MU on Music Theory Print

Mugham

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

History#

The Uighurs in Xinjiang (新疆) call this musical development muqam, the Uzbeks and Tajiks call it maqom (or shasmaqom), while Arabs call it maqam and Persians dastgah. The meta-ethnicity and intricate complexity of this music also becomes apparent in the fact that terms such as mugham, maqam, or dastgah, omnipresent in oriental music, can mean one thing in the Turkish tradition, while the same term in the music of Uzbekistan takes on quite another meaning, and yet another in the classical Arabic tradition. So, in one culture mugham may be related to a strictly fixed melodic type, while in another it is only the cadences, the melody endings that are associated with it. In a third culture it may only correspond to a specific type of tone scales. Uzeyir Hajibeyov asserted that the mugham tradition disintegrated around the end of the fourteenth century during the Mongol rule. Afterward, each ethnic group in the area reconstructed its own system from the remnants. In the 16–17th centuries the art of mugham was passing through the development process as a professional music of the palace. In this period a dastgah form starts to develop in the structure and forms of mugham. New colors and shades as well as tasnifs developed in mugham performance. The music events were held in most regions of today’s Azerbaijan in the 19th century and mugham was performed at these events. In the 19th century famous French writer Alexandre Dumas who attended the ceremony in Shamakhy, wrote in his works about his trip saying he was greatly impressed by mugham that sounded there. In the early decades of the 20th century, a member of native intelligentsia, Uzeyir Hajibeyov, the author of the first national opera Leyli and Majnun, also formulated the theoretical basis of Azerbaijani mugham in his work The Principles of Azerbaijan Folk Music. Famous Azerbaijani composer Gara Garayev and Fikrat Amirov also made a great contribution to the development of the art of mugham through creating the mugham symphony. Hajibaba Huseynov was credited as a key figure in the popularization of mugham, and developing talented mugham khanandas such as Alim Qasimov, Aghakhan Abdullayev and Gadir Rustamov. As of 1985, Agdam Mugham School functions in Azerbaijan, which produced the “Karabakh Nightingales” mugham ensemble. Azerbaijan also has a great tradition of composers and musicians of western classical music. Uzeyir Hajibeyov with his Leyli and Majnun created the genre of mugham-opera. Fikret Amirov (1922–1984) was the first composer of symphonic mughams, namely Shur, Kurd Ovshari, and Gulistan Bayati Shiraz. Azerbaijani composers created a plethora of compositions that fused mugham and traditional European genres. Among those, for example, Vasif Adigozal’s mugham oratorio Karabakh Shikastasi. Such works are obviously very different from traditional mugham formations but in fact incorporate many mugham idioms. On the level of musicians, there remains a strict separation between classical and “traditional” music in terms of training. Even if the musicians are educated at the same conservatorium they stick to one camp. In 2005, International Center of Mugham created under the decree of Azerbaijani president Ilham Aliyev. In August of same year, on the territory of the Baku Boulevard, Ilham Aliyev with his spouse, the Goodwill Ambassador of UNESCO Mehriban Aliyeva and UNESCO Director General Koichiro Matsuura, laid the first stone at the base of the complex. Opening of the complex took place on December 27, 2008. The total area of center is 7500 meters squared, which also includes concert saloon of 350 people, recording studio, rooms for rehearsals. In the foyer, visitors can find busts of famous mugham performers, also a rich collection of musical instruments.

Muiñeira

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

Characteristics of the muiñeira#

It is a dance of playful character, with a social component expressing gallantry. It is somewhat more permissive of improvisation than other folk dances; improvised in fiestas and exhibitions. Some interpreters have added increased complexity to its traditional choreography. It is played at a fast tempo. Dancers often form a circle or parallel threes. Often jumps are incorporated, synchronized with percussion accompaniment: a snare-drum known as the tamboril (a wooden natural-skinned drum with gut snares), and the bombo, a bass drum. Examples of the genre recommended by native Galician commentators include ’ ’ Muiñeira de Chantada’ ’ and to ’ ’ Muiñeira de Lugo’ ‘.

Muisca music

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

Muisca music#

The music of the Muisca was produced in a magic-religious sense; music was played during religious rituals where the Muisca people gathers to worship the Sun (Sué), the Moon (Chía) and other deities. The music served as hope for the guecha warriors and to relieve the pain of the dead. According to the Spanish chroniclers, the music of the Muisca was sad and monotonous. The people could play music during events that took a full month to please their gods where they sang about the wars fought and begged the gods for victory in future wars. Everytime a war was fought, the Muisca danced and sang. When the Muisca were constructing their houses (bohíos), they sang and danced and moved the wood for their houses according to the rhythm of the music. They dressed up with golden diadems and drank a lot of chicha. During these rituals they were accompanied by their god of construction and drunkenness, Nencatacoa.

Muliza

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

History#

It was born in the 18th century during the Viceroyalty of Peru. The Spanish crown made use of the mines in Pasco, making mining one of the pillars of the colonial economy, determining economical, social and political change. It seems that their origin can be found in the mining business and the transport of minerals from Cerro de Pasco to the Argentinian ports. This function was carried out by muleteers, who transported the minerals by mule. The name of the dance was derived from this line of work. Says Rolando Casquero Alcántara: Similarly, Dionicio Rodolfo Bernal affirms that Currently, muliza is linked to Carnival.

Mumble rap

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

Etymology and characteristics#

The earliest known usage of the term “mumble rap” was in 2014 by VladTV battle rap journalist Michael Hughes, in an interview with battle rapper Loaded Lux about the style’s emergence in mainstream hip-hop. There is disagreement over who first rapped in such a style, although its creation has been attributed to rappers such as Lil Wayne, Gucci Mane, Chief Keef, Young Thug, Rich Homie Quan, Migos, Sahbabii, Playboi Carti, Ken Carson, and most notably Future, whose 2011 single “Tony Montana” is often cited as the first mumble rap song; however, there have been sources dating as far back as October 2011 of even older releases by other artists. Artists such as Das EFX and Fu-Schnickens may have rapped in a similar style years before the term was created. The term was first used to describe rappers whose lyrics were unclear, but the use of the term has expanded to include rappers that some critics claim “generally put little emphasis on lyricism or lyrical quality”. Mumble rap is used mostly as a derogatory term, in reference to a perceived incoherence of the artist’s lyrics. Oscar Harold of the Cardinal Times stated that “mumble rap” is misleading, arguing that the rappers such as Future rely more upon pop melodies and vocal effects, such as auto tune, than mumbling. Justin Charity, a staff writer at The Ringer, argues that the term is unnecessarily reductive and does not in fact refer to one specific type of rapping. He wrote that many of the artists often scapegoated in conversations about the subgenre do not actually mumble, which “is the red flag that the term isn’t a useful subcategorization.” There are disputes as to whether some rappers are mumble rappers or not. There is also conflation between mumble/SoundCloud rap and other new generation-led evolutions or niches such as trap and cloud rap. The Cleveland Plain Dealers Troy L. Smith writes that 21 Savage unfairly gets classified as a mumble rapper.

Muqam

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

Twelve muqams#

The twelve muqams are: #Rak (; , Lākè) #Chebbiyat (; , Qiěbǐyǎtè) #Sëgah (; , Sīgǎ) #Chahargah (; , Qiàěrgǎ) #Penjigah (; , Pāněrgǎ) #Öz’hal (; , Wūzīhālēi) #Ejem (; , Àiqiě) #Oshaq (; , Wūxiàkè) #Bayat (; , Bāyǎtí) #Nawa (; , Nàwǎ) #Mushawrek (; , Mùxiàwúláikè) #Iraq (; , Yīlākè) Each of the 12 muqams consists of a main section that begins with a long free rhythm introduction, followed by pieces with characteristic rhythmic patterns that gradually increase in speed. Each muqam consists of three parts, including naghma, dastan and mashrap. These pieces are arranged in the same sequence in each muqam, although not all muqams have the same pieces. These parts are known as teze, nuskha, small seliqe, jula, senem, large seliqe, peshru and tekit. Some have an associated instrumental piece known as a merghul (“decoration”) following it. Although each named piece has its characteristic rhythmic pattern, the melodies differ, so each piece is generally known by the muqam and the piece: for example, “the Rak nuskha” or “the Segah cula”. There are about 20 to 30 pieces of songs and musics, which might take approximately 2 hours to finish performing. It will take about 24 hours to perform all pieces of 12 muqams. After the main section, there are two other sections, originally associated with other musical traditions, but included in muqams by performers such as Turdi Akhun and therefore included in the present 12 muqam tradition. The Dastan section includes songs from several of the romantic dastan narratives found widely in Central and South Asia and the Middle East. Each dastan song is followed by an instrumental merğul. The Meşrep section consists of more lively dance songs that were originally connected with the performances of sama by dervish musicians of Turkistan.

Murder ballad

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

Definition#

The term ballad, applied to traditional or folk music, means a narrative song. Within ballads, the “event song” is dedicated to narrating a particular event, and the murder ballad is a type of event song in which the event is a murder. This definition can be applied also to songs composed self-consciously within, or with reference to, the traditional generic conventions. Atkinson, referring to traditional English ballads, comments that “there is no shortage of murders in the corpus of ballads … and few of them are concealed with any success.” Some murder ballads tell the story from the point of view of the murderer, or attempt to portray the murderer in a somewhat sympathetic light, such as “Tom Dooley”. A recording of that song sold nearly four million copies for The Kingston Trio in 1958. Other murder ballads tell the tale of the crime from the point of view of the victim, such as “Lord Randall”, in which the narrator becomes ill and discovers that he has been poisoned. Others tell the story with greater distance, such as “Lamkin”, which records the details of the crime and the punishment without any attempt to arouse sympathy for the criminal. Supernatural revenge wrought by the victim upon the murderer sometimes figures in murder ballads such as “The Twa Sisters” (also known as “Binnorie” or “Minnorie” Child Ballad #10). Daniel A. Cohen comments that the murder ballads should be distinguished from a related genre, “dying verses”, intended for reading rather than singing, a New England tradition from the 18th century. Their relation to courtship murders came in the 19th century.

Murga

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

Argentine murga#

Argentine murga is part of the cultural heritage of Buenos Aires, where it is almost exclusively performed. It has considerable influence from candombe and other African dances and music. Murga porteña places a considerable emphasis on dance and instrumentals, more so than lyrics (in contrast to Uruguayan murga). Performances take place in the form of parades (known as corsos) across the various neighbourhoods of Buenos Aires; some groups feature not only dancers and musicians but also jugglers, stilts, flagbearers, and other types of visually stimulating elements. Corsos take place throughout the year, but are recurrent during carnival season in February. A very famous song involving a Murga is the song “El Matador” by Los Fabulosos Cadillacs. It also incorporates the use of a whistle, a very common element in the Argentine Murga.

Music and fashion

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

Pop#

The Boston Globe described singers Cher and David Bowie as pioneers of shape-shifting in pop music. Cher emerged as a fashion trendsetter in the 1960s, popularizing “hippie fashion with bell-bottoms, bandanas and Cherokee-inspired tunics”. She has repeatedly reinvented herself by adopting a series of visual personas, for which Richard Aquila called her “the ultimate pop chameleon”. Billboard observed Cher’s role in redefining visual possibilities for pop stars, allowing them to adopt multiple personas on and off stage. The Independents Alexander Fury traced Cher’s fashion influence among female music artists such as Beyoncé and Jennifer Lopez, stating, “They all graduated from the Cher school of never sharing the stage, with anyone or anything.” New York magazine acknowledged Barbra Streisand’s fashion sense saying “she embarked on a surreal, chameleonic, personal fashion quest” that single-handedly began the retro revolution in the 1960s. American singer Michael Jackson inspired global fashion trends during the 1980s. British Vogue called him “a fashion pioneer who initiated the trophy jacket trend in the Eighties”. His style included sequined gloves, a fedora, red leather jackets, sequined jackets, aviator sunglasses, black high-waisted pants, white socks and leather penny loafers. American singer Madonna is known for having adopted multiple visual styles throughout her career. Author James Robert Parish wrote that her fashion during the 1980s helped create a new version of the blonde bombshell image. Scholar Camille Paglia wrote, " Madonna has become a fashion icon more than a music pioneer". Madonna’s prominence enabled her to bring subcultural styles into the mainstream. Various publications have credited Madonna with starting the underwear as outerwear trend.

Music and politics

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

Introduction#

In a study that used natural language processing, it was suggested that, comparatively to less charged music, political music lets listeners start a dialogue based on it. In a 2014 review article, it was shown that political music is used for announcing, or calling for action. The same article states that this is because music is seen as a sign system. Furthermore, some forms of music may be deemed political by cultural association, irrespective of political content, as evidenced by the way Western pop/rock bands such as The Beatles were censored by the State in the Eastern Bloc in the 1960s and 1970s, while being embraced by younger people as symbolic of social change. It is difficult to predict how audiences will respond to political music, in terms of aural or even visual cues. suggesting there may be little connection between behaviour and musical taste. Pedelty and Keefe argue that “It is not clear to what extent the political messages in and around music motivate fans, become a catalyst for discussion, or function aesthetically”. However, in contrast they cite research that concludes, based on interpretive readings of lyrics and performances with a strong emphasis on historical contexts and links to social groups, that “given the right historical circumstances, cultural conditions, and aesthetic qualities, popular music can help bring people together to form effective political communities”. Plato wrote: “musical innovation is full of danger to the whole state, and ought to be prohibited. When modes of music change, the fundamental laws of the state always change with them;” although this was written as a warning it can be taken as a revolutionary statement that music is much more than just melodies and harmonies but an important movement in the life of all human beings.

Music at sporting events

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

History of music at sporting events#

The ancient Greeks intently tied the performance of music to sporting events, particularly at their quadrennial Olympic Games. :“The extent to which cultural elements were included in the Pan-Hellenic games is enlightening. At several festivals, including Delphi, Isthmia and Athens, music played a prominent role in the athletic contests.” The revival of the Olympic Games in 1896 also incorporated music into the festivities surrounding the competitions. On March 25 of that year, “the Philharmonic Orchestra played the national anthem and the first Olympic Hymn, written by poet Kostis Palamas and set to music by the well-known Greek composer Spyridon Samaras.”

Music for the Requiem Mass

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

Common texts#

The following are the texts that have been set to music. Note that the Libera Me and the In Paradisum are not part of the text of the Catholic Mass for the Dead itself, but a part of the burial rite that immediately follows. In Paradisum was traditionally said or sung as the body left the church, and the Libera Me is said/sung at the burial site before interment. These became included in musical settings of the Requiem in the 19th century as composers began to treat the form more liberally.

Music genre

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

Definitions#

Douglass M. Green distinguishes between genre and form in his book Form in Tonal Music. He lists madrigal, motet, canzona, ricercar, and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes about “Beethoven’s Op. 61” and “Mendelssohn’s Op. 64 “. He explains that both are identical in genre and are violin concertos that have different forms. However, Mozart’s Rondo for Piano, K. 511, and the Agnus Dei from his Mass, K. 317, are quite different in genre but happen to be similar in form.” In 1982, Franco Fabbri proposed a definition of the musical genre that is now considered to be normative: A music genre or subgenre may be defined by the musical techniques, the cultural context, and the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will often include a wide variety of subgenres. Timothy Laurie argues that, since the early 1980s, “genre has graduated from being a subset of popular music studies to being an almost ubiquitous framework for constituting and evaluating musical research objects”. The term genre is generally defined similarly by many authors and musicologists, while the related term style has different interpretations and definitions. Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or “basic musical language”. Others, such as Allan F. Moore, state that genre and style are two separate terms, and that secondary characteristics such as subject matter can also differentiate between genres.

Music hall

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

Origins and development#

Music halls had their origins in 18th century London. They grew with the entertainment provided in the new style saloon bars of pubs during the 1830s. These venues replaced earlier semi-rural amusements provided by fairs and suburban pleasure gardens such as Vauxhall Gardens and the Cremorne Gardens. These latter became subject to urban development and became fewer and less popular. From the mid-19th century music halls spread to the provincial cities, such as Bristol. The saloon was a room where for an admission fee or a greater price at the bar, singing, dancing, drama or comedy was performed. The most famous London saloon of the early days was the Grecian Saloon, established in 1825, at The Eagle (a former tea-garden), 2 Shepherdess Walk, off the City Road in east London. According to John Hollingshead, proprietor of the Gaiety Theatre, London (originally the Strand Music Hall), this establishment was “the father and mother, the dry and wet nurse of the Music Hall”. Later known as the Grecian Theatre, it was here that Marie Lloyd made her début at the age of 14 in 1884. It is still famous because of an English nursery rhyme, with the somewhat mysterious lyrics: Up and down the City Road In and out The Eagle That’s the way the money goes Pop goes the weasel. Another famous “song and supper” room of this period was Evans Music-and-Supper Rooms, 43 King Street, Covent Garden, established in the 1840s by W.H. Evans. This venue was also known as ‘Evans Late Joys’ – Joy being the name of the previous owner. Other song and supper rooms included the Coal Hole in The Strand, the Cyder Cellars in Maiden Lane, Covent Garden and the Mogul Saloon in Drury Lane.

Music in advertising

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

Functions of music in advertising#

In advertising, “music can serve the overall promotional goals in one or more of several capacities.” David Huron proposes six primary categories, which include: entertainment, structure and continuity, memorability, lyrical language, targeting, and authority establishment. Also, it can be used to appeal to a person’s emotions and senses. The targeting of one’s emotions is done so that the audience is swayed toward what is being advertised. Using music to influence a person’s emotional state is effective, since “music has a significant influence on the consumer’s emotional state and mood, which is an important concept in the establishment of attitudes since mood states seem to bias judgments and opinions in the same direction as the mood state”. Being able to use music in advertising has made advertisements more enticing and attention-getting for the audience. Fifteen seconds is currently the standard duration of a television commercial so advertisers need to be able to successfully grab their audience’s attention, which music does.

Music in ancient India

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

Archaeological discoveries#

Musical instruments, such as the seven-holed flute and various types of stringed instruments such as ravanahatha, cymbals have been recovered from Indus Valley Civilization archaeological sites. Evidence suggests use of drum or dhol in the Indus Valley Civilization. There have not been a lot of depictions of musical instruments from IVC, but contemporary BMAC civilization which traded with it has archaeological depictions of lyre and many cylinderical drums were also discovered from Indus Valley. A kind of harp is also depicted in the Chalcolithic cave drawings of India along with Gong. There is also evidence of dancing figurines from Indus valley civilization suggesting an established musical tradition. A kind of lithophone has also been discovered from Orissa around 1000 BCE.

Music in Medieval England

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

Sources#

Surviving sources indicate that there was a rich and varied musical soundscape in medieval England. Historians usually distinguish between ecclesiastical music, designed for use in church, or in religious ceremonies, and secular music for use in places from royal and baronial courts, celebrations of some religious events, to public and private entertainments of the people. Because literacy, and musical notation in particular, were preserves of the clergy in this period, the survival of secular music is much more limited than for church music. Nevertheless, some were noted, often by clergymen who had an interest in secular music.

Music in pornography

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

History#

Even in the silent era, pornographic films—such as Le Coucher de la Mariée and Fatima Djamile’s Coochie Coochie Dance—implied music with the stripteases and dancing of the performers. Once sound films were being made, the Motion Picture Production Code (MPPC) in the United States kept professional equipment away from pornographers; this left such films short and silent until the 1960s, relegating them to amateur circles.

1960s#

With the sexual revolution in 1960s United States, the death of the MPPC, and the development of adult movie theaters, the audience demand for audio in pornography could be satisfied by producers with 35 mm movie film. Initially, these early soundtracks were hastily made by filmmakers and theater owners sampling other sources. The now-stereotypical “bow-chicka-bow-wow” (also called “porn groove” or “porno groove”) is an early mashup of psychedelic rock, lounge music, early funk (particularly “Green Onions”), and sometimes pastoral folk. Prominently featuring wah-wah pedals, Hammond organs, and “piercing hi-hats”, this music is evocative of 1960s and 1970s pornographic films, and has been released as soundtrack albums through at least the 2010s. With the 1965 release of Super 8 film, amateur pornography with sound was a feasible, if risky, proposition. These filmmakers “experimented wildly with soundtracks”, and while funk was still the primary genre, tracks with heavy percussion (especially those featuring bongo drums) were preferred here because they best survived the bathtub-developing processes of at-home producers. At this same time, European art cinema made its way to the United States. These films were not strictly pornographic, but faced censorship in the US for their risque content, and so were shown in adult movie theaters. The 1968 Italian film Sweden: Heaven and Hell premiered Piero Umiliani’s pop song “Mah Nà Mah Nà”; from West Germany in 1970, Schulmädchen-Report was backed with an acid rock soundtrack; 1971’s Vampyros Lesbos was a West German–Spanish feature with sitars and psychedelic jazz; and the Italian–French Last Tango in Paris (1972) has “soaring horns and weepy strings from Gato Barbieri”.

