording has led some to describe Harry Nilsson as the inventor of the mashup. Other recordings regarded as early examples of, or forerunners to, the mashup include Buchanan and Goodman’s “The Flying Saucer” (1956), Marshall McLuhan’s The Medium Is the Massage (1967), the John Benson Brooks Trio’s Avant Slant (1968), Grandmaster Flash’s “The Adventures of Grandmaster Flash on the Wheels of Steel” (1981), Paul McCartney’s “Tug of Peace” (1983), the “Hip Hop Mix” of Climie Fisher’s “Rise to the Occasion” (1987), Jive Bunny and the Mastermixers’ Jive Bunny: The Album (1989) and Coldcut’s Journeys by DJ: 70 Minutes of Madness (1995). Although described as a medley in its title, “Do It Again Medley with Billie Jean” by Italian music project Club House could be described as one of the first ever commercially released mashups in 1983. The song combines elements of “Do It Again”, a 1973 top 10 hit in the US and Canada by Steely Dan, with Michael Jackson’s number one hit from earlier in the year, “Billie Jean”. It reached number 11 in the UK, and the top 10 in Belgium, Ireland and the Netherlands. Another early mashup appeared in 1985, when the Tubes released their studio album, Love Bomb. The second side of the album contained the track “Theme from a Wooly Place”, which combined the tunes “Wooly Bully” in one channel and “Theme from A Summer Place” in the other. In 1990, Norman Cook reached number one in the UK Singles Chart with his act Beats International with “Dub Be Good to Me”, essentially a mashup of re-recorded vocals of the SOS Band’s “Just Be Good to Me” with the Clash’s “The Guns of Brixton”, making it the first mashup to achieve significant mainstream success. The 1990, John Zorn album Naked City features a version of Ornette Coleman’s “Lonely Woman” set over the bassline of Roy Orbison’s “Pretty Woman”. In 1994, the experimental band Evolution Control Committee released what many consider to be the first modern mashup tracks on their hand-made cassette album, Gunderphonic. These “Whipped Cream Mixes” combined a pair of Public Enemy a cappellas with instrumentals by Herb Alpert and the Tijuana Brass. First released on home-made cassettes in early 1994, it was pressed on 7" vinyl in 1996 by Eerie Materials. Thanks to radio play by BBC Radio One DJ John Peel in 1998, the single was re-released in 1999 by Pickled Egg Records in the UK. This UK exposure directly predated the burgeoning mashup scene in the UK. According to Neil Strauss in The New York Times, “many musical observers trace the official beginnings of the British bootleg scene to The Evolution Control Committee, which in 1993 mixed a Public Enemy a cappella with music by Herb Alpert.” Pre-empting the rise of the mashup in the 2000s, German trance act Fragma reached number one in the UK and the top 10 in Australia and across Europe with “Toca’s Miracle”, a mashup of their previous single “Toca Me” and Coco Star’s 1996 single “I Need a Miracle”, initially created by British DJ Vimto in 1999. The mashup movement gained momentum again in 2001 with the release of the 2 Many DJs album As Heard on Radio Soulwax Pt. 2 by Soulwax’s Dewaele brothers, which combined 45 different tracks; the same year a remix of Christina Aguilera’s “Genie in a Bottle” was also released by Freelance Hellraiser, which coupled Aguilera’s vocals with the guitar track of “Hard to Explain” by New York’s the Strokes, in a piece called “A Stroke of Genie-us”. In 2001, English producer Richard X had created a bootleg mashup of Adina Howard’s “Freak Like Me” and Tubeway Army’s “Are “Friends” Electric?”, titled “We Don’t Give a Damn About Our Friends”, which became a successful underground dance track under his alias Girls on Top. He could not get permission to use the original vocals to release the mashup commercially, so he enlisted the English girl group Sugababes to re-record the vocals. It was released in April 2002, giving the group their first UK number one single, and drawing further recognition, acclaim and mainstream success for the mashup genre. Richard X had continued success with two more mashups reaching the UK top 10: “Being Nobody” (number 3), with pop group Liberty X combining vocals of Chaka Khan and Rufus’s “Ain’t Nobody” with the Human League’s “Being Boiled”, and “Finest Dreams” (number 8), featuring American vocalist Kelis singing the vocals from the SOS Band’s “The Finest” over an instrumental of the Human League’s “The Things That Dreams Are Made Of”. At the 2002 Brit Awards held on 20 February 2002, Australian pop singer Kylie Minogue performed a mash-up version of her number one hit “Can’t Get You Out of My Head”, combined with New Order’s song “Blue Monday”. The live performance is cited as one of the first by a mainstream recording artist to utilise a mashup, and was ranked at number 40 on The Guardians 2011 list of 50 Key Events in the History of Dance Music. The mashup, titled “Can’t Get Blue Monday Out of My Head”, was later released as the B-side to “Love at First Sight” and was included on Minogue’s 2008 remix album Boombox. In the years that followed, mash-ups became more widely used by major artists in their live performances, particularly to update previous material to meld with the themes and sounds of their more recent work. For example, on her 2006 Confessions Tour, Madonna incorporated elements of the Trammps’s “Disco Inferno” in the performance of her 2000 hit “Music”, to assist the song in blending in with the tour’s disco theme. On her 2008 Sticky & Sweet Tour, she performed a mash-up of her 1990 hit “Vogue” with the instrumental of her recent single “4 Minutes”, to update it with the more urban sound of her Hard Candy album. In August 2003, Madonna’s single “Hollywood” was remixed with “Into the Groove” and performed with Missy Elliott under the title “Into the Hollywood Groove” as part of a promotional campaign for clothing retailer GAP, prompting criticism for exploiting the underground culture of the mash-up for commercial gain. Launched in San Francisco in 2003, Bootie was the first recurring club night in the United States dedicated solely to the burgeoning art form of the bootleg mashup, and as of 2019 hosted monthly parties in cities around the globe, including Los Angeles, Paris, Boston, Munich, and New York City. The party’s slogan, “Music for the A.D.D. Generation” also inspired the creation of “A.D.D”, Israel’s first mashup-dedicated party. The Best of Bootie mashup compilation series is produced by Bootie creators A Plus D. Released every December since 2005, the compilations are annual Internet sensations, with each album requiring 5,000 GB+ of download bandwidth. Even though mashups mostly remained underground and barely got noticed aside from a few exceptions (notable examples include DJ Cummerbund and Bill McClintock ), people have never stopped remixing other artists’ music without getting their prior agreement. It’s been increasingly difficult to get noticed in the music industry due to a combination of relative obscurity and an increasing difficulty in keeping them available online due to automatic copyright detection (through Content ID) and cease and desist orders from the original artists.

Maskandi

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

Origins#

The music originated in “female gourd-resonated monochord songs that were transferred and given an acoustic life on guitar”. The roots of what is today called maskandi have been traced back to non-guitar based forms of music in the 1920s, with the shift to guitar beginning in Rhodesia in the 1930s with a group of musicians inspired by the music in Western films. It was then developed by migrant workers in South Africa.

Masonic music

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

References#

Notes Sources *Abert, Herman, tr.Stewart Spencer (2007). W. A. Mozart. New Haven and London: Yale University Press. * Hill, Cecil (1980). “Masonic music”, in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, vol. 11, 753–756 * Nettl, Paul (1994). The Beethoven Encyclopedia. New York: Citadel Press. * Sichrovsky, Heinz (2009). Liner notes to Mozart, W.A.: Masonic Music (Complete), Naxos Records CD 8.570897.

Mass (music)

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

Middle Ages#

The earliest musical settings of the mass are Gregorian chant. The different unchanging portions of the mass, collectively known as the Ordinary, came into the liturgy at different times, with the Kyrie probably being first (perhaps as early as the 7th century) and the Credo being last (it did not become part of the Roman mass until 1014). In the early 14th century, composers began writing polyphonic versions of the sections of the Ordinary. The reason for this surge in interest is not known, but it has been suggested that there was a shortage of new music since composers were increasingly attracted to secular music, and overall interest in writing sacred music had entered a period of decline. The Ordinary then would have music which was available for performance all the time. Two manuscripts from the 14th century, the Ivrea Codex and the Apt Codex, are the primary sources for polyphonic settings of the Ordinary. Stylistically, these settings are similar to both motets and secular music of the time, with a three-voice texture dominated by the highest part. Most of this music was written or assembled at the papal court at Avignon. Several anonymous complete masses from the 14th century survive, including the Tournai Mass; however, discrepancies in style indicate that the movements of these masses were written by several composers and later compiled by scribes into a single set. The first complete mass we know of whose composer can be identified was the Messe de Nostre Dame (Mass of Our Lady) by Guillaume de Machaut in the 14th century.