Music in Tatarstan

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

External links#

*Online tatar radio (tatar music only)

Music in the Altai Republic

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

Music in the Elizabethan era

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

Church music#

The Church was a major influence for music in the 16th century. The Puritans wanted to do away with all church music, but the will of the people to sing only made it more predominant. Many composers that wrote for the church also wrote for the royalty. The style of the church music was known as choral polyphony. Hundreds of hymns were written for the church. Many of those are still sung today. It is “doubtless (that) your worship requires music. ” At the most elegant of weddings, usually those of the nobility, the processional included musicians who played lutes, flutes, and violins. It was also very common at that time for commoners to have music played for them whenever they wanted.

Music of Adelaide

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

2013: Reverb report leads to new support#

In 2012, the Don Dunstan Foundation, in partnership with Adelaide City Council, the Australia Council, Arts SA, Adelaide Fringe, the Department of the Premier and Cabinet and Regional Development Australia Barossa, hired British music promoter Martin Elbourne as Thinker in Residence on a project named “Reverb”. The project aimed “to create collaboration and unified action for a healthy, more sustainable music scene” in South Australia. A report based on his recommendations was produced in 2013, entitled The future of live music in South Australia. As a result of Elbourne’s report, the Music Development Office (MDO) and adjunct St Paul’s Creative Centre were created by the state government (then under Arts SA, now CreateSA ) in 2014, with the goal of “build ing pathways into creative and industry development, with city vibrancy and economic benefit being the ultimate outcomes”, which it does by facilitating grants, fellowships and other means of developing the careers of contemporary musicians. St Paul’s Creative Centre was closed in 2023. A new independent body called Musitec and an advisory body known as the Music Industry Council were also established.

Music of Afghanistan

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

Current legal status#

Since their resurgence to power on 15 August 2021, Taliban authorities in Afghanistan have implemented a strict ban on music, particularly at weddings, social gatherings, and on radio and television. Additionally, there have been reports of Taliban forces destroying musical instruments, such as an incident involving the burning of instruments in late July 2023 in Herat Province.

Religious music#

The Afghan concept of music is closely associated with instruments, and thus unaccompanied religious singing is not considered music. Koran recitation is an important kind of unaccompanied religious performance, as is the ecstatic Zikr ritual of the Sufis which uses songs called na’t, and the Shi’a solo and group singing styles like mursia, manqasat, nowheh and rowzeh. The Chishti Sufi sect of Kabul is an exception in that they use instruments like the rubab, tabla also harmonium in their worship; this music is called tatti (“food for the soul”).

Music of Africa

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

North Africa and the Horn of Africa#

North Africa is the seat of ancient Egypt and Carthage, civilizations with strong ties to the ancient Near East and which influenced the ancient Greek and Roman cultures. Egypt later came under Persian, then Greek and Roman rule, while Carthage was later ruled by the Romans and the Vandals. The region was subsequently conquered by Arab forces, who incorporated the region into the Maghreb of Arab Africa (sky-blue and dark green region on map). Its music maintains close ties with Middle Eastern music and utilizes similar melodic modes (maqamat). North African music encompasses a wide range of styles, from the music of ancient Egypt to the Berber and Tuareg music of the desert nomads. For centuries, the region’s art music has followed the conventions of Arabic and Andalusian classical music, while its popular contemporary genres include the Algerian raï. The music of Sudan and the Horn of Africa, including the music of Eritrea, Ethiopia, Djibouti and Somalia, may be grouped with those of North Africa. Somali music is typically pentatonic, using five pitches per octave in contrast to a heptatonic (seven note) scale such as the major scale. Three additional modes are variations on the above: tezeta minor, bati major, and bati minor. Some songs take the name of their qenet, such as tizita, a song of reminiscence.

Music of African heritage in Cuba

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

Origins of Cuban African groups#

Clearly, the origin of African groups in Cuba is due to the island’s long history of slavery. Compared to the USA, slavery started in Cuba much earlier and continued for decades afterwards. Cuba was the last country in the Americas to abolish the importation of slaves, and the second last to free the slaves. In 1807 the British Parliament outlawed slavery, and from then on the British Navy acted to intercept Portuguese and Spanish slave ships. By 1860 the trade with Cuba was almost extinguished; the last slave ship to Cuba was in 1873. The abolition of slavery was announced by the Spanish Crown in 1880, and put into effect in 1886. Two years later, Brazil abolished slavery. Although the exact number of slaves from each African culture will never be known, most came from one of these groups, which are listed in rough order of their cultural impact in Cuba: # The Congolese from the Congo Basin and SW Africa. Many ethnic groups were involved, all called Congos in Cuba. Their religion is called Palo. Probably the most numerous group, with a huge influence on Cuban music. # The Oyó or Yoruba from modern Nigeria, known in Cuba as Lucumí. Their religion is known as Regla de Ocha (roughly, ’the way of the spirits’) and its syncretic version is known as Santería. Culturally of great significance. # The Kalabars from the Southeastern part of Nigeria and also in some part of Cameroon, whom were taken from the Bight of Biafra. These sub Igbo and Ijaw groups are known in Cuba as Carabali, p100 # Haiti immigrants to Cuba arrived at various times up to the present day. Leaving aside the French, who also came, the Africans from Haiti were a mixture of groups who usually spoke creolized French: and religion was known as vodú. # From part of modern Liberia and Côte d’Ivoire came the Gangá. # Senegambian people (Senegal, the Gambia), but including many brought from Sudan by the Arab slavers, were known by a catch-all word: Mandinga. The famous musical phrase Kikiribu Mandinga! refers to them.

Music of Albania

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

Folk music#

Albanian folk music has a deep history and can be separated into three major stylistic groups: the northern Ghegs, southern Labs and Tosks and with other important urban music areas around Shkodër and Tirana. Albanian folk songs can be divided into major groups, the heroic epics of the north and the sweetly melodic lullabies, love songs, wedding music, work songs and other kinds of song. The music of various festivals and holidays is also an important part of Albanian folk song, especially those that celebrate Lazarus Day, which inaugurates the springtime. Lullabies and laments are very important kinds of Albanian folk song, and are generally performed by solo women.

Music of Alberta

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

History#

Aboriginal music has been present in Alberta since the end of the last ice age, nearly 10,000 years ago in Southern Alberta, around 8,000 year ago in the North. Aboriginal instruments in this part of North America were limited to the voice and the easily made and portable drum. During the fur trade, European fur traders (mostly Orcadian Scots and French-Canadians) added a variety of their own instruments, such as the guitar and the accordion, but most importantly the fiddle. The fiddle became the basis of a distinctive style used in the Western fur trade and associated with the Métis people in particular. In his memoir Buffalo Days and Nights, respected Métis guide and interpreter Peter Erasmus writes that French Métis fiddlers from Lac Ste. Anne played for the Christmas celebrations at Fort Edmonton in 1856. This tradition persisted even after Ontarian and European immigration began to increase after 1870. A list of dances published in the Edmonton Bulletin on 3 February 1896 includes several of Métis and Scottish origin.

Music of Algeria

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

Genres#

Music in Algeria offers a rich diversity of genre: popular music (Chaabi), various genres of Andalusian classical music such as Sana’a, Gharnati music, Ma’luf, as well as classical Arabic, Bedouin, Berber music (Staifi, Raï, Kabyle, Shawi, Tuareg, Gnawa, etc.), Andalusian music is particularly well developed in Algeria, and is considered the most sophisticated by musical scholars - there exist three schools, the greatest number in the Maghreb region, and the performers invited to festivals across the Maghreb are usually of Algerian origin. Famous performers include Beihdja Rahal, Brahim Hadj Kacem, Nouri Koufi and Leila Borsali. Haouzi music is another style of Algerian music. It took the melodies of Andalusian music and modernized them. Haouzi music is most often played at weddings and ceremonies. Khaled known as Cheb Khaled, is considered as the King of Rai music, has achieved international fame, as Rai music is very popular in Algeria, Morocco France, Tunisia, Turkey, Libya, and Egypt. Staifi is a genre of music which began in Eu-eulma City, and is mostly played at weddings and celebrations, primarily featuring lyrics which symbolize purity and love. Chaabi refers to a style of recent urban popular music, inherited from the older Andalusian repertoire, of which the best known performer was El Hajj Muhammad El Anka, considered to be the Grand Master of Andalusian classical music. True styles of folk music include hofii, a form of female vocal music, and zindalii, from Constantine. Raï is a creative outlet to express love and romance; a mix between Western music and Bedouin music. Ma’luf is a genre of Andalusian classical music from Constantine which has survived because of the efforts of the Tunisian government and a few private individuals. Malouf is still performed in public, especially at weddings and circumcision ceremonies, though recordings are relatively rare.

Music of ancient Greece

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

Music in society and religion#

Music played an integral role in ancient Greek society. Pericles’ teacher Damon said, according to Plato in the Republic, “when fundamental modes of music change, the fundamental modes of the state change with them.” Music and gymnastics comprised the main divisions in one’s schooling. “The word ‘music’ expressed the entire education”. Instrumental music served a religious and entertaining role in ancient Greece as it would often accompany religious events, rituals, and festivals. Music was also used for entertainment when it accompanied drinking-parties or symposia. A popular type of piece to be played while drinking at these drinking parties was the skolion, a piece composed to be heard while drinking. Before and after the Greek drinking parties, religious libations, or the religious act of partaking and pouring out drink, would be made to deities, usually the Olympic gods, the heroes, and Zeus. The offering of libations were often accompanied by a special libation melody called the spondeion, which was often accompanied by an aulos player. Music was also present during times of initiation, worship, and religious celebration, playing very integral parts of the sacrificial cults of Apollo and Dionysus. Music (along with intoxication of potions, fasting, and honey) was also integral in preparing for and catalyzing divination, as music would often induce prophets into religious ecstasy and revelation, so much so that the expression for “making music” and “prophesying” were identical in ancient Greek. Instruments were also present in war time, though it may not have been considered music entirely. Specific notes of the trumpet were played to dictate commands to soldiers on the battlefield. The aulos and percussion instruments also accompanied the verbal commands given to oarsmen by the boatswain. The instruments were used mainly to help keep the oarsmen in time with one another.

Music of ancient Rome

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

History#

Ancient Roman music and singing originated from Etruscan music, and then Ancient Greek music. During its early history, it was mostly used for military purposes. According to Cicero, Roman musical tradition was adapted during the reign of Numa Pompilius. The Greek philosopher and mathematician Pythagoras was able to find the first 7 pitches in a scale and this knowledge carried over into the Roman Empire.

Music in society#

Music was an important aspect of Roman religious rituals. It was used to set the rhythm of the ritual and invoke certain emotions. Various instruments had different roles in Roman religion. Ancient Roman art displays tibicines, or players of the tibia, playing behind altars. They are depicted wearing a toga with a head covering while perform an animal sacrifice. Some depictions show assistants holding the acerra or tankards and cups to assist the tibicen. The tibia was likely the most important instrument in the Roman Imperial cult. Tibicen were also used to drown out any distracting noise. To the ancient Romans, it must have been unimaginable for a sacrifice to lack music. Music, usually pipe music, would accompany public prayers. Cymbals and drums were used in rituals of the cult of Cybele and rattles were important to the cult of Isis. Female musicians, dancers, and singers would perform at a festival for the goddess Isis who had a temple in Rome. They would also perform at a festival dedicated to the Bona Dea. Several ancient Roman monuments were consecrated by musicians. The Salian priests would dance and sing while moving through the city in honor of Mars. Musicians would also play the flute to worship Mars. The Arval Brethren would also sing and dance to honor the goddess Ceres. Titus Livius, a Roman historian, described an incident where players of the flute were barred from eating and drinking in the temples. Afterward, they retreated to Tivoli, and were allowed to continue eating and drinking in the temples when the Senate realized there were no musicians for religious services. Processions of trumpeters and dancers were also important to the Pompa circensis, which was a parade that preceded the games before religious festivals. Music was a popular form of entertainment in ancient Rome. It was important to ancient Roman games. Gladiatorial fights began with a blast of horns and were accompanied by music. Musicians, usually players of the tuba or large aerophones would play during triumphs. The tibia was used to draw in the viewer’s attention during the ceremony and a trumpet was used to announce the presence of the triumphator. Music was also used to silence the crowd. Music, primarily pipe music, held an important place in ancient Roman theatre. During plays, the actors, pantomimes, and tragedians would be accompanied by a chorus of singers and an orchestra of wind or percussion instruments. They would dance to the tune of the instruments. Musicians could be driven off of the stage for even small musical errors. The tune of the instruments would signify the emotions and traits of the characters and the pace of the story. Music was also used to ensure the story remained in the memory of audiences. Romans would sometimes hold private musical concerts known as symphoniaci. These parties were associated with debauchery in ancient Rome. Lucius Calpurnius Piso Caesoninus, the consul in 58 BCE, was known to hold such parties. His house was described as filled with “singing and cymbals.” Private musicians could be hired to provide entertainment during dinners or parties. Sometimes these private musicians were specially trained slaves. Ancient Roman women are depicted as having sung and danced in the privacy of their homes. Women in ancient Rome had different instruments from men. They played the harp, the aulos, and smaller lyres. Domitian established contests that included music, gymnastics, and riding competitions. Nero created the Quinquennial Neronia, which was a festival involving musical competitions. The Actian games, which was an ancient Roman festival of Apollo, also held musical competitions. The Greeks and Romans might have held musical performances in between the meal and the drinking party during dinner. The cornu and other instruments such as the tuba were used to give signals in the ancient Roman military. There were collegia dedicated to musicians. One collegium made up of flute and lyre players was attested for the first time in the second century CE. The collegium syphoniacorum would play at religious or official ceremonies. Another collegium, the Collegium tibicinum romanorum was dedicated to perform at public funerals. Musicians’ Collegia were highly respected in ancient Rome. They were used to preserve and perfect ancient Roman musical practices.

Music of Andalusia

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

Historical influences on Andalusian music#

Andalusia was probably the main route of transmission of a number of Near-Eastern musical instruments used in classical music; the rebec (ancestor of violin) from the Maghreb rebab, the guitar from qitara and naker from naqareh. Further terms fell into disuse in Europe; adufe from al-duff, alboka from al-buq, anafil from al-nafir, exabeba from al-shabbaba (flute), atabal (bass drum) from al-tabl, atambal from al-tinbal, the balaban, sonajas de azófar from , the conical bore wind instruments, the from the sulami or fistula (flute or musical pipe), the shawm and dulzaina from the reed instruments and al-zurna, the gaita from the Rhaita, rackett from or , geige (German for a violin) from ghichak and the theorbo from the tarab. According to historical sources, William VIII, the father of William, brought to Poitiers hundreds of Muslim prisoners. Trend acknowledges that the troubadors derived their sense of form and the subject matter of their poetry from Andalusia. The hypothesis that the troubador tradition was created, more or less, by William after his experience of Moorish arts while fighting with the Reconquista in Spain was also championed by Ramón Menéndez Pidal in the early twentieth-century, but its origins go back to the Cinquecento and Giammaria Barbieri (died 1575) and Juan Andrés (died 1822). Meg Bogin, English translator of the female troubadors, also held this hypothesis. Certainly “a body of song of comparable intensity, profanity and eroticism existed in Arabic from the second half of the 9th century onwards.” Grove Dictionary of Music and Musicians, edited Andalusia is a modern autonomous community of Spain that is best known for flamenco, a form of music and dance, mostly performed by artists and ordinary people from Andalusia. Improvised flamenco songs of ancient Andalusian origin are called cante jondo, and are characterized by a reduced tonal ambiance, a strict rhythm, baroque ornamentation and repetition of notes. Cante jondo is sung by a single singer (cantaor).

Music of Andhra Pradesh

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

Classical music#

The major composers like Annamacharya, Tyagaraja, Bhadrachala Ramadas, Kshetrayya, Bhuloka tsapa chutti (One who carpeted the Earth) Bobbili Keshavayya, Karvetinagaram composers like Govindasamayya and Sarangapani were pioneers in the field of Carnatic music. In the area of instrumental music, giants such as Dwaram Venkataswamy Naidu (violin), Emani Sankara Sastry (veena), Sheik Chinna Moulana (Nadaswaram), and Chitti Babu (veena) are famous. Contemporary stalwarts of Vocal music include Voleti Venkatesvarulu, Mangalampalli Balamuralikrishna, Nedunuri Krishnamurthy, Dwaram Bhavanarayana Rao, Srirangam Gopalaratnam, Sripada Pinakapani, Nookala Chinna Satyanarayana, Lalita & Haripriya, D. Raghavachary & Seshachary, Dr. Dwaram Lakshmi, Manda Sudharani, Parthasarathy N. Ch, and Dr. Dwaram Tyagaraj. Also Yella Venkatesara Rao, Patri Satish Kumar (mridangam), Pantula Rama, U. Srinivas (mandolin), D. Srinivas (veena), Tirupati Srivani Yalla (veena), Marella Kesava Rao, Ivaturi Vijayeshwara Rao, Akella Mallikarjuna Sharma, and Avasarala Kanyakumari (Violin) are some of the eminent instrumentalists from Andhra Pradesh.

Music of Angola

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

Semba#

Semba is the predecessor to a variety of music styles originating in Africa. Three of the most famous of these are samba, kizomba, and kuduro. Semba is popular in Angola today as it was long before that country’s independence from the Portuguese colonial system on November 11, 1975. Various new Semba artists emerge each year in Angola, as they render homage to the veteran semba masters, many of whom are still performing. Barceló de Carvalho, the Angolan singer popularly known as Bonga, is arguably the most successful Angolan artist to popularize semba music internationally; it is generally being categorized as World music.

Music of Argentina

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

Folk music#

Folk music—known as música folklórica or folklore in Spanish, from the English “folklore”—is a music genre that includes both traditional folk music and contemporary folk music, which emerged from the genre’s 20th-century revival. Argentine folk music comes in many forms and has Indigenous, European, and African influences. In the late 50s, Argentina experienced a “folklore boom.” Among the most influential groups of the time were Los Chalchaleros, from Salta; Los Fronterizos, also from Salta; and Los Hermanos Ábalos from Santiago del Estero. Composer Ariel Ramírez and guitarist Eduardo Falú were also notable figures during this period. Between 1960 and 1974, Leda Valladares created a documentary series, known as the Mapa musical argentino (“Musical Map of Argentina”), taping traditional folk music throughout the country. The recordings she made were funded by the National Endowment of the Arts and directed by Litto Nebbia for Melopea Records. The Nuevo Cancionero movement was officially codified in Argentina in February 1963 with the Manifiesto Fundacional de Nuevo Cancionero (“Foundational manifesto of the New Songbook”). It was written by Armando Tejada Gómez, with the collaboration of artists like Mercedes Sosa, Oscar Matus, Tito Francia, and Eduardo Aragón. Atahualpa Yupanqui was another important figure in the movement. The 1976 dictatorship created a difficult environment for folk music. The military censored, blacklisted, and prosecuted artists, and many received anonymous phone calls warning them: “o te callas o sos tierra de cementerio” (“either you shut up, or you’re cemetery land”). Many artists left the country, and their music was not distributed in Argentina at the time. The repressive actions and black lists against artists and intellectuals to be kidnapped or censored were known as Operativo Claridad (“Operation Clarity”). The 1980s saw a resurgence of folk music after the Falklands War, which led to the fall of the dictatorship. Popular artists included Sixto Palavecino and Facundo Cabral. Folk music continues to enjoy success in Argentina. Soledad “La Sole” Pastorutti brought folk music to a new audience at the end of the 20th century, and, in the early 21st century, Juana Molina has earned a cult following for her fusion of electronic music, folk music and ambient sounds. In 2004, the album Cantor de Cantores, by Horacio Guarany, was nominated for the Latin Grammy Award for Best Folk Album.

Music of Armenia

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

Melodic basis#

Traditional Armenian folk music as well as Armenian church music is not based on the European tonal system but on a system of tetrachords. The last note of one tetrachord also serves as the first note of the next tetrachord – which makes a lot of Armenian folk music more or less based on a theoretically endless scale. Khaz is an Armenian neume, one of a set of special signs (khazes) constituting the traditional system of musical notation that has been used to transcribe Armenian music (mostly religious Armenian music) since the 8th century.

Music of Arunachal Pradesh

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

Idu Mishmi ritual dance#

The Idu Mishmis have a ritual dance and a fertility dance. The ritual dance is performed by the priest or priestess in the ceremonies of Ai-ah, Ai-him, Mesalah and Rren. The fertility dance is performed on the last day of the Rren ceremony. There is no definite myth about the origin of this ritual dance. According to local tradition, the first priest who officiated in a funeral ceremony was Chineuhu and his brother Ahihiuh, was the first priest who officiated in the other three ceremonies in which this dance forms a part. This dance is associated with the priestly office. Besides the priest, there are three or four other dancers who are selected from amongst the spectators. In addition, it is the usual dress which consists of a loin-cloth, a short-sleeved coat, and a sword slung on the right side, a leather bag slung on the left side and a few bead-necklaces, the priest wears a few other articles. These articles are an apron with particular designs, a head-band decorated with two or three rows of cowries, a necklace studded with the teeth of tiger and bear and a few metal bells. A priestess wears these special articles in addition to the usual Mishmi woman’s dress of a skirt, a long-sleeved coat and bead-necklaces. The priestess is generally accompanied by female dancers. The accompanying dancers wear the usual dress. The dancers stand in a line, the priest is second either from the right or left. During the dance, one dancer standing at one end of the line plays a small drum slung from his neck. The priest and the other two dancers play a very small semi-globular single-membrane drum, striking it with a bamboo-stick which is kept tied to the drum with a string. The fifth dancer, if any, plays a horn bugle. When there are five dancers, the priest stands in the middle of the line. He sings a line of invocatory song while all the others play the musical instruments, flex the knees bobbing up and down and alternately raise the right and left heels and stamp these on the ground in time to the drum-beats. When the priest finishes singing the line, others repeat it in chorus. Again the priest sings another line of the song which the others repeat in chorus and thus it goes on. After a prelude of flexing of knees and stamping of heels, they place one foot forward and immediately bring the other up beside it. If in the first step, the right foot is taken forward, then in the next step it is the left one. After each step, they flex the knees. Thus, they dance forward to the accompaniment of drumbeats and invocatory song. When they have danced forward for some distance, they dance backward with the same movement. Thus they dance moving forward and backward. Sometimes they break away from the line formation and the four dancers standing in the four corners sing an invocatory song, play the musical instruments and dance flexing the knees and raising the right and left heel alternately and stamping these on the ground. Now and then they change positions dancing all the time but facing inward. Sometimes they dance in a circle following one another with tripping steps. In another movement, they dance sideways either in a clockwise or anti-clockwise direction. They stand in a semicircle and in the anti-clockwise movement, they take one step with the right foot to the right and immediately bring the left foot beside the right one. Thus they dance in a circle, flexing the knees after each step. The priest does not demand any money for his priestly services, but the performer usually remunerates him according to his ability. The remuneration may also be paid in kind, e.g. with handloom coat, brass utensils or pigs. The music (Hindi: संगीत) is diverse because of India’s vast cultural diversity. Though it might be started with devotional songs later it covered each & every part of contemporary human life including psychology, philosophy, anatomy(Deha-Tatva), socio-economic condition, love, day to day living etc. and in many of them you will find deep insight into life. There are numerous eminent bards/saints or Fakirs who had contributed a lot in this field. A few of them are Kabir, Moinuddin Chishti, Lalon Fakir and many more. Main classification can be done based on the regional languages. It has many forms including bhangr, lavani, dandiya and Rajasthani. The arrival of movies and pop music weakened folk music’s popularity, but saints and poets to have large musical libraries and traditions to their name, often sung in thumri semi-the folk music of India is dance-oriented.

Music of Asia

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

Traditions by country#

Asian musical traditions include: * ** Music of China ** Music of Hong Kong ** Music of Japan ** Traditional music of Korea *** Music of North Korea *** Music of South Korea ** Music of Macau ** Music of Mongolia ** Music of Taiwan ** Music of Tibet * Music of Southeast Asia ** Music of Brunei ** Music of Cambodia ** Music of Indonesia *** Music of Sunda *** Music of Java *** Music of Bali ** Music of Laos ** Music of Malaysia ** Music of Myanmar ** Music of the Philippines ** Music of Singapore ** Music of Thailand ** Music of Timor-Leste ** Music of Vietnam * Music of South Asia ** Asian Underground ** Music of Afghanistan ** Music of Bangladesh ** Music of Bhutan ** Music of India ** Ravanahatha ** Music of the Maldives ** Music of Nepal ** Music of Pakistan ** Music of Sri Lanka * Music of Central Asia ** Music of Afghanistan (when included in the definition of Central Asia) ** Music of Kazakhstan ** Music of Kyrgyzstan ** Music of Mongolia (culturally Central Asia) ** Music of Tajikistan ** Music of Turkmenistan ** Music of Uzbekistan ** Music of Russia (indigenous peoples of the Asian part) * Music of West Asia (Middle East) ** Arabic music *** Music of Bahrain *** Music of Iran *** Music of Jordan *** Music of Iraq *** Music of Palestine *** Music of Saudi Arabia *** Music of Syria *** Music of the United Arab Emirates *** Music of Yemen ** Music of Armenia ** Assyrian/Syriac folk music ** Music of Azerbaijan ** Music of Cyprus ** Music of Georgia ** Music of Israel *** Diaspora Jewish music

Music of Atlanta

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

Modern hip-hop, R&B, neo soul#

In 2009, the New York Times called Atlanta “hip-hop’s center of gravity”, and the city is home to many popular hip-hop, R&B and neo soul musicians. File:Usher at Madison Square Garden by Loren Wohl.jpg Usher File:Toni Braxton 2009 2 cropped.jpg Toni Braxton File:Crop 3.jpg Ludacris File:T.I. performing in concert, wearing a Phoenix Suns cap.jpg T.I. File:OutKast Performing in New York Shankbone 2014.jpg OutKast File:Ciara Live 2.jpg Ciara File:India.Arie in 2004 by Chris Hakkens.jpg India.Arie File:Janelle Monáe 15.jpg Janelle Monáe File:191125 Lil Nas X at the 2019 American Music Awards.png Lil Nas X File:Jermaine Dupri (7029671959).jpg Jermaine Dupri File:Lil Jon.jpg Lil Jon File:Lil Baby in 2020.png Lil Baby The following hip-hop, rap, R&B and soul artists have had #1 or #2 singles on the U.S. Hot 100 chart: Some other local artists include(d): * The Anointed Pace Sisters * 1017 Brick Squad * 112 (band) * 6LACK * 2 Chainz * 21 Savage * Alfamega * Andre 3000 * Arrested Development * ATL *B5 * Baby D * Big Boi * Big Gipp * Big Kuntry King * Big Rube *Blaque * Bobby Creekwater *Bobby V * Bone Crusher *Bow Wow * Boyz n da Hood * Bubba Sparxxx * B.o.B * Cash Out * Che * Cherish *Chloe x Halle * Christopher Massey * CLAVVS * Crime Mob * Cyhi the Prynce * D4L * Da Brat *Deante’ Hitchcock * Dem Franchize Boyz * Diamond *Dondria * DJ Toomp * Dolla * Drumma Boy * Dungeon Family *EarthGang * Fabo * Freak Nasty * Future * Goodie Mob * Gorilla Zoe * Gucci Mane * Gunna * I-20 *iLoveMakonnen *India Arie *Jacquees * Jagged Edge * Jarren Benton * Jazze Pha * Jermaine Dupri * JID *Johntá Austin *K. Michelle * Kandi Burruss *Kap G *Keith Sweat *Keke Wyatt * Keri Hilson *Khia * Khujo * Killer Mike * Kilo Ali * Kyle Massey *Latto * Lecrae * Lil Baby * Lil Gotit *Lil Keed *Lil Nas X * Lil Ru * Lil Scrappy * Lil Zane * Lil Yachty * Lisa Lopes *London on da Track *Lyfe Jennings *Lucky Daye * Lumberjacks (group) *Migos *Monifah * Mike Will Made It * Mullage *Musiq Soulchild * Natalie Lauren Sims * Nivea * Nitti * O’so Krispie * OJ da Juiceman * Outkast * P$C * Pastor Troy * Pill * Playaz Circle * Playboi Carti * Polow da Don * Princess * Rasheeda * Rich Homie Quan * Rich the Kid * Rocko (rapper) * Roscoe Dash * Rubi Rose *Sammie *Sean Garrett *Silentó * Shawty Lo * Shop Boyz * Silk (group) * Slick Pulla * Soulja Boy * Speech * Spillage Village * Stat Quo *Syleena Johnson *Summer Walker * Supreeme * Taurus * The Mr. Move * TLC * Travis Porter * Trillville *Tyra B *Tyrese * Unk * USDA * V.I.C. * Xscape * Ying Yang Twins * Young Dro * YoungBloodZ * Young Thug * Y.C. * Yung Joc * Yung L.A. * Yung Wun * Waka Flocka Flame In the 1980s and early 1990s Atlanta’s hip hop scene was characterized by a local variant of Miami’s electro-driven bass music, with stars like Kilo Ali, MC Shy-D, Raheem the Dream, and DJ Smurf (later Mr. Collipark). produced by DJ Toomp. The Dungeon Family is a hip hop/R&B/soul musical collective, based in Atlanta and specializing in Southern hip hop with heavy funk and soul influences. Members include OutKast, Goodie Mob, P.A., Lumberjacks, Society of Soul, André 3000, Big Boi, Backbone, Mr. DJ, Big Gipp, Cee Lo Green, Khujo, T-Mo, Witchdoctor, Big Rube, Cool Breeze, Big Reese, Killer Mike, Bubba Sparxxx, BlackOwned C-Bone and Supa Nate. The Dungeon Family also includes Rico Wade, Ray Murray, and Sleepy Brown who constitute the production/songwriting team Organized Noize, who have produced hits for the main popular Dungeon Family groups OutKast and Goodie Mob. By the mid-1990s, the rise of OutKast, Goodie Mob and Organized Noize led to the development of the Dirty South style of hip-hop and of Atlanta gaining a reputation for “soul-minded hip-hop eccentrics”, contrasting with other regional styles. From the late 1990s to early 2000s, producer Lil Jon was a driving force behind the party-oriented style known as crunk. Record producers L.A. Reid and Babyface founded LaFace Records in Atlanta in the late-1980s; the label eventually became the home to multi-platinum selling artists such as Toni Braxton, TLC and Ciara. It is also the home of So So Def Records, a label founded by Jermaine Dupri in the mid-1990s, that signed acts such as Da Brat, Jagged Edge, Xscape and Dem Franchise Boyz. The success of LaFace and SoSo Def led to Atlanta as an established scene for record labels such as LaFace parent company Arista Records to set up satellite offices. In 2009 the New York Times noted that after 2000, Atlanta moved “from the margins to becoming hip-hop’s center of gravity, part of a larger shift in hip-hop innovation to the South.” Producer Drumma Boy called Atlanta “the melting pot of the South”. Producer Fatboi called the Roland TR-808 (“808”) synthesizer “central” to the music of Atlanta’s versatility, used for snap, crunk, trap, and pop rap styles. The same article named Drumma Boy, Fatboi, Shawty Redd and Zaytoven the four “hottest producers driving the city”.

Music of Australia

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

Indigenous music#

Indigenous Australian music refers to the music of Aboriginals and Torres Strait Islanders. Music forms an integral part of the social, cultural and ceremonial observances of these peoples, and has been so for over 60,000 years. Traditional indigenous music is best characterised by the didgeridoo, the best-known instrument, which is considered by some to be the world’s oldest. Archaeological studies of rock art in the Northern Territory suggest people of the Kakadu region were playing the instrument 15,000 years ago. Contemporary indigenous Australian music has covered numerous styles, including rock and roll, country, hip hop, and reggae.

Music of Austria

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

Yodel#

Yodeling, a form of singing that involves rapid and repeated changes of register, was developed in the Alps. What Austria called it was “juchizn”.

Rock and pop music#

Falco was the most popular Austrian solo artist throughout the 1980s. His song “Rock Me Amadeus” reached number one of the Billboard Hot 100 in 1986. His sudden death in 1998 in the Dominican Republic catapulted his music from the 1980s once again into the spotlight. Although Austria is not exactly the biggest exporter of international rock and pop-bands, there are a few notable musicians and bands. Opus also made it in the charts worldwide as well. In the last few years, several music groups toured Europe and had commercial success in the international charts. The most prominent being Christina Stürmer. SheSays, who supported Bryan Adams on his European tour and some other bands like Cornerstone, are notable for their recent contributions. The bands Wanda and Bilderbuch became successful in the 2010s. Soap&Skin has found international recognition as well, being known for her contributions to the score of the Netflix-series Dark, among other things. Blackened death metal trio Belphegor currently leads the Austrian metal scene, which also includes Hollenthon, Pungent Stench, Abigor, Disharmonic Orchestra, Visions of Atlantis, Dornenreich, Summoning and Estatic Fear. Christian Fennesz is an Austrian electronic musician. Other electronic musicians who call Austria home include Der Blutharsch, active in the Neofolk scene, as are Sturmpercht. Drummer Thomas Lang was born in Vienna in 1967, and has played with artists such as Robert Fripp, Geri Halliwell and Robbie Williams. One of the few international touring bands is Killed By 9V Batteries and Gasmac Gilmore from Vienna. Yearly the Waves Vienna Music Festival & Conference takes place in October. This festival is a showcase festival for European pop music acts.

Music of Azerbaijan

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

Classical music#

In 1920, Azerbaijani classical music had undergone a renaissance and the Baku Academy of Music was founded to give classical musicians the same support as folk musicians. Modern-day advocates of Western classical music in Azerbaijani include Farhad Badalbeyli, Fidan Gasimova and Franghiz Alizadeh.

Opera and Ballet#

The emergence of opera and ballet in Azerbaijan is associated with the Imperial Russian and Soviet eras of Azerbaijani history, when Azerbaijani musicians became exposed to European music traditions first-hand. The very first documented performance of an opera in Baku took place in May 1889 when Alexey Verstovsky’s opera Askold’s grave was staged at a circus arena in Baku (on the site of the current Azerbaijan Carpet Museum building), accompanied by the folk choir of Dmitry Agrenev-Slavyanski. Beginning in 1900, opera troupes toured Baku on a yearly basis (except 1901 and 1913), featuring prominent singers of the time such as Natalia Ermolenko-Yuzhina and Antonina Nezhdanova. Prominent Azerbaijani opera singers such as Bulbul, Shovkat Mammadova, Fatma Mukhtarova, Huseyngulu Sarabski, Hagigat Rzayeva, Rashid Behbudov, Rauf Atakishiyev, Muslim Magomayev, Lutfiyar Imanov, Fidan and Khuraman Gasimovas, Rubaba Muradova, Zeynab Khanlarova and many other singers gained world fame.

Music of Bahrain

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

Khaleeji#

Khaleeji is a style of Persian Gulf-area folk music, played in Bahrain with polyrhythms. The style is strongly influenced by the music of Africa. Khaleeji singer Ali Bahar is one of the few Bahraini pop stars to sing in a local dialect, along with his band Al Ekhwa.

Sawt#

In Bahrain, the early pioneers of sawt were Mohammed Faris and Dhabi bin Walid in the pre-World War II era. Both recorded their sawt music in His Master’s Voice’s studio in Baghdad in 1932.

Music of Bali

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

Characteristics#

Balinese music can be compared to Javanese music, especially that of the pre-Islamic period. During that time, Javanese tonal systems were imported to Bali. Balinese gamelan, a form of Indonesian classical music, is louder, swifter and more aggressive than Sundanese and Javanese music. Balinese gamelan also features more archaic instrumentation than modern Sundanese and Javanese gamelans. Balinese instruments include bronze and bamboo xylophones. Gongs and a number of gong chimes, are used, such as the solo instrument trompong, and a variety of percussion instruments like cymbals, bells, drums and the anklung (a bamboo rattle). There are two sizes of bamboo flutes, both used in theatrical music, and a rebab (two-stringed spike fiddle). Modern forms of Balinese gamelan include kebyar, an energetic style played by clubs, which generally compose their own music. An extensive study of gamelan gong kebyar is found in Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music (2000) by Michael Tenzer, and .

Music of Bangladesh

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

Ragapradhan Gaan#

Bangladeshi classical music is based on modes called ragas. As early as the Charyagiti (9th century), ragas have been used in Bengali music. Jaydev’s Gitagovindam, Padavali Kirtan, Mangal Giti, Shyamasangit, Tappa, Brahma Sangeet, and Tagore songs have all drawn inspiration from ragas. The use of North Indian ragas in Bengali songs began in the 18th century. This trend gained momentum during the 19th and 20th centuries. Pioneers included Ramnidhi Gupta, Kali Mirza, Raghunath Roy, and Ramshanker Bhattacharya, the founder of the Bishnupur Gharana. Nawab Wajid Ali Shah of Lucknow played an important role in this movement. After being dethroned by the British Empire in 1856 and exiled to Metiabruz, Kolkata, he patronized music—especially dhrupad, tappa, thumri, and kheyal—during his 30-year exile, leaving a lasting impact on Bangladeshi music. Most traditional Bengali music is based on various interpretations of Hindustani classical music. Rabindranath Tagore deeply appreciated North Indian ragas and successfully incorporated them into his songs. He was followed by Dwijendralal Roy, Rajanikanta Sen, and Atulprasad Sen.

Music of Belarus

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

Music of Soviet Belarus#

In the 20th century, the first secondary education institute in Belarus was founded (1924) and the first operas. Popular Soviet Belarusian music was composed by several bands, many of whom performed Belarusian folk music. Folk rock act Pesniary, formed in 1969 by guitarist Vladimir Mulyavin, toured over Europe.

Modern Belarus#

Belarus gained independence after the fall of the Soviet Union and new bands appeared, including N.R.M. Modern pop stars include Boris Moiseev and Lyapis Trubetskoy (though they tend to orient themselves toward Russia and Russian speakers). Around 2002 a new generation of electronic bands appeared, including the groups like Randomajestiq, Dreamlin. Rock music of Belarus arose in Perestroika times. Bands like Bi-2 (currently living in Russia), Lyapis Trubetskoy, were founded in the late 1980s or early 1990s. The Belarusian government has attempted to limit the amount of popular music aired on the radio, in favour of traditional music of Belarus. These restrictions have encouraged some Belarusian bands to sign up to Russian labels and to tour more in neighbouring countries. The tradition of Belarus as a centre of folk and folk rock music is continued today by Stary Olsa, Bristeil and Kriwi, among others. In 2003, Belarus took part in the Junior Eurovision Song Contest for the first time. Their participant, Volha Satsiuk, came in 4th place. In 2004 Belarus made it to the semifinals of the regular Eurovision Song Contest. The country was represented by a duo Aleksandra and Konstantin, who failed to reach the final. They won the Junior Eurovision Song Contest 2005 the following year, with Ksenia Sitnik’s song, ‘My Vmeste’. The Belarusian authorities promote folk or “Slavic” music at the country’s top musical event—the state-sponsored Slavianski Bazaar in Vitebsk, an annual pop and folk music festival in Vitebsk. The biggest festival of Belarusian rock music takes place outside of Belarus, in Gródek, northeastern Poland, a small town some 40 kilometers east of Białystok—the center of Podlaskie Voivodeship, which is inhabited by a 200,000-strong Belarusian minority. The festival, held in July every year since 1990, is organized by the Belarusian Union of Students (BAS) in Poland. The official name of the event is the Music Festival of Young Belarus or Basovišča.

Music of Belgium

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

Early and classical music#

Many of the major 15th- and 16th-century composers of the Franco-Flemish School—a current of vocal polyphony that played a central role in European art music of the time—were born and bred in the portion of the Low Countries that is situated in present-day Belgium, often in Hainaut. The late medieval composer and music theorist Johannes Ciconia (c. 1370–1412) had been born in Liège, but like many later Flemish polyphonists he spent much of his life working in Renaissance Italy. While it remains unclear why Flemish and other Netherlandish musicians exerted such a strong influence on Renaissance music throughout Europe (with a particularly strong axis developing between Liège and Rome), one possibility is the emphasis that was placed locally on music theory. Another influential figure was Gilles Binchois (c. 1400–1460): probably born in Mons (or nearby Binche) he moved to Lille, the largest city of what is now French Flanders, and unlike many of his contemporaries, he maintained professional connections with the Burgundian court throughout his life. Johannes Ockeghem (c. 1410–1497) is also considered one of the leading composers of the 15th century; a native of Hainaut, he spent most of his career working for the French court. The migration and influence of Netherlandish composers reached its height roughly between 1480 and 1520, in a period when talented musicians from Low Countries were recruited in courts and cathedrals across the continent, effectively providing the music school of Europe. Other influential composers of the period whose origins can be traces to the Belgian area of the Low Countries include Jacob Obrecht (c. 1457–1505), Pierre de La Rue (c. 1452–1518), Alexander Agricola (c. 1445–1506), and Gaspar van Weerbeke (c. 1445–c. 1516). André Ernest Modeste Grétry was the most famous composer - born in what is now called Belgium - of the 18th century. The 19th century supplied composers like Henri Vieuxtemps, César Franck, Guillaume Lekeu and Eugène Ysaÿe. At the end of the 20th century the most notable Belgian composers were Piet Swerts and Wim Mertens. One of Belgium’s most prized people is Adolphe Sax. Adolphe Sax was born in Belgium and created what people know as the saxophone. In the field of opera, baritones Jules Bastin and José van Dam have become the most famous and internationally successful Belgian opera singers. In the lighter classical genre, Flemish singer Helmut Lotti reached international success with his interpretations of popular opera songs for large audiences. In the late 20th and early 21st centuries, Belgian artists like Wieland Kuijken and Marcel Ponseele contributed to the Historically informed performance of baroque music, with their ensembles La Petite Bande and il Gardellino.