Mass song

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

Characteristics#

Musical characteristics of a mass song ensured easy comprehension and performance by non-professional “masses”. A mass song is typically an alternating sequence of four-line stanzas and refrains in a non-sophisticated musical form which employed most common vocal register. Typically these songs are of optimistic or heroic character, written in the form of a march. A significant number of mass songs were film soundtracks and later on TV movie soundtracks, sports songs and patriotic marches written for important anniversaries.

Math rock

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

History and precursors#

The albums Red and Discipline by King Crimson, as well as Spiderland by Slint, are generally considered seminal influences on the development of math rock. The Canadian punk rock group Nomeansno (founded in 1979 and inactive as of 2016) have been cited by music critics as a “secret influence” on math rock, predating much of the genre’s development by more than a decade. An even more avant-garde group of the same era, Massacre, featured the guitarist Fred Frith and the bassist Bill Laswell. With some influence from the rapid-fire energy of punk, Massacre’s influential music used complex rhythmic characteristics. Black Flag’s 1984 album, My War, also included unusual polyrhythms. Two songs on Yes’ album Fragile (1971) have drawn attention – Paul Lester of Classic Rock writes that “Five Per Cent for Nothing” finds drummer Bill Bruford “inventing math rock”, while “Heart of the Sunrise” was described by Pitchforks Chris Dahlen, Dominique Leone and Joe Tangari as “a deftly constructed proto math-rock epic”. Polvo, Don Caballero, Slint, Bitch Magnet, Bastro and Ruins are the genre’s pioneers. Examples of modern math rock bands include Delta Sleep, Covet, Tricot, and TTNG.

Mathcore

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

Characteristics#

Mathcore has been referred to as the “nerdy fusion cousin” of metalcore by Ultimate Guitar. According to the staff of Metal Hammer, the genre is akin to “the sound of metal being twisted into startling new shapes.” but Loudwire stated that the genre is “almost indistinguishable from progressive metal.”

Instrumentation#

Mathcore typically features irregular time signatures, polymeters, syncopations and tempo changes, while retaining the intensity of hardcore. In the words of The Dillinger Escape Plan bassist Liam Wilson, their “choppy rhythms that people get kind of tongue-twisted on” are “Latin rhythms” mixed with the speed and “stamina” of heavy metal, drawing a parallel between them and John McLaughlin’s use of Eastern sounds within a jazz context. Most pioneering mathcore drummers had jazz, orchestral or academic backgrounds, including Dazzling Killmen’s Blake Fleming, Craw’s Neil Chastain, Coalesce’s James Dewees, Botch’s Tim Latona, The Dillinger Escape Plan’s Chris Pennie, and Converge’s Ben Koller. As with the rhythm section, the guitars perform riffs that constantly change and are seldom repeated after one section. Early bands were almost completely atonal with the guitars or all the instruments playing polyphonic dissonance. In a 2016 article, Ian Cory of Invisible Oranges described mathcore’s emphasis on technical complexity as “the means by which” they attain the aggressiveness of punk, “but never the end unto itself”, distinguishing it from “the overflowing excess” of progressive metal.

Mawwal

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

Etymology#

Mawwal is an Arabic word that means “affiliated with”, “associated with,” or “connected to”. The verb is waala (). It is measure 3 of the root verb “Walia” (), which means to follow, be affiliated with, support, or sponsor. Originally the verbal noun has a Yaa in the definite form but it loses it when the word is indefinite.

History#

There are many preferences regarding the origin of the mawwal, one of these is the one al-Suyuti attributes it in the book Sharh al-Muwashah to the era of Harun al-Rashid. When he insisted on his concubines to eulogize his minister, Jaafar al-Barmaki, after his brutality against him, then a concubine named al-Mawlia, from which “mawwal” is derived, was the one who eulogized him. Another preference is Safi al-Din al-Hilli in his book al-Mawwal al-Baghdadi in which he attribute it to the people of Wasit in Iraq. Also, Safi al-Din al-Hilli says that the mawal is from the simple sea sounding on the base of the wide sea, and the mawal continued in this way until the eighth century AH, when the mawwal appeared using the Iraqi dialect of the vernacular and the subsequent branching of the mawal in the eleventh century into three other types, namely The quatrain and The lame and Numani.

Maxixe (dance)

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

External links#

Example of dance in YouTube
The Maxixe

Maya music

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

Instruments#

Important archaeological evidence of pre-Columbian Maya aerophones has been found in locations such as Tabasco, Campeche, and Jaina. Clay whistles were found in Jaina from burial sites. These whistles have mouthpieces in quadrangular, rectangular, ellipsoidal and conical shapes. Several whistles are shaped like human faces, and some are shaped like animals representing Mayan deities. Aside from wind and percussive instruments there was not a wide variety of instruments used in classic Mayan music, as stringed instruments such as guitars were not invented in the region. Deceased rulers were often buried with musical instruments to help them pass through the underworld and to eventually be reborn.