Music of Belize

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

European and African influences#

After many centuries of Maya habitation, British colonizers arrived in the area in the 17th century. Belize was Britain’s only colony in Spanish-dominated Central America until self-government in 1964 and gaining full Independence in 1981. Belize is still part of the Commonwealth of Nations. Far more influential than this presence, however, was the importation of African slaves. Europeans brought polkas, waltzes, schottisches and quadrilles, while Africans brought numerous instruments and percussion-based musics, including marimba. African culture resulted in the creation of brukdown music in interior logging camps, played using banjo, guitar, drums, dingaling bell, accordion and an ass’ jaw bone played by running a stick up and down the teeth.

Music of Bengal

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

History#

The earliest music in Bengal was influenced by Sanskrit chants, and evolved under the influence of Vaishnav poetry such as the 13th-century Gitagovindam by Jayadeva, whose work continues to be sung in many eastern Hindu temples. The Middle Ages saw a mixture of Hindu and Islamic trends when the musical tradition was formalized under the patronage of Sultan and Nawabs and the powerful landlords Baro Bhuiyans. The earliest record of Sufism in Bengal goes back to 11th century AD in connection with the continuation of Sufism in northern India. Shah Sultan Rumi was the first Sufi to come to Bengal, when he came to Mymensingh in 1053 AD.Sufism not only helped in the spread of Islam in Bengal, but also contributed to the eventual creation of a Muslim society in Bangladesh. Apart from the religiosity, the influence of the Sufis became attached to popular Bengali culture by the confluence of the murshidi, marfati and baul songs, and gazir gan.

Music of Benin

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

National music#

The national anthem of Benin, adopted upon independence in 1960, is “L’Aube Nouvelle” (The New Dawn) by Gilbert Jean Dagnon. The Gangbe brass band is an internationally prominent Beninese ensemble.

Traditional music#

The majority of Benin’s 9.32 million people live in the south. The population includes about 42 ethnic groups overall. These include coastal populations of Yoruba in the southeast, who migrated from what is now Nigeria in the 12th century, the Fon in the south central area around Abomey, Mina, Xueda and Aja who came from what is now Togo. Northern peoples include the Dendi in the north-central area, who came from what is now Mali in the 16th century, the Bariba and Fula people in the northeast and the Betammaribe and Somba in the Atacora Range.

Music of Bhutan

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

Instruments#

Instruments used in both traditional and modern genres of Bhutanese music include the lingm (six-holed flute), the chiwang (Tibetan two-stringed fiddle), and the dramnyen (similar to a large three-stringed rebec); modern musicians often update these instruments for use in rigsar. Other traditional instruments include tangtang namborong (four-holed bamboo bass flute), kongkha (bamboo mouth harp), and gombu (bull or buffalo horn). Newer instruments include the yangchen, brought from Tibet in the 1960s. While Bhutanese folk music often employs stringed instruments, religious music usually does not. Unlike many countries, Bhutanese folk music is almost never incorporated into popular music.

Music of Bolivia

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

History#

Like most of its neighbors, Bolivia was long dominated by Spain and its attendant culture. Even after independence, Bolivian music was largely based on European forms. In 1952, a revolution established nationalistic reforms which included cultural and political awareness of the Aymara and Quechua natives. Intellectuals in the country began wearing ponchos and otherwise associating themselves with native cultures, and the new government promoted native folklore by, among other methods, establishing a folklore department in the Bolivian Ministry of Education. Awareness of native music, spirituality and art continued into the 1960s. In 1965, Edgar ‘Yayo’ Jofré formed a quartet called Los Jairas in La Paz. With Bolivian folk music gaining popularity throughout the country, Jofré, along with Alfredo Dominguez, Ernesto Cavour Julio Godoy, and Gilbert Favre used traditional music in modified forms to appeal to urban-dwellers and Europeans. Later groups like Wara, Khanata, Paja Brava (1977–2000), Savia Andina, and especially Los Kjarkas and Kalamarka helped further refine this fusion. Following a close but different path, groups and singers like Luzmila Carpio, Ruphay, and Grupo Aymara started touring abroad and gained international praise for their compositions, tunes that have brought indigenous Bolivian culture and history to the world’s attention. Los K’jarkas consists of 3 brothers, the Hermosas, who play primarily Huayño or, more rarely, sayas. These are both dance music influenced both by native forms as well as African music imported to Bolivia with slavery. Los K’jarkas are known internationally for their Caporales classic “Llorando se fue”, which was adopted and transformed to the popular beginning of the lambada dance craze of the 1980s, along with forró and carimbo in northern Brazil. The song was popularized by a French group, resulting in a successful lawsuit from the Hermosa brothers. Kalamarka was founded in 1984 by Hugo Gutierrez and Rodolfo Choque. They fusion folk instruments such as Zampoña, Quena, Charango and Bombo with modern instruments, creating a beautiful Andean music. Their famous songs are ‘Cuando Florezca el Chuño’ and ‘Ama, Ama, Amazonas’. In the 1980s, Chilean nueva canción was imported to Bolivia and changed into canto nuevo, which was popularized by performers like Emma Junaro. Traditional Bolivian (and other South American) musical instruments include the charango, charangón, ronroco, hualaycho, zampoña, quena, bombo, huancara, reco reco, chiapya box, pinquillo, tarka, toyos, pututu, Andean saxophone, and Chajchas, as well as European musical instruments such as the violin and guitar. Most prominent Bolivian musical forms identified in its culture and origins are the Kullawada, Morenada, Caporales, Llamerada, Diablada, Tonada (or, directly Tinku), Sikuri, Tarqueada, Taquirari, Carnavalito, Bailecito, Huayño, Lamento, Afro-Bolivian Saya, Tuntuna, Taki Taki, Waca Tocoris, Chovena, Sarao, Potolos, Pujllay, Danza Salay, Rueda Chapaca, Chacarera, Escondido, Tonada, Ch’unchu (dance), Tobas and Cueca which presents different variants in each Bolivian department.

Music of Bosnia and Herzegovina

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

History#

During its period as a part of Yugoslavia, Bosnia and Herzegovina was covered in state-supported amateur musical ensembles called Cultural-Artistic Societies (Kulturno-Umjetnička Društva, KUDs) which played Bosnian root music and released a few recordings on local labels.

Original Bosnian music#

Rural folk traditions in Bosnia and Herzegovina include the shouted, polyphonic ganga and “ravne pjesme” (flat song) styles, as well as instruments like a droneless bagpipe, wooden flute and šargija. The gusle, an instrument found throughout the Balkans, is also used to accompany ancient Slavic epic poems. There are also Bosnian folk songs in the Ladino language, derived from the area’s Jewish population. Bosnian roots music came from Middle Bosnia, Posavina, the Drina valley and Kalesija. It is usually performed by singers with two violinists and a šargija player. These bands first appeared around World War I and became popular in the 1960s. This is the third oldest music following after the sevdalinka and ilahija. Self-taught people, mostly in two or three members of the different choices of old instruments, mostly in the violin, sacking, saz, drums, flutes (zurle) or wooden flute, as others have already called, the original performers of Bosnian music that can not be written notes, transmitted by ear from generation to generation, family is usually hereditary. It is thought to be brought from Persia-Kalesi tribe that settled in the area of present Sprecanski valleys and hence probably the name Kalesija. In this part of Bosnia it is the most common. Again, it became the leader of First World War onwards, as well as 60 years in the field Sprecanski doline. This kind of music was enjoyed by all three peoples in Bosnia, Bosniaks, Croats and Serbs, and it contributed a lot to reconcile people socializing, entertainment and other organizations through festivala. In Kalesija it’s maintained each year with the Bosnian Festival Original music. Studio Kemix firm Dzemal Dzihanovic from Živinice together with his artists brought this kind of music to perfection at the end 20th century. With its entirely new form of modernity, it is most common in the Tuzla Canton and the cradle of this music city Živinice was named Bosnian town of original music. Songs are performed preferably in a diphthong, the first and second voice which is a special secret performance of this music and some performers sing in troglasju as they do Kalesijski triple that was recorded in 1968, as the first written record of the tone on the album, along with Higurashi no naku.

Music of Botswana

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

Ancient and pre-colonial instruments#

The oldest surviving instrument found in what is now Botswana is a seburuburu bullroarer made from bone, excavated from the Matlapaneng dig site and dated to approximately 1,000 years ago. A bone flute or whistle approximately 900 years old was uncovered at the Bosutswe site; it has a single opening that the player covers to vary pitch. Bone is the only material durable enough to have survived that long in the archaeological record, meaning earlier instruments almost certainly existed but have not been preserved. Instruments were historically considered significant personal and communal property. Owners typically kept them for life, and some instruments were classified as community heritage that could not be sold without the approval of the chief. There was a religious dimension to them as well: both the materials used to make instruments and the blessings placed on them carried spiritual significance. Music was used in rainmaking rituals, in times of war, in protests against chiefly authority, and in ceremonies marking transitions in life including naming, initiation, puberty, marriage, and funerals. Doctors known as moroka ya pula burned medicines inside animal horns to produce smoke intended to bring rain. Of the charms carried by Tswana men in the 19th century to ward off evil, one was a whistle used as an alert to danger.

Music of Brazil

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

Origins#

Little is known of the music of Brazil before the area’s first encounter with Portuguese explorers on 22 April 1500. During the colonial period, documents detail the musical activities of the major Roman Catholic cathedrals and the parlors of the upper classes, but data about musical life outside these domains are sparse. Some information is available in writings left by such travellers as Jean de Léry, who lived in Brazil from 1557 to 1558 and produced the first known transcriptions of native American music: two chants of the Tupinambá, near Rio de Janeiro. Further registration of musical activity in Brazil came from the activities of two Jesuit priests in 1549. Ten years later, they had already founded settlements for indigenous people (the Reduções), with a musical-educational structure. One century later, the Reduções of the southern Brazil, which were founded by Spaniard Jesuits, had a strong cultural development, where some music schools were founded. Some of the reports of that time show the fascination of the indigenous people for European music. The indigenous people also took part in the music, with both the construction of musical instruments and practice of vocal and instrumental performance.

Music of Brittany

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

Traditional Breton music#

Traditional Breton folk music includes a variety of vocal and instrumental styles. Purely traditional musicians became the heroes of the roots revival in the second half of the 20th century, notably the Goadec sisters (Maryvonne, Thasie, and Eugénie). At the end of the 19th century, the vicomte Theodore Hersart de la Villemarqué’s collection of largely nationalistic Breton songs, Barzaz Breiz, was also influential, and was partially responsible for preserving Breton traditions.

Music of Brunei

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

Folk music#

Adai-adai is a group work song sung by fisherpeople while they fished. Another folk dance is the Benari, or Joget Baju Putih, performed during numerous festivals. It is usually performed by three men and three women.

Kedayan music#

Aduk-Aduk is a ceremonial dance performing by the Kedayan children before birthdays, especially at the end of the harvest season. Dancers wear traditional warrior’s attire, in tengkolok, red belt and black clothing, and dance to the beat of silat, a Malay martial art. This dance is accompanied by percussion instruments, including drums and coconut shells. The Malay population are known for the Jipin or Zapin dance, performed by six men and women, accompanied by instruments that include the gambus dan biola, dombak and rebana. Gongs like the Kulintangan (a set of small gongs), duck gongs and other styles are played. Malay folk music is played by accomplished musicians at special feasts and celebrations. Responsive singing is sometimes performed at weddings, with the guests joining in. The song “Alus Jua Dindang” is also an important part of Bruneian wedding music; in it, the groom (who, in a traditional wedding does not know the bride beforehand), flatters and declares his devotion to his new wife.

Music of Bulgaria

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

Instruments#

Bulgarian music uses a wide range of instruments. Some folk instruments are variants of traditional Asian instruments such as the “Saz” (Bulgarian tambura), or the kemençe (Bulgarian gadulka). More modern style instruments are often used in the modern dance music that is an offshoot of traditional village music. Bulgarian folk bands, called bitovi, use instruments that commonly include *The daire was a tambourine of varna folk music of eastern balkans of Bulgarian traditional musical instruments of rhopode regions closed was a sleigh bells or tambourine and big daire. *The accordion is closed-keyboard instrument of rhopode region and strandja regions of Bulgaria keyboard instruments was bayan and the concertina *The gaida, a traditional goat-skin bagpipe. There are two common types of gaida. The Thracian gaida is tuned either in D or in A. The Rhodopean gaida, called the kaba gaida, is larger, has a much deeper sound and is tuned in F. *The kaval, an end-blown flute is very close to the Turkish kaval, as well as the Arabic “Ney.” *The gadulka, a bowed stringed instrument perhaps descended from the rebec, held vertically, with melody and sympathetic strings. The bass gadulka has largely been replaced by the double bass (called in Bulgarian a contrabas). *The tǔpan, a large drum worn over the shoulder by the player and hit with a beater (“kiyak”) on one side and a thin stick (“osier”) on the other. *The tambura, a long-necked, metal-strung, fretted lute used for rhythmic accompaniment as well as melodic solos. It is somewhat like the Greek bouzouki and very similar to the Tamburica family’s “alto” instrument, the brac. *The tarambuka or dumbek, an hourglass-shaped finger-drum. It is very similar to the Macedonia and Serbia “darambuka” and the Bulgaria"Tarambuka" (Тарамбука). Modern professional musicians soon reached new heights of innovation in using traditional Bulgarian instruments, by expanding the capacities of the gaida (Kostadin Varimezov and Nikola Atanasov Plamen Deyanski), gadulka (Mihail Marinov, Atanas Vulchev Ganka, Zhechko tenev) and kaval (Stoyan Chobanov, Nikola Ganchev, Stoyan Velichkov, Nedyalko Nedyalkov, Theodosii Spassov. Other instruments arrived in Bulgaria in the 19th century, including the accordion and the clarinet. Bulgarian accordion music was defined by Boris Karlov and later Roma musicians including Kosta Kolev and Ibro Lolov, Boshko. In 1965, the Ministry of Culture founded the Koprivshtitsa National Music Festival, which has become an important event in showcasing Bulgarian music, singing and dance. It is held once every five years, and the last festival was 7–9 August 2015. Instruments used in wedding music include violin, accordion, gaida, kaval, tapan, Tambura, guitar and Piano.

Music of Burkina Faso

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

Popular music#

Burkina Faso’s popular music scene has not yet garnered the fame of that of other West African countries, and many popular recordings are imported from Europe, the United States and Democratic Republic of the Congo. In spite of this influx of popular styles, a few early musical acts achieved success such as Koudbi Koala’s group Saaba, who perform traditional Mossi music from the region around Ouagadougou, the nation’s capital. With a musical career that lasted half a century, singer Amadou Balaké was one of the foremost singers from the country during the 20th century. In his music, Balaké combined Mandé, Mossi, and Afro-Cuban traditions. Other influential artists from the country include George Ouédraogo and Joseph Moussa Salambéré “Salambo”. Popular traditional groups from Burkina Faso include balafon bands, percussion ensembles and others such as Farafina and Gabin Dabiré, who uses elements of traditional Burkinabé music. Bobo Dioulasso, Burkina Faso’s second-largest city, is a cultural centre of Burkina Faso’s Mandé people of the southwest. Burkinabe artist Barack La Voix D’or is a contemporary artist blending traditional Mande styles with modern afrobeat. More recently, modern musicians in Burkina Faso are beginning to incorporate more foreign influences into their music, especially those from the United States, with genres such as hip-hop, rap, salsa and techno entering the music scene. The zouglou genre from Côte d’Ivoire, along with its originator zouk, are also popular modern genres in Burkina Faso. Another modern genre that entered Burkina Faso is the Ivorian coupé-décalé, characterised by its electronic dance beat and percussive rhythm. Modern popular artists in Burkina Faso that have utilised this genre include Floby, Dez Altino, Dicko Fils, Imilo Lechanceux, Kayawoto, Huguo Boss, Razben, Barsa 1er, Agozo, Bebeto Bongo, Greg Burkimbila, David Le Combattant and Sofiano.

Music of Burundi

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

Instruments#

One feature of Burundian men’s folk songs is the presence of an inanga, a type of stringed zither. Burundian women greet each other in an interlocking rhythmic vocal form called akazehe. Other instruments include: * Ingoma drums, made from tree trunks * The umwironge, a type of flute usually made from the stem of an intomvu plant * The igihuha, a horn made from antelope horn * The ikinyege, a rattle made from a gourd of the igicuma plant * The iyebe, a rattle with threaded, dried, hollowed-out inyege fruit pods * The inzogera, a closed bell classified as an idiophone, similar to the amayugi * The umudende, a narrow cylindrical bell formed by bending a thin iron sheet into a narrow cylinder, with a hook of metal attached at top * The ikembe, technically a lamellaphone consisting of a series of iron lamellae fixed to a rectangular wooden soundbox * The indingiti, a stringed instrument classified as a fiddle * The idono, a musical bow consisting of a string (umurya) supported by a flexible wooden string bearer or bow (umuheto)

Music of Cambodia

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

Folk and classical music#

Cambodian art music is highly influenced by ancient forms as well as Hindu forms. Religious dancing, many of which depict stories and ancient myths, are common in Cambodian culture. Classical Khmer music usually is divided into three parts: pin peat, phleng kar, and mahori, all of which are associated with their religious dances. Some dances are accompanied by a pinpeat orchestra, which includes a ching (cymbal), roneat (bamboo xylophone), pai au (flute), sralai (oboe), chapey (bass moon lute or banjo), gong (bronze gong), tro (fiddle), and various kinds of drums. Each movement the dancer makes refers to a specific idea, including abstract concepts like today (pointing a finger upwards). The 1950s saw a revival in classical dance, led by Queen Sisowath Kossamak Nearyrath. During the early 1970s, the Khmer Rouge of Cambodia committed genocide among the country’s citizens. During their reign, an estimated “90% of Cambodia’s musicians, dancers, teachers, and instrument makers” were killed, interrupting the transmission of cultural knowledge to following generations. The traditional music has had to compete with foreign music that has different tonal systems of scales and pitch frequency. Lack of a formal written-system of music theory for Cambodian music lent to a perception among modern Cambodians that the music was “incorrect”, “out of tune” or “uncouth” when compared to western music or to Chinese music. Additionally, Sam-Ang Sam differentiates between music made by the mainstream Cambodians (Cambodian music) and the distinct music of ethnic minorities (part of the music of Cambodia). The latter includes music made by people living in Rattanakiri and Mundulkiri and provinces, the Koulen and Cardamom ranges, and the vicinity “around the great lake (Tonle Sap).” Differences of language and religion help to create the separation between the different cultures. Ethnic groups include upload Mon-Khmer language groups (Pnorng, Kuoy (Kui), Por, Samre) whose music consists of “gong ensembles, drum ensembles, and free-reed mouth organs with gourd windchests.” Other ethnic groups include Cham, Chinese, Vietnamese who all potentially could have music from their home cultures, but which is “unknown.”

Music of Cameroon

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

Traditional music#

The ethnicities of Cameroon include an estimated 250 distinct ethnic groups in five regional-cultural divisions. An estimated 38% of the population are Western highlanders–Semi-Bantu or grassfielders including the Bamileke, Bamum, and many smaller Tikar groups in the northwest. 12% are coastal tropical forest peoples, including the Bassa, Duala, and many smaller groups in the southwest. The southern tropical forest peoples (18%) include the Beti-Pahuin and their sub-groups the Bulu and Fang, the Maka and Njem, as well as, the Baka pygmies. In the semi-arid northern regions (the Sahel) and central highlands the Fulani ( or ; ) form an estimated 14% of Cameroonians, while the Kirdi (unbelievers) are a general category, comprising 18% of the population, of various mainly Chadic and Adamawa speakers.

Music of Canada

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

Indigenous music#

For thousands of years, Canada has been inhabited by indigenous peoples from a variety of different cultures and of several major linguistic groupings. Each of the Indigenous communities had (and have) their own unique musical traditions. Chanting is widely popular, with many of its performers also using a variety of musical instruments. They used the materials at hand to make their instruments for thousands of years before Europeans immigrated to the New World. In woodland areas, they made horns of birchbark along with drumsticks of carved antlers and wood. Drums were generally made of carved wood and animal hides. These musical instruments provide the background for songs and dances. However, impacts varied significantly depending on such aspects as the time period, relative population size, relation quality, resistance, etc. In 1606–1607 Marc Lescarbot collected the earliest extant transcriptions of songs from the Americas: three songs of Henri Membertou, the sakmow (Grand Chief) of the Mi’kmaq First Nations tribe situated near Port Royal, present-day Nova Scotia.

Music of Canberra

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

Popular music#

Jack Lumsdaine wrote and recorded the songs Canberra’s Calling to You and Queanbeyan in 1938, the sesquicentenary of European settlement. Promoters and record labels in Canberra include Capital City, Dream Damage, Hardrush Music, Hellosquare Recordings, KP Records (Distributed internationally by WIDEawake Entertainment), Bad Sounds, Canberra Musicians Club, Canberra Music Workshop, Metaphysical Productions (Hip Hop), Vacant Room Records and Birds Love Fighting Records.

Venues#

Venues for music in Canberra that are bars, clubs, community organisations or businesses that hold music based events including halls and other spaces that are available for hire. * The Abbey * A Bite to eat * Ainslie Main Hall * Albert Hall * ANCA Gallery * ANU Bar (Lic/AA & 18+) * ANU School of Music Big Band Room * Balcony Room Tuggeranong * The Basement (18+ & U18) * Belconnen Arts Centre * Belconnen Youth Centre * Burbidge Outdoor Amphitheatre * Burns Club, Kambah * Canberra Theatre Centre (Lic/AA) * Charnwood Scout Hall * Civic Youth Centre (AA) * Corroborree Park Function Room * Crosbie Morrison Amphitheatre * Deakin Scout Hall * Deakin Soccer Club * Downer Community Hall * Eucalypt Lawns * Evatt Scout Hall * The Eye at Canberra Business Events Centre * Floresco in the Gardens Cafe * The Folkus (Lic/AA) * The Front Gallery & Cafe * Garran Scout Hall * The George Harcourt Inn (18+) * Gordon Darling Hall * Goolabri * The Great Hall * Griffin Centre Hall * Griffith Hall * Gungaderral Homestead Hall * Harmonie German Club * Hippo * Kendall Lane Theatre * Kings Hall *King O’Malleys * Lake Ginninderra Sea Scout Hall * Lake View Ballroom * Larry Sitsky Recital Room * Llewellyn Hall * Macarthur Scout Hall * Majura Community Centre Function Room * Majura Hall * The Marble Foyer * Members Dining Room at Old Parliament House * The Merry Muse (18+) * Narrabundah Hall * Australian National Botanic Gardens Theatrette * National Carillon * National Library Foyer * National Library Theatre * New Acton Courtyard Stage and Cinema * Northside Community Service * Oaks Estate Community Centre * The Old Canberra Inn (18+) * Piano Bar * PJ O’Reilly’s Civic (18+) * PJ O’Reilly’s Tuggernong (18+) * Polish White Eagle Club * The Pot Belly (18+) * Reflections Room Tuggeranong * Richardson Scout Hall * Rose Cottage Canberra * Royal Theatre Canberra Convention Centre * Shadows (18+) *Sideway (18+) * Smiths Alternative * Street Theatre 1 * Street Theatre 2 * Theatre 3 * Tilley’s * Transit Bar (18+) * Tuggeranong Cabaret Space * Tuggeranong Theatre * Tuggeranong Youth Centre * UC Refectory * Waramanga/Fisher Scout Hall * The Warehouse (AA) * Wesley Music Centre * Weston Creek Community Centre * Westside Acton Park * Witness Protection Studios * Woden Youth Centre (AA) * Yarralumla Scout Hall * KnightsBridge Penthouse

Music of Cape Verde

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

Language#

In the contrary of Cape Verdean literature, the music of Cape Verde is performed in Cape Verdean Creole and not in Portuguese. Therefore, the music, in Cape Verde, is considered to be creolophone and not lusophone. Songs composed in Portuguese do exist (for instance, “Mar eterno” from Eugénio Tavares, “Ponta do Sol” from António Caldeira Marques, “Separação” from Palmeirinho) but are extremely scarce.

History#

Cape Verde is an island archipelago that was uninhabited until the Portuguese arrived in 1462. The sailors brought with them African slaves, and the islands’ population became mixed with elements of both races. Climate conditions made the islands inhospitable, and the Portuguese governments mostly ignored the inhabitants and the frequent droughts and famines that wracked the islands periodically. As a result, there are now more Cape Verdeans abroad than at home, and sizable communities exist in New England, Portugal, Wales, Senegal, Italy, France and the Netherlands. In 2011, it would be one of the most recent countries to have its own music award – the Cabo Verde Music Awards. This recognises the greatest songs of the year by Cape Vedean and foreign artists. At the continental level, singers or artists from Cape Verde and Capeverdeans abroad are included in the MTV Africa Music Awards, hosted each year by the music network MTV. From 2001-2011, Cape Verdeans and Capeverdeans abroad were awarded the KORA Awards, with only two singers ever winning – Cesária Évora and Suzanna Lubrano.

Music of Catalonia

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

History#

Among the earliest references to music from Catalonia date to the Middle Ages, when Barcelona and the surrounding area were relatively prosperous, allowing both music and arts to be cultivated actively. Catalonia and adjacent areas were the home for several troubadours, the itinerant composer-musicians whose influence and aesthetics was decisive on the formation of late medieval secular music, and who traveled into Italy and Northern France after the destruction of Occitan culture by the Albigensian Crusade in the early 13th century. The so-called Llibre Vermell de Montserrat (“Red Book of Montserrat”) stands as an important source for 14th-century music. Renaissance polyphony flourished in Catalonia, though local composers never attained the fame of either the Spanish composers to the South and West or the French composers to the North. Joan Pau Pujol wrote four books of polyphonic masses and motets in honor of the patron saint of Catalonia, St. George. Performances of opera, mostly imported from Italy, began in the 18th century, but some native operas were written as well, including three by Isaac Albéniz and seven by Enrique Granados. The Barcelona opera house, Gran Teatre del Liceu, which opened in 1847, remains one of the most important in Spain; in addition, in the mid-19th century the first Barcelona Philharmonic Society was founded for the performance of orchestral music. Several symphonic orchestras exist in Catalonia today, including the Barcelona Orchestra.

Music of Central Asia

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

Instruments#

Choor (Kyrgyz national instrument), a type of end-blown flute of varying lengths, with 4 to 5 holes made with reed or wood. Common among Inner Asian pastoralists, this instrument is also known as (Mongolian), chuur (Tuvan) and (Kazakh).
Chopo choor, an ocarina made of clay with 3 to 6 holes, popular with children in Kyrgyzstan.
Dayra, a frame drum with jingles played by men and women among sedentary populations in Central Asia.
Dombra, a class of two-stringed, long-necked lutes, the best known of which is a fretted lute that is considered Kazakhstan’s national instrument. It is mostly used to play solo instrumental pieces known as kui. The dombra also provides accompaniment to Kazakh jyrau (bards) and singers of bel canto (lyrical song).
Dutar, a variety of two-stringed long-necked fretted lutes among Uzbeks, Uyghurs, Tajiks, Turkmens, Karakalpaks and Afghans.
Garmon, a small accordion among khalfa (female wedding entertainers) in the Khorezm region of northwestern Uzbekistan.
Ghijak, a round-bodied spike fiddle with 3 or 4 metal strings and a short fretless neck used by Uyghurs, Uzbeks, Tajiks, Turkmens and Karakalpaks.
Jaw harps, called by a variety of names, including temir komuz, traditionally used by pastoralists throughout Inner Asia. They are typically made out of wood or metal.
Komuz, a three-stringed, fretless long-neck lute typically made from apricot wood, nut wood or juniper wood. It is the principal folk instrument of the Kyrgyz. Playing techniques include plucking, strumming, and striking the strings with the fingernails, together with the use of stylised hand and arm gestures to add narrative to the performance.
Kyl kyyak, the Kyrgyz name for an upright bowed fiddle with two horse hair strings. In Kazakhstan it is known as qylqobyz. The deck is usually made from camel or cow hide, and the body is carved from a single piece of wood, typically apricot wood. The instrument had a strong connection to both shamanism and the recitation of oral poetry.
Rubab, a fretless lute with sympathetic strings played among sedentary populations in Central Asia.
Rawap, a Uyghur long-necked lute similar to the rubab, but without sympathetic strings.
Sato, a bowed tanbur, or long-necked lute, now rare, played by performers of Tajik-Uzbek classical music.
Sybyzgy, a Kyrgyz sideblown flute traditionally played by shepherds and horse herders, made from apricot wood or the wood of mountain bushes. The sybyzgy has its own repertory of solo pieces, known as kuu, which are distinguished by their lyrical content.
Tanbur, a long-necked plucked lute with raised frets used in Uzbek, Tajik and Uyghur classical music traditions. An Afghan variant has sympathetic strings.
Tar, a double-chested, skin-topped, plucked lute with multiple sympathetic strings used in urban music from the Caucasus and Iran (the Iranian version does have sympathetic strings). The tar is also popular in Tajikistan and Uzbekistan.

Preservation of Asian musical heritage#

In 2000 the Aga Khan Trust for Culture established a music initiative to assist in the preservation of Central Asia’s musical heritage. Known as the Aga Khan Music Initiative in Central Asia (AKMICA), the programme works with tradition-bearers throughout Central Asia to ensure that their traditions are passed down to a new generation of artists and audiences, inside and outside the region. AKMICA has also produced and sponsored music tours and festivals, is engaged in documentation and dissemination and collaborates with the Silk Road Project.

Music of Chad

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

Popular music#

Following independence, Chad, like most other African countries, quickly began producing some popular music, primarily in a style similar to the soukous music of the Democratic Republic of the Congo. Styles of Chadian popular music include sai, which used rhythms from the southern part of Chad—this style was popularized by a group called Tibesti. Other bands include the Sahel’s International Challal and African Melody, while musicians include the Sudanese-music-influenced guitarist Ahmed Pecos and Chadian-French musician Clément Masdongar.

Music of Chile

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

Pre-Columbian and colonial times#

Prior to the arrival of the European conquerors, the modern national borders that make up the Americas did not exist, so one cannot refer to music from “Chile”, or any other South American country, from this time. However, music existed in the Americas for centuries before European conquest, and many of the characteristics and instruments of pre-Hispanic music have formed part of the folkloric and musical tradition of Chile and of Latin America. Archaeological excavations have unearthed many musical instruments showing the existence of a variety of musical cultures in the area long before even the Inca period. Scientific research into remains left by the Nazca and Mochica peoples has shown the existence of complex theoretical musical systems, with the presence of minor intervals, semitones, chromaticism and musical scales of five, six, seven and eight notes, equivalent to contemporaneous cultures in Asia and Europe. Sociologist Carlos Keller has compared the Inca occupation of the Andean region with the Roman occupation of Greece or the Aztec conquest of the Maya. ;Atacama people When the Incas advanced over the north of Chile, they encountered different native peoples and absorbed elements of their culture, especially the Atacameños (Atacama people). The Atacameños - themselves highly influenced by the Nazca - were an organized society that inhabited parts of the Atacama Desert, mainly in the east and central sectors of the region, and spread as far as Central Chile. They were conquered by the Incas in the 15th century, but today still speak and sing some of the ancient songs in cunza, the original language of their people. ;Mapuche people The Mapuche people were the main indigenous people populating the region running from Copiapó in the north to Chiloé in the south. The Mapuche were never conquered by the Incas, so their music and musical instruments differ from the northern cultures that fell under Andean influence. Spanish chroniclers observed their musical rituals with interest, and their observations have allowed historians to compare this early music with the Mapuche music of the modern day. Historian Samuel Marti writes that the Mapuche “do not dance or sing to demonstrate knowledge and skill, or to entertain spectators, but to honour their gods”. Mapuche music today, despite the influence of Christianity, is still an expression of faith, hopes or fears to the traditional gods, because the conquest did not change the spirit of these peoples, even though it introduced new cultural elements. The Franciscan missionary Geronimo de Ore (Lima, Peru, circa 1598) noted that Mapuche children learned songs from a very young age and demonstrated excellent memory and sense of rhythm. De Ore, realizing that these skills could be used as an evangelization and religious indoctrination tool, proposed that Christian prayers should have been taught in the native language and sung to native or European tunes. The same method was used in Chile by Jesuit priests. Jesuit priest Bernardo Havestadt came to Chile in 1748 and worked as missionary in La Mocha Concepción, Rere and Santa Fe. In 1777, he published a document in Westphalia that contains 19 Mapuche songs accompanied by European-style music. Unlike the Andean peoples, the Mapuches did not develop a theoretical musical system, but in practice one is imposed by the limitations of their instruments. The technique of playing these instruments has been preserved from generation to generation and melodies are formed by linking periods. There are no long notes in Mapuche music and the scales and melodic schemes of their music have no relation to the panphonic Andean music. In the seventeenth century, chronicler Gonzalez de Najera described the music as “more sad than happy” and the instruments as basic drums and flutes made of the shin bones of Spaniards and other native enemies. Other chroniclers agreed with Gonzalez de Naveja’s observations, including the jesuit Juan Ignacio Molina (Abate Molina). ;Mapuche musical instruments wind instruments include: Trutruca, or trutruka: a kind of trumpet, straight or spiral-shaped, made of colihue wood (Chusquea culeou) with a terminal or lateral mouthpiece and a cattle horn to amplify the sound. : similar to the trutruca but smaller, made of ñolkin cane, a native plant species. Pingkullwe: a transverse flute with 5 holes, made of colihue wood (Chusquea culeou). Pifüllka or : a vertical flute with a closed end, made of wood and played in pairs. Kull kull: a small trumpet made of bull horn. Of the string instruments, the best known is the Kunkulkawe, known in other cultures as the Pawpaweñ, Latajkiaswole, or Alenta-Ji-Wole. It consists of a bow that is rubbed against another bow, with some chroniclers also describing a mouth bow. The Fueginos caught the attention of explorers in the early of the twentieth century, with North American Colonel Charles Wellington Furlong the first to record phonograph records of Selkʼnam and Yagan songs between 1907 and 1908. German priest and ethnologist Martin Gusinde studied and recorded their music, and in a letter from July 23, 1923, wrote of ceremonies with music and dancing very similar to those observed in the Amazon, which he described as sad, solemn and very limited in tonal range.

Music of China

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

History#

According to legends, the founder of music in Chinese mythology was Ling Lun who, at the request of the Yellow Emperor to create a system of music, made bamboo pipes tuned to the sounds of birds including the phoenix. A twelve-tone musical system was created based on the pitches of the bamboo pipes, the first of these pipes produced the ‘yellow bell’ () pitch, and a set of tuned bells were then created from the pipes.

Music of Colombia

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

Caribbean region#

Colombia is known as “the land of a thousand rhythms” but actually holds over 1,025 folk rhythms. Some of the best known genres are cumbia and vallenato. The most recognized interpreters of traditional Caribbean and Afro-Colombian music are Totó la Momposina and Francisco Zumaqué.

Cumbia#

Cumbia began as a courtship dance practiced among the African population on the Caribbean coasts of Colombia. It is a mixture of Spanish, Native Colombian and African music. The style of dance is designed to recall the shackles worn around the ankles of the slaves. In the 19th century, slavery was abolished and Africans, Indians and other ethnic groups got a more complete integration in the Colombian culture. Cumbia is a complex, rhythmic music which arose on Colombia’s Atlantic coast. In its original form, cumbia bands included only percussion and vocals; modern groups include saxophones, trumpets, keyboards and trombones as well. It evolved out of native influences, combining both traditions. Some observers have claimed that the dance originally associated with iron chains around the ankle. Others still believe that it is a direct import from Guinea, which has a popular dance form called cumbe. Cumbia’s form was solidified in the 1940s when it spread from the rural countryside to urban and middle-class audiences. Mambo, big band and porro brass band influences were combined by artists like Lucho Bermúdez to form a refined form of cumbia that soon entered the Golden Age of Cumbia during the 1950s. Discos Fuentes, the largest and most influential record label in the country, was founded during this time. Fruko, known as the Godfather of Salsa, introduced Cuban salsa to Colombia and helped bring Discos Fuentes to national prominence by finding artists like La Sonora Dinamita, who brought cumbia to Mexico, where it remains popular. It is worth pointing out that the “classic” cumbia known throughout Colombia is the “Cumbia Cienaguera”. This song reflects a uniquely Colombian feel known as “sabor” (flavour) and “ambiente” (atmosphere). Arguably, this song has remained a Colombian staple through the years and is widely known as Colombia’s unofficial national anthem. Some artists are Los Gaiteros de San Jacinto, Los Graduados, Los Black Stars, Los Golden Boys, Los Teen Agers, and Los Corraleros de Majagual. In the United States, an Afro- Colombian band based in New York called Grupo Rebolu, performs a variety of Afro-Colombian rhythms with authentic instruments such as Tambora and Tambor Alegre. Their repertoire includes Cumbia and many more genres from the Northern coast of Colombia as part of their original compositions.

Music of Connecticut

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

Music institutions and venues#

Following the Chicago Symphony, Boston Symphony and the New York Philharmonic, the New Haven Symphony Orchestra is the fourth-oldest orchestra in the country. It gave its first performance in January 1895. The city of Hartford is home to Connecticut Opera (founded in 1942 and closed in 2009), the New Haven Symphony Orchestra (founded in 1934), The Hartford Chorale (founded in 1972) and the Hartford Conservatory, an institution of music education. The Yale Summer School of Music hosts the Norfolk Chamber Music Festival, a major music festival devoted to chamber music. There is also a Connecticut Early Music Festival. Norwalk is home to the Norwalk Youth Symphony. Major performance venues in Connecticut include the Oakdale Theater in Wallingford, Westville Music Bowl in New Haven, The Ridgefield Playhouse, The El’ N’ Gee Club in New London, The Bushnell Center for the Performing Arts in Hartford, The Klein Memorial Auditorium in Bridgeport, Xfinity Theatre in Hartford (formerly known as The Meadows), the Palace Theater in Waterbury, the Regina A. Quick Center for the Arts at Fairfield University, the Jorgensen Center for the Performing Arts at the University of Connecticut in Storrs, Toad’s Place in New Haven, The Cellar in Hamden (formerly known as The Space), The Ü Party in Downtown New Haven, and the Stamford Center for the Arts.

Music of Corsica

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

Dance#

There are two dances of ancient origin found in Corsica: the caracolu, a women’s funeral dance, and the moresca, which illustrates the struggle between Moors and Christians. These days, they are no longer performed. Traditional dances like the quatriglia (quadrille) or the scuttiscia (Scottish) have known some kind of revival over the last twenty years, groups like Diana di L’alba and Dopu Cena recorded the music and the associations Tutti in Piazza and Ochju à Ochju animate dance nights and teach as well. The granitula, a spiral procession, is still performed by the confraternities on Good Friday.