Mazurka

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

History#

The folk origins of the Mazurka are three Polish folk dances which are: * mazur, most characteristic due to its inconsistent rhythmic accents, * slow and melancholic kujawiak, * fast oberek. The mazurka is always found to have either a triplet, trill, dotted eighth note (quaver) pair, or an ordinary eighth note pair before two quarter notes (crotchets). In the 19th century, the form became popular in many ballrooms in different parts of Europe. Mazurka as a term denoting a music piece originated in France, and is connected to the name of the mazur dance. Until the mid-20th century, Mazur also signified an inhabitant of Mazovia, while Mazurka meant a Mazovian woman in the past. Mazurek is a diminutive and masculine form of Mazur. In relation to dance, all three words (mazur, mazurek, mazurka) underline the connection to Mazovia. Several classical composers have written mazurkas, with the best known being the 59 composed by Frédéric Chopin for solo piano. In 1825, Maria Szymanowska wrote the largest collection of piano mazurkas published before Chopin. Henryk Wieniawski also wrote two for violin with piano (the popular “Obertas”, Op. 19), Julian Cochran composed a collection of five mazurkas for solo piano and orchestra, and in the 1920s, Karol Szymanowski wrote a set of twenty for piano and finished his composing career with a final pair in 1934. Alexander Scriabin, who was at first conscious of being Chopin’s follower, wrote 24 mazurkas. Chopin first started composing mazurkas in 1824, reaching full maturity by 1830, the year of the November Uprising, a rebellion in Congress Poland against Russia. Chopin continued composing them until 1849, the year of his death. The stylistic and musical characteristics of his mazurkas differ from the traditional variety because Chopin in effect created a more complex type of mazurka, using classical techniques, including counterpoint and fugue. By including more chromaticism and harmony in the mazurkas, he made them more technically interesting than the traditional dances. Chopin also tried to compose his mazurkas in such a way that they could not be used for dancing, so as to distance them from the original form. However, while Chopin changed some aspects of the original mazurka, he maintained others. His mazurkas, like the traditional dances, contain a great deal of repetition: repetition of certain measures or groups of measures; of entire sections; and of an initial theme. The rhythm of his mazurkas also remains very similar to that of earlier mazurkas. However, Chopin also incorporated the rhythmic elements of the two other Polish forms mentioned above, the kujawiak and oberek; his mazurkas usually feature rhythms from more than one of these three forms (mazurek, kujawiak, and oberek). This use of rhythm suggests that Chopin tried to create a genre that had ties to the original form, but was still something new and different. The mazurka began as a dance for either four or eight couples. Eventually, Michel Fokine created a female solo mazurka dance dominated by flying grandes jetés, alternating second and third arabesque positions, and split-leg climactic postures.

MA on Music Theory Print

Macedonian hip-hop

Background#

Madchester

Pre-Madchester#

Madih nabawi

Description and subgenres#

Madrigal

Origins and early madrigals#

Madrigal (Trecento)

History#

Mahāgīta

History#

Pre-colonial origins#

Mahori

History#

Mahraganat

History#

Mainstream hardcore

History#

Mainstream jazz

Jazz in the mainstream#

Mainstream rock

Format background#

Maithili music

Religion and Culture#

Mákina

Early 1990s: Origins#

Mid-1990s: Breakthrough and success#

Makossa

Etymology#

Malagueña (genre)

History and Etymology#

Malagueñas (flamenco style)

Origins#

Malawian hip-hop

Early history#

Malay gamelan

Terminology#

Malaysian contemporary music

Background#

Malaysian hip-hop

History#

Malaysian popular music

Origin and influences#

Malaysian rock

Rock kapak#

Malhun

Origins#

Malianteo

Origins and characteristics#

Malipenga

History#

Mallsoft

History#

Characteristics#

Maloya

Description#

Instruments#

Mambo (music)

Origins in Cuba#

Mando (music)

See also#

External links#

Mandopop

Beginning of recording industry in China#

Manele

History#

Mangue bit

Origin#

Manhan folk song

History#

Manila sound

Characteristics#

Māori music

Waiata#

Mapalé

History#

Mapouka

See also#