Music of Costa Rica

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

Folk music#

The Caribbean coast shows a strong African influence in the complex percussion rhythms such as sinkit. Like its northerly neighbors in Central America, the marimba is a very popular instrument, and Costa Rican marimba music is popular. In modern times, groups such as Cantares have helped to popularize Costa Rican folk music, and were a leading part of the New Costa Rican Song movement. Costa Rica’s pre-Columbian population has contributed a large part of the country’s folk heritage, include rare musical scales, certain ceremonial songs and ocarinas. The Guanacaste region, in the Nicoya Peninsula, is home to the best-known folk traditions. Along the Atlantic coast, the African musical heritage is more pronounced, and Afro-Caribbean music including rumba, calypso and reggae are popular. In most of Costa Rica, ancient instruments such as ocarinas are being replaced by international instruments such as accordions and guitars. There are still folk styles, even outside of Guanacaste, such as the Talamanca (canton)’s Danza de los Huelos and the Boruca people’s Danza de los Diablitos. Guanacaste is the major center for Costa Rican folk music, especially pre-Columbian styles such as the Danza del Sol and Danza de la Luna of the Chorotega, who also popularized the ancient quijongo (a single-string bow and gourd resonator) and native oboe, the chirimia. Costa Rica’s population never developed a major rhythm or style that became a major part of popular music, but there have been exceptions, such as the Costa Rican landscape school of painting in the 1920s. The Andean peña tradition (an international gathering of like-minded persons) is strong in Costa Rica as well, introduced by immigrants from Chile and Argentina. In the late 1980s some local artists and bands became famous for having their own style and original material, such as José Capmany, Distorsión, Café con Leche, Modelo Para Armar and Inconsciente Colectivo; some of them had fans from outside of Costa Rica, such as Editus, a Grammy winning contemporary jazz ensemble. At around that time a popular Latin genre developed, chiqui-chiqui (a mixture of merengue, cumbia and other Latin rhythms along with afro-pop influences) as it was known, led by bands such as Los Hicsos, Jaque Mate, La Pandylla, Manantial and La Banda with well-known classic hits such as La Avispa, El cangrejo, Julieta, El criticon, El hula hula etc. After losing popularity around the 1990s, chiqui chiqui has resurfaced and established itself as one of the most popular and recognizable music among Costa Ricans, thanks in part to the release of CD re-editions of many classic hits. Some examples of Costa Rican hits with Chiqui chiqui are: From the late 1990s to the present time, there has emerged a newer local rock style led by bands such as Gandhi, Evolución, Tango India, Suite Doble, Alma Bohemia, and Kadeho, all of which have been accepted positively by Costa Rican youths. There are metal bands, including Grecco, Advent of Bedlam, Corpse Garden, Catarsis Incarne, and Heresy. The rock bands begins a new standard to CR’s music with bands such as Time’s Forgotten, Pneuma and Sight of Emptiness making really high albums and concerts. The international community starts to take a look at Costa Rica where bands such as Time’s Forgotten plays in BajaProg (Rock Festival) and have several reviews in the best progressive magazines, sites, and radios. For example, Dividing Line put the album “Dandelion” between the best 15 album in the 2009. Costa Rica has become a centerfold for international Rock and Metal concerts. Bands such as: Deep Purple, Aerosmith, Anthrax, Red Hot Chili Peppers, Pearl Jam, Cannibal Corpse, Apocalyptica, Arch Enemy, Green Day, Helloween, Rhapsody Of Fire, Epica, Nightwish, had come to play in the country, as well as international singers and musicians like Paul McCartney and Carlos Santana. It became better with the coming of Iron Maiden back in 2008 for the Somewhere Back in Time World Tour, according to sponsors and the Flight 666 documentary, the concert held in Costa Rica was the largest in Central America, with over 27,000 attendants. With that concert, Costa Rica is now becoming an important stop for Metal bands. Examples of this are Metallica, Megadeth, Slayer, Judas Priest, Black Sabbath and Opeth. Also bands venturing into Reggae and Ska are popular, one example is Mekatelyu and Michael Livingston. Malpaís, a band emerging from the Guanacaste-area, is one of the central bands of the Costa Rican rock and music scene of today, mixing traditional Costa Rican folk and Latin music with jazz and rock and has met great success in Costa Rica and surrounding countries. Cantoamerica is a band led by Manuel Monestel that for many years has developed research and promotion of the music of the Costa Rican Caribbean coast. Calypso music and other Caribbean sounds are included in the band’s repertoire. Cantoamerica has traveled all over the world as ambassador of Afro Costa Rican music. For all the fanfare of rock, electronic or world music, Latin music is somehow the most common music genre in some specific sectors, and visitors will find that most Costa Ricans of certain generations favor Latin music (Cuban, Mexican and Colombian).

Music of Crete

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

Instrumental (dances, kondylies, kantadha)#

Much Cretan music includes the use of instruments (and usually singing, too). Lyra, violin, and laouto (Cretan lute) predominate, but other common instruments include the mandolin, mandola, oud, thiampoli (souravli), askomandoura, classical guitar (especially in Eastern Crete), boulgari, and daouli (davul). There is also an instrument known as the viololyra, a hybrid of the violin and lyra, which has enjoyed varying degrees of popularity at various times. Cretan music has been largely heterophonic in texture or accompanied by drones and fifth chords on Cretan lute, classical guitar, mandolin, boulgari, and so forth. Drones are also played simultaneously on melody instruments such as the lyra and violin by bowing a second string (usually open) simultaneously as one plays the melody notes on another string. Especially in earlier and more amateur settings where a second accompanying instrument was often absent, a lyra player accompanied himself by playing not only a drone string but also with a distinctively rhythmic bowing style in order to ring the gerakokoudhouna (small “falcon bells”) that were attached to his bow. It is much more common today for the lyra to be accompanied by one or more other instruments, and for lyra players to employ a violin bow. Like much Greek folk music, Cretan music is closely related to dance, and the most common musical forms correspond directly with the Cretan dances that may accompany them, such as the Syrtos, pentozali, siganos, pidikhtos, and Sousta. Certain traditional dances from other regions of Greece, most notably kalamatianos and ballos, are also widely performed by professional Cretan musicians, usually with Cretan-composed lyrics, in musical gatherings since at least the twentieth century. Like fiddle tunes in various other traditions, Cretan dance music often involves repeated melodies or repeated pairings of melodies, whose selection and concatenation is improvised in performance. Another musical construction common to Cretan music is the taximi (), a rhythmically free, improvised instrumental solo (e.g., on the violin, lyra, or lute) in a particular scale or mode preceding the dance-song proper. (Both the word taximi and the musical form itself are cognates with the Arabic taqsim.)

Music of Croatia

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

Medieval#

The oldest preserved relics of musical culture in Croatia are sacral in nature and represented by Latin medieval liturgical chant manuscripts (approximately one hundred musical codices and fragments dating from the 11th to the 15th centuries have been preserved to date). They reveal a wealth of various influences and liturgical traditions that converged in this region (Dalmatian liturgy in Benevento script, Northern Gregorian chant, and original Glagolitic chant).

Renaissance and baroque#

Early in the 15th century, the ideas of Humanism in Croatia brought about changes to the world of music. Interest in music began to spread outside of monastic and church walls with growing influence of new spiritual tendencies from Central European and particularly Italian cities. Humanists and philosophers promulgated new musical theories and aesthetic ideas: Federik Grisogono, Pavao Skalić, Frane Petrić. The writing down of folk and popular music began in mid-sixteenth century: in the poem Fishing and Fishermen’s Talk from 1558, Petar Hektorović ingrained Neoplatonic ideals in popular music; and transcripts of Croatian musical folklore were printed in Venetian anthologies (Giulio Cesare Barbetta 1569, Marco Facoli 1588). Julije Skjavetić from Šibenik published his madrigals (Li madrigali a quattro, et a cinque voci 1562), while his Motetti a cinque et a sei voci, (1564) are characterised by a lavish polyphonic structure under the influence of the Dutch school. Music and dance were a component part of theatrical expression (Mavro Vetranović, Nikola Nalješković, Marin Držić, Marin Benetović), while the function of music and sound effects was under the influence of Italian pastorals. The most prominent Croatian composers of this period include Ivan Lukačić, Vinko Jelić and Atanazije Jurjević. New tendencies of early Baroque monody soon found their way into the domestic musical tradition, both sacral and secular. Tomaso Cecchini, from Verona, who spent his entire working life (1603–44) as a choirmaster, organist and composer in Split and Hvar, published his madrigals Armonici concetti, libro primo (1612) as the oldest Baroque collection written for the Croatian milieu. The collection Sacrae cantiones (Venice 1620) by Ivan Lukačić from Šibenik is valuable testimony of sacral music that was performed in Split, and is generally speaking, one of the most significant monuments of old Croatian music altogether. The Franciscans and Paulists cultivated sacral chants, mostly monophonic and without organ accompaniment (the manuscript cantos of Frane Divnić, Bone Razmilović, Filip Vlahović-Kapušvarac, Franjo Vukovarac and Petar Knežević). Also, worth mentioning is Ragusino Vincenzo Comnen, the only representative of the music of the Dubrovnik nobility. The tradition of the Baroque was more lasting in church/sacral music, which was the musical form that was systematically nurtured in numerous monasteries (especially Franciscan ones) as well as in parish and cathedral churches. The preservation of music manuscripts and prints became a widespread practice in the mid-18th century. Simple vocal-instrumental music for two voices with organ continuo was the form most frequently performed in churches; more prominent individuals active in the sphere of music could be found only in larger urban centres. They were mostly organists and maestri di cappella, skilful composers who had small vocal and/or instrumental ensembles and who frequently acted as music teachers (private or in church schools). The gradual development of the middle class had as one of its consequences the corresponding secular organisation of musical life, particularly in the first decades of the 19th century, a period that saw the establishment of music ensembles, music societies (1827 in Zagreb, then in Varaždin, Rijeka, Osijek etc.) and music schools. In addition, public balls and other events were organised (music academies, theatre performances) with the participation of local and foreign musicians (from Italy, Austria, Bohemia etc.) including the private collection of music materials for playing music at home. Music became a component part of various festivities, such as the arrival of important political personalities (the new governor or the Habsburg king Frances I, etc.), the feasts of patron saints (St. Blaise in Dubrovnik, St. Domnius in Split, St. Stephen in Hvar and Zagreb etc.), for which so called art music was specifically composed, with the inclusion of popular elements (bourgeois dances, folk music of the peasantry).

Music of Cuba

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

18th and 19th centuries#

Among internationally heralded composers of the “serious” genre can be counted the Baroque composer Esteban Salas y Castro (1725–1803), who spent much of his life teaching and writing music for the Church. He was followed in the Cathedral of Santiago de Cuba by the priest Juan París (1759–1845). París was an exceptionally industrious man and an important composer. He encouraged continuous and diverse musical events. In the hands of his successor, Ignacio Cervantes Kavanagh, the piano idiom related to the contradanza achieved even greater sophistication. Cervantes was called by Aaron Copland a “Cuban Chopin” because of his Chopinesque piano compositions. Cervantes’ reputation today rests almost solely upon his famous forty-one Danzas Cubanas, which Carpentier said, “occupy the place that the Norwegian Dances of Grieg or the Slavic Dances of Dvořák occupy in the music of their respective countries”. Cervantes’ never-finished opera, Maledetto, is forgotten. In the 1840s, the habanera emerged as a languid vocal song using the contradanza rhythm. (Non-Cubans sometimes called Cuban contradanzas “habaneras.”) The habanera went on to become popular in Spain and elsewhere. The Cuban contradanza/danza was also an important influence on the Puerto Rican danza, which went on to enjoy its own dynamic and distinctive career lasting through the 1930s. In Cuba, in the 1880s the contradanza/danza gave birth to the danzón, which effectively superseded it in popularity. Laureano Fuentes (1825–1898) came from a family of musicians and wrote the first opera to be composed on the island, La Hija de Jefté (Jefte’s daughter). This was later lengthened and staged under the title Seila. His numerous works spanned all genres. Gaspar Villate (1851–1891) produced abundant and wide-ranging work, all centered on opera. Gottschalk was brought up mostly by his black grandmother and nurse Sally, both from Saint-Domingue. He was a piano prodigy who had listened to the music and seen the dancing in Congo Square, New Orleans from childhood. His period in Cuba lasted from 1853 to 1862, with visits to Puerto Rico and Martinique squeezed in. He composed many creolized pieces, such as the habanera Bamboula, Op. 2 (Danse de negres) (1845), the title referring to a bass Afro-Caribbean drum; El cocoye (1853), a version of a rhythmic melody already present in Cuba; the contradanza Ojos criollos (Danse cubaine) (1859) and a version of María de la O, which refers to a Cuban mulatto singer. These numbers made use of typical Cuban rhythmic patterns. At one of his farewell concerts he played his Adiós a Cuba to huge applause and shouts of ‘bravo!’ Unfortunately, his score for the work has not survived. In February 1860 Gottschalk produced a huge work, La nuit des tropiques, in Havana. The work used about 250 musicians and a choir of 200 singers plus a tumba francesa group from Santiago de Cuba. He produced another huge concert the following year, with new material. These shows probably dwarfed anything seen in the island before or since, and no doubt were unforgettable for those who attended. p147

Music of Curaçao

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

Classical and traditional music of Curaçao#

The tumba is the most internationally renowned kind of Curaçao music. Tumba is the name of an African-derived rhythm, as are seú and tambú. The Curaçao-born composer Jan Gerard Palm (1831–1906) was the first composer to write music for the lyrics of tumba’s. There are traditional lyrics associated with different tumba songs, but they are sometimes scandalous and accusatory, and are thus not always sung. Tumba was known as early as the 19th century, and it is now a popular part of the Carnival Road March. Besides tumbas, there is a very rich tradition of Antillean waltzes, mazurkas, danzas and pasillos that are popular in Curaçao, Bonaire and Aruba. This music is often referred to as the Classical Music from Curaçao and Aruba. Well known composers of the Netherlands Antilles are Jan Gerard Palm (1831–1906), Chris Ulder (1843–1895), Joseph Sickman Corsen (1853–1911), Paul de Lima (1861–1926), Jacobo Conrad (1879–1918), Rudolph Palm (1880–1950), Charles Maduro (1883–1947), John Palm (1885–1925), Toni Palm (1885–1963), Jacobo Palm (1887–1982) Albert Palm (1903–1958), Edgar Palm (1905–1998), Wim Statius Muller (1930), Robert Rojer (1939) and Randal Corsen (b. 1972). Aruba is well known by its composers Rufo Wever (1917–1977) and Padu Lampe (b. 1925). Traditional work songs were very diverse on Curaçao, where they were sung in seshi (semi-Papiamento) or Guene. Lyrics were apentatonic. Tumba is the name of an African-derived rhythm, as are seú and tambú. Traditionally, Afro-Curaçaoan rhythms were often played in the muzik di zumbi style, which included instruments such as the benta (bow harp), gogorobi (rattlers) and flute, which created an ethereal sound. Tambú (sometimes called the Curaçao blues) was first sung by slaves (mostly women) expressing pain and sadness, usually accompanied by the tambú drum and the agan (a piece of iron or ploughshare) or chapi (a hoe), along with clapping (usually only by the women in the audience). Previously, drums were outlawed for slaves, and the bastèl, a large calabash in a water barrel, was used instead. It is accompanied by an erotic dance that involves no physical touching. The dance was so racy that the government and the Roman Catholic Church sought to end the practice. The seú was performed during the harvest festival during traditional times, but is now continued during annual parades in the city of Willemstad. Formerly the seú was a march through the fields, during which the workers brought the crops to the warehouses, the men playing drums, kachu and chapi, while the women carried produce on their heads. It was accompanied by a dance called wapa, which gracefully re-enacted the movements associated with planting and harvesting, often including work songs in Guene, the old slave language. As traditional agriculture began dying out with modern industrialization, the seú too began to fade away. The Curaçao Department of Culture now organizes an annual parade in Willemstad on Easter Monday, which sees as many as 2500 people or more participate.

Music of Cyprus

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

Medieval music#

Cyprus changed hands numerous times prior to the medieval era, and was an important outpost of Christianity and Western European civilization during the Crusades. The island’s peak as a cultural capital of Europe occurred from 1359 to 1432. During that peak, Pierre I de Lusignan made a three-year tour on Europe, bringing with him an entourage of musicians that impressed Charles V in Rheims so much that he donated 80 francs in gold to them. On his return to Cyprus, Pierre I brought with him the French Ars Nova and, later, the Ars Subtilior. French musicians became well established in Cyprus, and the city of Nicosia became a capital of the Ars Subtilior style. Janus I de Lusignan saw Cypriot music evolve into its own variety of music. His daughter, Anne de Lusignan, brought a manuscript after her marriage to Louis, Count of Geneva, which contained 159 folios with over two hundred polyphonic compositions, both sacred and secular. The manuscript is now a part of the collection of the National Library of Turin.

Music of Denmark

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

Origins#

The earliest traces of Danish music go back to the many twisting Bronze-Age horns or lurs which some experts have identified as musical instruments. They have been discovered in various parts of Scandinavia, mostly Denmark, since the end of the 18th century. In his Gesta Danorum (c.1200), historian Saxo Grammaticus refers to the power that music had over King Erik the Kind-Hearted. In the 13th and early 14th centuries, German minnesingers such as Tannhäuser and Frauenlob sang in the Danish courts. The Codex Runicus (c.1300) contains a verse written in runes with a non-rhythmic musical notation. The first line is Drømdæ mik æn drøm i nat (I Dreamed Me a Dream Last Night). There is also evidence that English monks came to Denmark to sing at a celebration commemorating St Canute, who died in 1086. In 1145, Lund Cathedral received Scandinavia’s first choir statues, and by 1330 it was one of the larger churches to have an organ installed.

Music of Djibouti

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

Music institutions#

The first radio station in Djibouti to air popular Djiboutian music was (ORTF) Radio based in Djibouti. It started broadcasting in 1940 in French, Somali, Afar and Arabic. Djiboutian music is now regularly broadcast on the state-run Radio Television of Djibouti, whose in-house band is Groupe RTD.

External links#

Waqal Music - Djibouti Music
Audio clips: Traditional music of Djibouti. Musée d’ethnographie de Genève. Accessed November 25, 2010.
Audio clips - traditional music of Djibouti. French National Library. Accessed November 25, 2010.

Music of Ecuador

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

Andean music (La Sierra)#

The mountainous, Andean region of Ecuador, the Sierra, is home to a style of music called Sanjuanito. The music of the Otavalo people is well-known worldwide. A small panpipe called the rondador is the most distinctive instrument, but ensembles are typically groups of wind instruments, guitar trios (often including a bandolin), or brass bands. Folk rhythms include cachullapi, yumbo, and danzante. Musicians like Huayanay have helped to popularize Andean-Ecuadoran music. Musical traditions have been of vital importance for Ecuadorians, especially for the Andean and indigenous peoples. This dates back even before the Spaniards came to conquer the country of Ecuador. As archaeologists went on the hunt towards digging up artifacts, they came across ancient instruments that were a key point in the musical aspect. These instruments varied all the way from various wind instruments such as Pan flutes all the way to drums and guitar types.

Music of Egypt

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

History#

The ancient Egyptians credited the goddess Bat and the god Ihy with the invention of music. The cult of Bat was eventually syncretised into that of Hathor because both were depicted as cows. Hathor’s music was believed to have been used by Osiris as part of his effort to civilise the world. The lion-goddess Bastet was also considered a goddess of music in ancient Egypt.

Neolithic period#

In prehistoric Egypt, and chanting were commonly used in magic and rituals. Rhythms during this time were unvaried and music served to create rhythm. Small shells were used as whistles.

Music of El Salvador

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

Folk music#

Musical repertoire consists of xuc, danza, pasillo, marcha and canciones. The Xylophone is a representative folk music instrument. Some of the most well known songs are “El Carbonero” and “El Torito Pinto”. Marimba is one of the traditional folk music styles performed in El Salvador and was first introduced by African slaves. Two versions, of the percussion instrument that has intonations like a piano, the marimba de arco, which was played with a bow, and the marimba criolla were introduced. A coup d’état in 1932 resulted in the massacre of around 30,000 people and destruction of both the indigenous population and the original marimba de arco. The modern version of the instrument is a three octave marimba de arco and the music is always instrumental. The heyday of marimba in El Salvador was from the 1920s to 1930s when musicians played internationally, but because the instrument could be adapted to other styles, it remained popular until rock came on the scene in the late 1950s and early 1960s. In 1990, a revival of the indigenous music began. Marimba Centroamericana was one of the marimba bands popular in El Salvador and abroad. The first radio station in El Salvador, which was government-owned, played waltz, foxtrot, rancheras, sones, and songos, along with tangos. El Salvadoran musicians created their own versions of these styles.

Music of Equatorial Guinea

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

National music#

The national anthem of Equatorial Guinea was written by Atanasio Ndongo Miyone and adopted in 1968, when the country gained independence from Spain http://www.nationalanthems.info/gq.htm . Equatorial Guinea was carved out of three former Spanish colonies: Río Muni, a strip of land between Cameroon and Gabon; Bioko, an island near Cameroon; and Annobón, an island in the Atlantic Ocean far from the mainland.

Traditional music#

The largest ethnic group are the Fang (85.7% (1994 census) of a total 704,001 (July 2013 est.)), with 6.5% Bubi and smaller populations of Mdowe (3.6%), Annobonese (1.6%) and Bujeba (1.1%), including smaller groups such as the Ndowe, the Bisio and the Combe. The Fang are known for their mvet, a cross between a zither and a harp. The mvet can have up to fifteen strings. The semi-spherical part of this instrument is made of bamboo and the strings are attached to the center by fibers. Music for the mvet is written in a form of musical notation that can only be learned by initiates of the bebom-mvet society. Music is typically call and response with a chorus and drums alternating. Musicians like Eyi Muan Ndong have helped to popularize folk styles. A three- or four- person orchestra consisting of some arrangement of sanza, xylophone, drums, zithers and bow harps accompanies the many dances in Equatorial Guinea, such as the balélé and the risque ibanga. Another popular instrument is the tam-tam, a wooden box covered with animal skin. In its center are bamboo keys installed with complete musical scales. A second type of tam-tam has two different levels of musical keys. Generally, wooden musical instruments are decorated with fauna images and geometric drawings. Drums are covered with animal skins or animal drawings.

Music of Eritrea

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

Notable musicians#

Notable Eritrean musicians were Edris Wad Amir, Ibrahim Wad Goret, Edris M. Ali, Zainab Bashir, Fatima Ibrahim, Engineer Asgedom Woldemichael, Wad Asheikh, Yemane Baria, Osman Abderrehim, Alamin Abdeletif and Atowe Birhan Segid. Yemane Baria wrote one political song, and he was in jail. Also of note is Bereket Mengistab, who has had a lengthy career, and 1960s musicians Haile Ghebru and Tewolde Redda. Modern popular stars include Wad Asheikh, Saeed salih, Fatima Ibrahim, Teklé Tesfa-Ezighe, Tekle Kiflemariam Wedi Tukul, Tesfai Mehari (Fihira), Osman Abderrehim, Abrar Osman, Abraham Afwerki, Yemane Ghebremichael, Alamin Abdeletif, Atewebrhan Segid, and Tsehaytu Beraki.

Music of Estonia

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

History#

The earliest mentioning of Estonian singing and dancing dates back to Saxo Grammaticus’ Gesta Danorum (c. 1179). Saxo speaks of Estonian warriors who sang at night while waiting for an epic battle. The Estonian folk music tradition is broadly divided into 2 periods. The older folksongs are also referred to as runic songs, traditional songs in the poetic metre regivärss that are shared by all Finnic peoples. Runic singing was widespread among Estonians until the 18th century, when it started to be replaced by rhythmic folksongs. Professional Estonian musicians emerged in the late 19th century at the time of Estonian national awakening. The best known active Estonian composers is Arvo Pärt .

Music of Ethiopia

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

Chordophones#

In the highlands, traditional string instruments include the :masenqo (also known as ), a one-string bowed :lute; the :krar (also known as ), a six-string :lyre; and the :begena, a large ten-string lyre. The (a five-string lyre) and :musical bows (including an unusual three-string variant) are among the chordophones found in the south.

Aerophones#

The is a bamboo flute that is common in the highlands. Trumpet-like instruments include the ceremonial used in some regions, and the (animal horn; compare shofar) found mainly in the south. flutes have no finger holes, and produce only two tones, the fundamental and a fourth or fifth interval. These may be metal (generally found in the north) or bamboo (in the south). The Konso and other people in the south play , or pan flutes. It has 6 holes.

Music of Fiji

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

Fijian Folk music#

Like their Polynesian neighbours, modern Fijians play guitar, ukulele and mandolin along with a variety of indigenous instruments, most commonly lali drums, which are now used to call the people of an area together. Lali drums were an important part of traditional Fijian culture, used as a form of communication to announce births, deaths and wars. A smaller form of the lali drum (lali ni meke) is used as a form in instrumentation. Meke is a kind of spiritual folk dance, in which dancers bodies are said to be possessed by spirits. Other percussion instruments include the derua, which are tubes made of bamboo which are stamped on mats or on the ground. Other dances included the women’s dele or wate, which humiliated enemy prisoners sex, and the men’s cibi, which uses spears and clubs https://web.archive.org/web/20050622084048/http://www.lonelyplanet.com/destinations/pacific/fiji/culture.htm .

Music of Finland

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

Folk music#

The two major traditions of folk music in Finland are Kalevala and Nordic folk music or pelimanni (North Germanic spelman, “player of music”).

Kalevala#

Kalevala is older. Its most important form is runonlaulanta (“poem singing”, or chanting), traditionally performed in a trochaic tetrametre using only the first five notes on a scale. Via alliteration, this type of singing tells stories about heroes such as Väinämöinen, Lemminkäinen, and Kullervo. The songs were memorised, not written down, and performed by a soloist, or by a soloist and a chorus in antiphony. The Vantaa Chamber Choir is an example of a choir that sings such poems in modern arrangements. Traditional Finnish instruments include the kantele, which is a chordophone, and was used in the Kalevala by the hero Väinämöinen. More primitive instruments like the jouhikko (a bowed lyre) and the säkkipilli (Finnish bagpipe) had fallen into disuse, but are now finding new popularity in a folk revival. Värttinä is a modern group more focused on Kalevala singing traditions and the kantele.

Music of France

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

Medieval#

French music history dates back to organum in the 10th century, followed by the Notre Dame School, an organum composition style. Troubadour songs of chivalry and courtly love were composed in the Occitan language between the 10th and 13th centuries, and the Trouvère poet-composers flourished in Northern France during this period. The fiddle was their instrument of choice. By the end of the 12th century, a form of song called the motet arose, accompanied by traveling musicians called jongleurs. In the 14th century, France produced two notable styles of music, Ars Nova and Ars Subtilior

Music of Gabon

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

General characteristics#

Traditional music in Gabon is inseparable from social context. Ethnomusicological work has emphasized that repertories are organized around ceremonies, age grades, healing, initiation, storytelling, collective celebration and dance, rather than around a single pan-Gabonese style. The historical literature also records the importance of dance associations among the Fang. Jacques Binet’s study of Fang dance societies treated dance, music, spectacle and changing social life as intertwined domains, and it remains a frequently cited source on the performative organization of Fang musical culture in the twentieth century.

Music of Georgia (country)

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

Folk music#

The folk music of Georgia consists of at least fifteen regional styles, known in Georgian musicology and ethnomusicology as “musical dialects”. According to Edisher Garaqanidze, there are sixteen regional styles in Georgia. These sixteen regions are traditionally grouped into two, eastern and western Georgian groups. The Eastern Georgian group of musical dialects consists of the two biggest regions of Georgia, Kartli and Kakheti (Garakanidze united them as “Kartli-Kakheti”); several smaller north-east Georgian mountain regions, Khevsureti, Pshavi, Tusheti, Khevi, Mtiuleti, Gudamakari; and a southern Georgian region, Meskheti. Table songs from Kakheti in eastern Georgia usually feature a long drone bass with two soloists singing the top two parts. Perhaps the best-known example of music in Kakhetian style is the patriotic “Chakrulo”, which was chosen to accompany the Voyager spacecraft in 1977. Known performers from the north-eastern region Khevsureti are the singers Dato Kenchiashvili and Teona Qumsiashvili (-2012). The Western Georgian group of musical dialects consists of the central region of western Georgia, Imereti; three mountainous regions, Svaneti, Racha and Lechkhumi; and three Black Sea coastal regions, Samegrelo, Guria, and Achara. Georgian regional styles of music are sometimes also grouped into mountain and plain groups. Different scholars (Arakishvili, Chkhikvadze, Maisuradze) distinguish musical dialects differently, for example, some do not distinguish Gudamakari and Lechkhumi as separate dialects, and some consider Kartli and Kakheti to be separate dialects. Two more regions, Saingilo (in the territory of Azerbaijan) and Lazeti (in the territory of Turkey) are sometimes also included in the characteristics of Georgian traditional music.

Music of Georgia (U.S. state)

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

Music institutions#

The state’s official music museum is the Georgia Music Hall of Fame, located in Macon, Georgia from 1996 until it closed in 2011. Colleges such as the University of Georgia and Columbus State University have extensive music departments.

Folk music#

Georgia’s folk musical traditions include important contributions to the Piedmont blues, shape note singing, and African-American music.

African American folk music#

The “ring shout” is an African American musical and dance tradition that is among the oldest surviving African American performance styles in North America. The ring shout tradition is rare in the modern Southern United States, but it still found in McIntosh County, Georgia, where black communities have kept the style alive. The McIntosh County ring shout is a counterclockwise ring dance featuring clapping and stick-beating percussion with call-and-response vocals. The ring shout tradition is strongest in Boldon, Georgia (also known as Briar Patch), where it is traditionally performed on New Year’s Eve. The Georgia Sea Island Singers are an important group in modern African American folk music in Georgia. They perform worldwide the Gullah/Geechee music of the Georgia coast and Sea Islands, and have been touring since the early 1900s; the folklorist and musicologist Alan Lomax discovered the Singers on a 1959-60 collecting trip and helped to bring their music to new audiences. The Georgia Sea Island Singers have included Bessie Jones, Emma Ramsey, John Davis, Mayble Hillery, and Peter Davis. Fife and drum blues has been documented in west central Georgia. The Freedom Singers are a group that formed in 1962 in Albany to educate communities about issues related to the Civil Rights Movement through song. Multi-instrumentalist Abner Jay, born in Fitzgerald, performed eccentric blues-infused folk music as a one-man band.

Music of Germany

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

Minnesingers and Meistersingers (Man and Woman)#

The beginning of what is now considered German music could be traced back to the 12th-century compositions of mystic abbess Hildegard of Bingen, who wrote a variety of hymns and other kinds of Christian music. After Latin-language religious music had dominated for centuries, in the 12th century to the 14th centuries, Minnesinger (love poets), singing in German, spread across Germany. Minnesinger were aristocrats, traveling from court to court, who had become musicians, and their work left behind a vast body of literature, Minnelieder. The following two centuries saw the Minnesinger replaced by middle-class Meistersinger, who were often master craftsmen in their main profession, whose music was much more formalized and rule-based than that of the Minnesinger. Minnesinger and Meistersinger could be considered parallels of French troubadours and trouvère. Among the Minnesinger, Hermann, a monk from Salzburg, deserves special note. He incorporated folk styles from the Alpine regions in his compositions. He made some primitive forays into polyphony as well. Walther von der Vogelweide and Reinmar von Hagenau are probably the most famous minnesingers from this period.

Music of Ghana

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

Traditional music#

The traditional musicology of Ghana may be divided geographically between the open and vast savanna area of northern Ghana inhabited by Ghanaians of Gur and Mande speaking groups and the southern forested and coastal areas, inhabited by Ghanaians speaking Kwa languages such as Akan. *The northern musical traditions belong to the wider Sahelian musical traditions. It features a mix of melodic composition on stringed instruments such as the kologo lute and the gonjey fiddle, wind instruments such as flutes and horns, and voice; with polyrhythms clapped or played on the talking drum, gourd drums or brekete bass drums. The tradition of gyil music (balafon) is also common, especially in northwestern Ghana around Wa and Lawra. Music in the northern styles is mostly set to a minor pentatonic or chromatic scale and melisma plays an important part in melodic and vocal styles. There is a long history of either griot or praise-singing traditions. *The music of the coast is associated with social functions, and relies on complex polyrhythmic patterns played with drums and bells as well as harmonized song. Drums and dance are often linked, and the tradition of royal talking drums fontomfrom (distinct from the northern talking drum) means music is widely used for communication of both tangible and esoteric topics. The most well known of southern Ghanaian drum traditions is the kete and adowa drum and bell ensembles. Music can also be linked to traditional religions. An exception to this rule is the Akan tradition of singing with the Seperewa harp-lute which had its origins in the stringed harps of the north and west.

Music of Greece

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

Greek musical history#

Greek musical history extends far back into ancient Greece, since music was a major part of ancient Greek theater. Later influences from the Roman Empire, Eastern Europe and the Byzantine Empire changed the form and style of Greek music. In the 19th century, opera composers, like Nikolaos Mantzaros (1795–1872), Spyridon Xyndas (1812–1896) and Spyridon Samaras (1861–1917) and symphonists, like Dimitris Lialios and Dionysios Rodotheatos revitalized Greek art music.

Music of Greenland

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

Folk music#

The Inuit and the Danish peoples of Greenland have both maintained their distinct styles of folk music. Country-wide folk traditions included storytelling, which declined greatly after the introduction of the South Greenland Printing Press in 1857. Traditional music which has best survived European contact can be found in the east and northeast of the island. It includes sacred drum dances played on an oval drum made of a wooden frame with a bear-bladder on top. Drum dances are the “only truly indigenous music” in Greenland, and are part of a roots revival in modern times. Inuit drum dances were a declining tradition and in modern Greenland are being replaced by amateur theater groups like Silamiut, who used elements of indigenous music with masks, face painting and other techniques. Piseq are a form of personal song that comment on daily life; these are often handed down from generation to generation. Greenlandic Inuit folk songs are performed to tell stories, play games and tease or charm others.

Music of Guadeloupe

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

Folk music#

Carnival is a very important festival in Guadeloupe and Martinique. Music plays a vital role, with Guadeloupean gwo ka ensembles, zouk music and guadeloupean big bands marching across the island, and travelling and performing music known as C (or just videé) in a manner akin to Brazilian samba schools. Carnival in both islands declined following World War II, bouncing back with new band formats and new traditions only in the 1980s. Both islands feature participatory, call-and-response style songs during their Carnival celebrations.

Music of Guatemala

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

Mayan music#

Much of what is known about how the ancient Mayans created and played music comes from the iconography that is preserved in the ceremonial pieces of mural art, or codices. One example is found in the ancient Maya archaeological site of Bonampak, Mexico, where there are walls showing artwork of a group of Mayan warriors playing long trumpets, as portrayed in the Mayan theatrical play Rabinal Achí. Many kinds of instruments were used, but they essentially broke down into two categories, being wind instruments (aerophones) and percussion instruments (idiophones). The wind instrument family consisted of cane and bone flutes, different types of whistles, ocarinas of various designs, and other sibilant vessels. For percussion instruments, the Mayans crafted wooden drums with membranes made from the hides of deer or jaguar. They also made rattles, güiros, and other idiophones using the shells of snails and tortoises. One of these percussion instruments called the “tunkul” (or sometimes just “tun”) is still seen in Guatemala today. It is made from a hollow tree trunk with an H-shaped incision whose resulting tongues are hit with rudimentary drumsticks. The music the Mayans played was performed and danced to during festivities and rituals, usually in celebration of (or to communicate with) the gods that they worshiped. It appears that each god had their date or holiday, with its accompanying ceremonies and special music.

Music of Guinea

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

National music#

French is the official language of Guinea and is the main language of communication in schools, government administration, the media, and the country’s security forces. Independence for Guinea came in 1958. Guinea’s President, Sekou Toure, disbanded all private dance orchestras and created a network of state-sponsored groups. The government soon formed the Syli Orchestre National, a dance orchestra that featured some of the best musicians in the land. "" (Liberty) has been the national anthem of Guinea since independence in 1958. It was arranged by Fodéba Keïta, based on the melody “Alfa yaya”.

Music of Guinea-Bissau

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

National music#

Independence from Portugal was declared in 1973 after a long struggle. "" (“This Is Our Beloved Country”), composed by Xiao He with words by Amílcar Cabral, is the national anthem of Guinea-Bissau, as it was of Cape Verde until 1996. In contrast to other Portuguese colonies like Brazil, Angola, Mozambique and Cape Verde, the fado style hardly penetrated Guinea-Bissau’s music. Popular song lyrics, however, are almost always in Guinea-Bissau Creole, a Portuguese-based creole language. They are often humorous and topical, revolving around current events and issues such as AIDS.

Music of Guyana

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

History#

Earliest recorded musical interactions were mainly related to the missionary-driven spread of Christianity in the New World. Moravian missionaries used music used hymns to reach the Kalina people in the area of Berbice. Slaves brought to the region via the Atlantic slave trade contributed African influences from a wide array of different cultures, although music and dance was also utilized to promote fitness in slaves by their sellers. After emancipation, the period in which the British sought to bring indentured labor into the colonies introduced musical traditions of India, as well as Portugal and other countries. Calypso music, common among Afro-Caribbean communities, has also been an outlet for criticizing the government or addressing other social issues. Guyana has annual calypso competitions.

Music of Haiti

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

Karabiyen#

Karabiyen or Carabineer is a Haitian traditional dance style that is said to be created by Euphémie Daguilh, one of Dessalines’s friend. The dance is said to be created for the Haitian soldiers during the Haitian Revolution, and meant to be danced with their carabine strap to their back, hence the name. Dessalines himself was an excellent karabiyen dancer according to oral and written tradition. Karabiyen is named after carabine straps which Haitian soldiers used during the Haitian revolution.

Music of Hawaii

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

Music festivals and venues#

Major music festivals in Hawaii include the Merrie Monarch Hula Festival, which brings together hula groups from across the world, as well as a number of slack-key and steel guitar festivals: Big Island Slack Key Guitar Festival, Steel Guitar Association Festival and the Gabby Pahinui/Atta Isaacs Slack Key Festival. April’s Aloha Week is a popular tourist attraction, as is the Moloka’i Music Festival held around Labor Day. The annual Pacific Rim Jazz Festival occurs in mid-autumn at the Hawaii Convention Center. The annual Manoa Jazz & Heritage Festival takes place in early autumn at the Andrews Amphitheatre on the University of Hawaiʻi at Mānoa campus. Hawaii is home to numerous hotels, many of which feature music in the afternoon or evening; some of the more prominent ones include the Kahala Hilton, the Sheraton Moana Hotel, the Sheraton Waikiki, the Halekulani, Casanova’s and the King Kamehameha Hotel. and is the largest venue on the Big Island. A 560-seat venue and cultural exhibition center on Kauai is the Kauai Community College Performing Arts Center. In Honolulu, the Neal S. Blaisdell Center Arena, Concert Hall, and Exhibition Hall are three of the largest venues in the state. Other venues for Hawaiian music on Oahu include the Waikiki Shell, an establishment used primarily for concerts and entertainment purposes. Over the years many local, as well as international artists, have graced the stage there. It is a unique outdoor theater located in Kapiolani Park. This venue seats 2,400 persons, with the capacity to hold up to 6,000 more on the lawn area. Concerts, graduation ceremonies, and hula shows are very popular at this site, as well as Kennedy Theatre and Andrews Amphitheatre on the campus of the University of Hawaiʻi at Mānoa, the Blaisdell Center Concert Hall, the Hawaii Theatre in downtown Honolulu, the Red Elephant (a performance space and recording studio in downtown Honolulu), Paliku Theatre on the campus of Windward Community College, and the Leeward Community College Theatre. The historic Lanai Theatre is a cultural landmark on Lanai, dating back to the 1930s.

Music of Honduras

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

Punta#

Punta is the main genre heard around Honduras. Punta originated through the Garifuna tribe. The Garifuna peoples origins trace back to the enslaved West Africans blending with the Indigenous populations of the Caribbeans. This blend of cultures can be demonstrated through their music. Punta is not only a genre of music but also a lively form of dance as well. Like many Latin genres, Punta form through slave trades and this tribe creating this music as a way to dance and celebrate. Today Punta has evolved into various different styles with the most popular being Punta Rock which came in around the late 1980s-1990’s. Early Punta started as a ritual or used in celebrations and moved towards folk and poetic music to the Garifuna tribes.Punta was often performed by females which equates to the movement of the dance. Punta dance is described as a sensual dance, moving the hips and shaking their bottoms. This dance moves the lower half while keeping their upper half almost stagnant. Though men can also dance Punta, oftentimes it is women who are dancing together in a circle while the men watch. This dance is also competitive and it may be seen that the dancers will try to outdo each other. Punta is typically done in a 2/4 time signature, starting with two eighth-note and the following beat being a quarter note. This beat is kept by the drums and allows for different variations of beats in order to change the pace of dancing. When it comes to dancing, it is fast pace movements with every eighth-note being a step in the beat, in order to take a break or rest during dancing they will transition to having every beat being a step. Since this is a fast pace movement this allows dancers to take a break without stopping the rhythm of the music. Punta has been seen in various different types of context. Punta can be danced at festivals, celebrations and even funerals. Punta uses traditional musical instruments deriving from the roots of Garifuna tribes. The drums are one of the most prevalent instruments that can be heard in any Punta song followed by strings and wind instruments. As time moves on more modern instruments have been added to add more depth to the music and fit modern taste however the standard instruments have stayed through all the musical trends. Traditional Punta emphasizes the drums and its call and response element to lyrics used. Folkloric Punta focuses more on the tradition instruments used by the Garifuna people and has a story-telling element to its lyrics and dance. Lastly Urban Punta mixes hip-hop elements and digital elements while maintaining traditional beats to modernize the style.

Music of Hong Kong

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

History#

In colonial Hong Kong, pipa was one of the instruments played by the Chinese, and was mainly used for ceremonial purposes. Western classical music was, on the other hand, the principal focus amongst British Hong Kongers with the Sino-British Orchestra being established in 1895. In the beginning of the 20th century, Western pop music became popular. Mandarin pop songs in the 1920s were called Si Doi Kuk (). They are considered the prototype of Chinese pop songs. In 1949 the People’s Republic of China was established by the communist party. One of the first actions taken by the government was to denounce popular music as pornography. Beginning in the 1950s massive waves of immigrants fled from Shanghai to Hong Kong. Along with it was the Pathé Records (Hong Kong) record company, which ended up becoming one of the most significant popular record companies in Hong Kong. The Western music was popular since 1950s as the official language was English at that time. Also, listening to Western music showed a person’s good taste. Cantopop was not popular in 1950s to 1960s since the production of Cantopop was shoddy. During the late 1960s and 1970s, Mandarin pop songs were getting more and more popular and became the mainstream of Hong Kong pop. In the 1970s, Hong Kong audiences wanted popular music in their own dialect, Cantonese. Also, a Cantonese song Tai siu yan yun () became the first theme song of a TV drama. Cantopop was getting popular after that. Cantopop’s popularity increased sharply due to the improved status of the language and the large Cantonese Chinese population in the city. Traditional Chinese Huangmei opera, on the other hand, had peaked in the 1960s amongst the general Chinese population.

Music of Hungary

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

Characteristics#

Unlike most European peoples, the Hungarian people, Magyars, emerged from the intermingling of Ugric and Eastern Turkic peoples during the fifth to eighth centuries AD. and, as well as the Mari, the ethnomusicologist Bruno Nettl indicates similarities in traditional Hungarian music with Mongolian and Native American musical styles. Bence Szabolcsi, however, claims that the Finno-Ugric and Turkish-Mongolian elements are present but “cannot be attached to certain, definite national or linguistic groups”. Nonetheless, Szabolcsi claims links between Hungarian musical traditions and those of the Mari, Kalmyk, Ostyak, northwest Chinese, Tatar, Vogul, Anatolian Turkish, Bashkirian, Mongol and Chuvash musics. These, he claims, are evidence that “Asian memories slumber in the depths of Hungarian folk music and that this folk music is the last Western link in the chain of ancient Eastern cultural relations”.

Music of Iceland

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

Folk music#

Rímur are epic tales sung as alliterative, rhyming ballads, usually a cappella. Rímur can be traced back to the Viking Age Eddic poetry of the skalds and employs complex metaphors and cryptic rhymes and forms. Some of the most famous rímur were written between the 18th and early 20th centuries, by poets like Hannes Bjarnason (1776–1838), Jón Sigurðsson (1853–1922) and Sigurður Breiðfjörð (1798–1846). In the early 18th century, European dances like polka, waltz, reel and schottische begin to arrive via Denmark. These foreign dances are today known as gömlu dansarnir or literally the “old dances”. After their arrival, native dance and song traditions fell into serious decline. For a long time, rímur were officially banned by the church. Paradoxically, many Icelandic priests were keen in making rímur. Rímur remained popular recreation until the early 20th century. In recent years, efforts have been made to revive native Icelandic forms. For example, a modern revitalization of the Rímur tradition began in 1929 with the formation of the organization Iðunn. Protestantism has also left its mark on the music of Iceland. Hallgrímur Pétursson wrote numerous Protestant hymns in the 17th century. In the 19th century, Magnús Stephensen brought pipe organs to Iceland, soon to be followed by harmonium pumped reed-organs. “Heyr himna smiður” (“Hark, Creator of the Heaven”) is probably the oldest hymn which is still sung today; the text was composed by Kolbeinn Tumason in 1208 but the music is much more recent. The music was written by Þorkell Sigurbjörnsson in 1973.

Music of India

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

Paleolithic#

The 30,000-year-old paleolithic and neolithic cave paintings at the UNESCO world heritage site at Bhimbetka rock shelters in Madhya Pradesh show a type of dance. Mesolithic and chalcolithic cave art of Bhimbetka illustrates musical instruments such as Gongs, Bowed Lyre, daf etc.

Neolithic#

Chalcolithic era (4000 BCE onward) narrow bar shaped polished stone celts like music instruments, one of the earlier musical instrument in India, were excavated at Sankarjang in the Angul district of Odisha. There is historical evidence in the form of sculptural evidence, i.e. musical instruments, singing and dancing postures of damsels in the Ranigumpha Caves in Khandagiri and Udayagiri at Bhubaneswar.

Music of Indonesia

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

Musical instruments#

The musical identity of Indonesia as we know it today began as the Bronze Age culture migrated to the Indonesian archipelago in the 2nd-3rd century BC. Traditional musics of Indonesian tribes often uses percussion instruments, especially gongs and gendang (drums). Some of them developed elaborate and distinctive musical instruments, such as sasando string instrument of Rote island, angklung of Sundanese people, and the complex and sophisticated gamelan orchestra of Java and Bali. Indonesia is the home of gong chime; ‘gong chime’ is a generic term for a set of small, high-pitched bossed pot gongs. The gongs are ordinarily placed in order of pitch, with the boss upward on cords held in a low wooden frame. The frames can be rectangular or circular (the latter are sometimes called “gong circles”), and may have one or two rows of gongs. They are played by one to four musicians, each using two padded sticks to strike them. They are an important instrument in many Indonesian musical ensembles, such as gamelan, kulintang, and talempong.

Music of Iran

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

Earliest records#

Music in Iran, as evidenced by the “pre-Iranian” archaeological records of Elam, the oldest civilization in southwestern Iran, dates back thousands of years. Iran is the birthplace of the earliest complex instruments, which date back to the third millennium BC. A number of trumpets made of silver, gold, and copper were found in eastern Iran that are attributed to the Oxus civilization and date back between 2200 and 1750 BC. The use of both vertical and horizontal angular harps have been documented at the archaeological sites of Madaktu (650 BC) and Kul-e Fara (900–600 BC), with the largest collection of Elamite instruments documented at Kul-e Fara. Multiple depictions of horizontal harps were also sculpted in Assyrian palaces, dating back between 865 and 650 BC.

Music of Iraq

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

Instruments#

In 1929, archaeologists led by the British archaeologist Leonard Woolley, representing a joint expedition of the British Museum and the University of Pennsylvania Museum of Archaeology and Anthropology, discovered the Lyres of Ur or Harps of Ur, which are considered to be the world’s second oldest surviving stringed instruments when excavating the Royal Cemetery of Ur between from 1922 and 1934. They discovered pieces of three lyres and one harp in Ur, located in what was Ancient Mesopotamia, modern day Iraq. They are over 4,500 years old, from ancient Mesopotamia during the Early Dynastic III Period (2550–2450 BC). The decorations on the lyres are fine examples of the court art of Mesopotamia of the period.

Music of Ireland

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

Early Irish music#

By the High and Late Medieval Era, the Irish annals were listing native musicians, such as the following: * 921BC: Cú Congalta, priest of Lann-Leire, the Tethra (i. e. the singer or orator) for voice, personal form and knowledge, died. * 1011: Connmhach Ua Tomhrair, priest and chief singer of Cluain-mic-Nois, died. * 1168: Amhlaeibh Mac Innaighneorach, chief ollamh of Ireland in harp-playing, died. * 1226: Aed mac Donn Ó Sochlachain, erenagh of Cong, a man eminent for chanting and for the right tuning of harps and for having made an instrument for himself which none had made before, distinguished also in every art such as poetry, engraving and writing and in every skilled occupation, sadly died. * 1269: Aed Ó Finn, master of music and minstrelsy, died. * 1329: Maol Ruanaidh Cam Ó Cearbhaill, tiompanist, murdered during the Braganstown Massacre in County Louth. * 1330: Mael Sechlainn Mac Carmaic, a general entertainer, died. * 1343: Donnchad Clereach Ó Maol Braonáin, a choral canon of Elphin, was killed by an arrow. * 1357: Donn Shléibhe Mac Cerbaill, an accomplished musician … died. * 1360: Gilla na Naem Ó Conmaigh, music ollamh of Thomond … died. * 1361. Magraith Ó Fionnachta, Chief Musician and Tiompanist to the Síol Muireadaigh, died. * 1364: Bran Ó Brain, a skilful tympanist … died. * 1369: John Mac Egan, and Gilbert Ó Bardan, two accomplished young harpers of Conmaicne, died. * 1469: Ruaidrí mac Donnchad Ó Dálaigh, the most musical-handed harpist in all Ireland. * 1490: Diarmait MacCairbre, harper, was executed. * 1553: Tadhg, son of Ruaidhri Ó Comhdhain, i.e. the ollamh of Éire and Alba in music, died. * 1561: Naisse mac Cithruadh, drowned on Lough Gill. * 1589. Daighre Ó Duibhgeannáin, a most affable, musical man, died.

Music of Israel

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

Early history#

The development of a body of music associated with the Zionist settlers in Palestine began during the First Aliyah, the initial significant wave of Jewish immigration to the region in the 1880s. Zionist youth movements in Germany and other European countries compiled some of the earliest songbooks for the Zionist movement, combining newly written Hebrew lyrics with existing melodies from traditional European folk songs. An example of this practice is the song Hatikvah, which later became the national anthem of Israel. In 1895, Jewish settlers established the first Jewish orchestra in Palestine. The orchestra was a wind band based in Rishon LeZion, and its repertoire included light classical pieces and marches. Abraham Zevi Idelsohn, a trained cantor from Russia and a musicologist, settled in Jerusalem in 1906 with the aim of studying and documenting the musical traditions of the various Jewish communities living there. At that time, Jerusalem was home to several distinct Jewish enclaves, including Yemenite, Hasidic, and Syrian. Idelsohn systematically recorded and analyzed the songs and musical styles of these communities. He also undertook the first efforts to introduce these songs to the broader Jewish population, with the goal of developing a new, unified Zionist musical genre. Idelsohn was later joined in Palestine by other classically trained musicians and ethnomusicologists, including Gershon Ephros in 1909 and Joel Engel in 1924. Like Idelsohn, Engel focused on collecting and promoting traditional ethnic melodies and musical styles, aiming to make them accessible to the broader Jewish population in Palestine. The Second Aliyah, which took place from 1904 to 1914, was accompanied by an increase in the composition of original songs by Jewish settlers. Among the earliest composers of Jewish folk songs in Palestine were Hanina Karchevsky, known for BeShadmot Beit Lehem, and David Ma’aravi, known for Shirat Hanoar.

Music of Italy

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

Characteristics#

Italian music has been held up in high esteem in history and many pieces of Italian music are considered high art. More than other elements of Italian culture, music is generally eclectic, but unique from other nations’ music. The country’s historical contributions to music are also an important part of national pride. The relatively recent history of Italy includes the development of an opera tradition that has spread throughout the world; prior to the development of Italian identity or a unified Italian state, the Italian Peninsula contributed to important innovations in music including the development of musical notation and Gregorian chant.

Music of Ivory Coast

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

National music#

Ivory Coast’s national anthem is L’Abidjanaise. French is the official language taught and spoken by Ivorians but many Ivorians have their own ethnic tribal language. There are many music genres in Ivory Coast, music from different tribes Coupé-Decalé, Zouglou, Pop, Arabic musics etc. Ivory Coast have different varieties of music based on the population race living there.

Traditional music#

Ethnic groups of Ivory Coast include Akan 42.1%, Voltaic or Gur speakers 17.6%, Northern Mandes 16.5%, Krous 11%, Southern Mandes 10%, other 2.8% (includes 30,000 Lebanese and 45,000 French) (2004). The immigrant community makes up over 20% of a population of over 6 million. An estimated 65 native languages are spoken in the country. Dyula acts as a trade language and is commonly spoken by Muslims. Each of the ethnic groups has its own folk music traditions, most showing strong vocal polyphony (a common characteristic of African music). Talking drums are common among the Nzema people, who are also known for their abissa purification dance, part of the popular N’Guess Bon Sens, Savane Alla, Kolouba Nobert, Religious music of Emi Tiapo dance music of Meiway.

Music of Jamaica

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

Mento#

Mento is a style of Jamaican music that predates and has greatly influenced ska and reggae music. Lord Flea and Count Lasher are two of the more successful mento artists. Well-known mento songs include Day-O, Jamaica Farewell and Linstead Market. Mento is often confused with Calypso music, a musical form from Trinidad and Tobago.

Calypso and Soca#

As in many Anglo-Caribbean islands, the calypso music of Trinidad and Tobago has become part of the culture of Jamaica. Jamaica’s own local music mento is often confused with calypso music. Although the two share many similarities, they are separate and distinct musical forms. During the mid-20th century, mento was conflated with calypso, and mento was frequently referred to as calypso, kalypso and mento calypso; mento singers frequently used calypso songs and techniques. As in calypso, mento uses topical lyrics with a humorous slant, commenting on poverty and other social issues. Sexual innuendos are also common. The Trinidadian calypso and soca music are popular in Jamaica. Popular calypso/soca artists from Jamaica include Byron Lee, Fab 5, and Lovindeer. Harry Belafonte (born in the U.S., raised in Jamaica from age 5 to 13) introduced American audiences to calypso music (which had originated in Trinidad and Tobago in the early 20th century), and Belafonte was dubbed the “King of Calypso”.

Music of Japan

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

Gagaku, hougaku#

The oldest forms of traditional Japanese music are: * , or Buddhist chanting * , or orchestral court music both of which date to the Nara (710–794) and Heian (794–1185) periods. Gagaku classical music has been performed at the Imperial court since the Heian period. Kagura-uta (神楽歌), Azuma-asobi (東遊) and Yamato-uta (大和歌) are indigenous repertories. Tōgaku (唐楽) allegedly resembles a Chinese Tang dynasty (618–907) style; komagaku may have come from the Korean Peninsula. In addition, gagaku subdivides into kangen (管弦) (instrumental music) and bugaku (舞楽) (dance accompanied by gagaku). Samurai listened to and performed these music activities, in their practices of enriching their lives and understanding.

Music of Java

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

Gamelan#

The gamelan orchestra, based on metallic idiophones and drums, is perhaps the form which is most readily identified as being distinctly “Javanese” by outsiders. In various forms, it is ubiquitous to Southeast Asia. In Java, the full gamelan also adds a bowed string instrument (the rebab, a name illustrative of Islamic influence), plucked siter, vertical flute suling and voices. The rebab is one of the main melodic instruments of the ensemble, together with the metallophone gendér; these and the kendang drums are often played by the most experienced musicians. Voices usually consist of a male chorus gerong, together with a female soloist pesindhen; however, the voices are not usually featured in court gamelan (as opposed to wayang kulit, shadow puppet theatre) and are supposed to be heard discreetly in the middle of the orchestral sound. In these abstract pieces, the words are largely secondary to the music itself. There are two tuning systems in Javanese gamelan music, slendro (pentatonic) and pelog (heptatonic in full, but focusing on a pentatonic group). Tuning is not standard, rather each gamelan set will have a distinctive tuning. There are also distinct melodic modes (pathet) associated with each tuning system. A complete gamelan consists of two of sets of instrument, one in each tuning system. Different gamelan sets have different sonorities, and are used for different pieces of music; many are very old, and used for only one specific piece. Musical forms are defined by the rhythmic cycles. These consist of major cycles punctuated by the large gong, subdivided by smaller divisions marked by the striking of smaller gongs such as kenong, kempul and kethuk. The melodic interplay takes place within this framework (technically called “colotomic structure”).

Music of Jiangxi

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

History#

Chinese music culture has deep roots in Jiangxi. Jiangxi has produced numerous folk songs and operas. Folks songs in Jiangxi are marked by straightforward melodies and rhyming lyrics. Jiangxi workers developed chant music that showed their appreciation for the fields and everyday life. Examples include “a mountain and a heavy day” from Yongxin County and “together” from Wan’an County. Drawing on artistic tastes and regional customs, folk songs emerged as a broadly popular medium. On the other hand, spoken word proved more challenging since it brought an unfamiliar theatrical form foreign to Jiangxi’s countryside communities. First seen in the cities, the friction of Western-inspired styles clashed with art oriented toward popular tastes. It exemplied the era’s wider challenge of adapting a city-focused revolutionary effort to a rural environment. Historically, folk songs frequently addressed peasants’ difficulties and the injustices they endured. Although songs in the Jiangxi Soviet era had similar themes, they tended to conclude with an uplifting message, setting them apart from earlier examples. Among Jiangxi’s opera styles are Yiyang opera, Yihuang Opera, Guangchang Meng Opera, and Wuyuan Hui Opera.

Music of Jordan

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

Traditional Jordanian musical instruments#

Jordanian music has a diversity and a range of components that make it a popular art. Over the centuries music has evolved and so did its instruments. Jordanian music comes with a variety of instruments. * Flute/reed pipe known as Shababa * Mizmar * Mijwiz * Arghul known as Yarghul * Oud * Tablah * Rebab * Bagpipes known as Gerbeh * Riq * Daf * Simsimiyya, found in the port city of Aqaba and the southern desert

Music of Kalmykia

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

Instruments#

Kalmyk woodworkers specialized in the making of musical instruments; the prizing and value of these instruments helped preserve Kalmyk musical culture. Traditional instruments included the dombra, the morin khuur, the pear-shaped tovshuur, the psaltery (known as a jatha), and a form of bagpipies called the büshkür. The Saratov accordion was introduced to Kalmyk music in the nineteenth century and has become well-integrated. Other instruments, included conchs, drums, bells, and rattles were used as musical instruments in religious rituals, but these were mostly imported from Mongolia or Tibet. The dombra is the most commonly played instrument; the Kalmyk dombra has seven frets and two strings, which were traditionally made from the small intestine of sheep. The Kalmyk yatkha, similar to the Mongolia zither, resembled the Ukrainian bandura in both sound and construction - it was typically found among the richest families and the Kalmyk nobility. In the period after deportation, during which most of the traditional instruments were no longer used, only the dombra and the Saratov accordion were played often. However, during the perestroika period, the creative intelligentsia of the Kalmyk deliberately sought out these traditional instruments and began to incorporate them into modern Kalmyk music. Today, all of the above instruments can be heard in Kalmykia.

Music of Kazakhstan

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

Traditional music#

Traditional music in Kazakhstan often refers to music of the following genres: * Instrumental music, with the pieces (“Küy”) being performed by soloists. Text is often seen in the background (or “program”) for the music, as a lot of Küy titles refer to stories. * Vocal music, either as part of a ceremony such as a wedding (mainly performed by women), or as part of a feast. Here we might divide into subgenres: epic singing, containing not only historical facts, but as well the tribe’s genealogy, love songs, didactic verses; and as a special form the composition of two or more singers in public (Aitys), of dialogue character and usually unexpectedly frankly in content.

Music of Kenya

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

Popular music#

The guitar is the most dominant instrument in Kenyan popular music. Guitar rhythms are very complex and include both native beats and imported ones, especially the Congolese cavacha rhythm; music usually involves the interplay of multiple parts and, more recently, showy guitar solos. Lyrics are most often in Swahili or native languages, like Kalenjin though radio will generally not play music in one of the ethnic languages. Benga music has been popular since the late 1960s, especially around Lake Victoria. The word benga is occasionally used to refer to any kind of pop music: bass, guitar and percussion are the usual instruments. Partially from 1994 and wholly from 2003 Kenyan popular music has been recognised through the Kisima Music Awards. A number of styles predominate in Kenya including Benga and Reggae have separate categories, and a multitude of Kenyan artists are awarded each year.

Music of Kerala

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

Introduction#

The state of Kerala has a very extensive and rich musical tradition. The songs formed contain remnants of Malayalam literature dating back to the ninth century CE. The significance of folk poetry and music was established through the Malayalam language. The music in this area was developed in a number of different directions. These branches comprised classical Carnatic music as well as popular music from albums, movies, and other genres. Chenda Melam is renowned for his music. Kerala music has a complex history distinct from Malayalam poetry, with which it is often associated. Though it is often driven by poetry, Kerala also has its roots in Carnatic music. Songs have always been a significant part of early Malayalam literature dating back to the 9th century CE. The significance of music in Kerala’s culture can be deduced from the musical poetry that developed in the Malayalam language long before prose. As music evolved in the region, various branches emerged from it

Music of Kosovo

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

Folk music#

In the past, epic poetry in Kosovo and northern Albania was sung on a lahuta (a one-string fiddle) and then a more tuneful çiftelia was used which has two strings-one for the melody and one for drone. Cultural anthropology researches revealed the antiquity of this tradition and how was it developed in parallel with other traditional music in the Balkans, while various archaeologists discovered finds dating back to the 5th Century B.C. such as stone paintings depicting musicians with instruments, notably the portrait of “Pani” holding an aerophone similar to flute.

Music of Kuwait

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

History#

Kuwait is the birthplace of various popular musical genres, such as sawt and fijiri. Traditional Kuwaiti music is derived from the country’s seafaring heritage. In pre-oil times, Kuwait was regionally renowned for its music and 20–30% of Kuwaitis were professional musicians. Kuwait is widely considered the centre of traditional music in the Persian Gulf. The habbān is a popular Kuwaiti music instrument. Kuwait’s seafaring tradition is known for songs such as “Fidjeri”. “Fidjeri” is a musical repertoire performed traditionally by male pearl divers. It involves singing, clapping, drums and dances with earthen water jars. “Liwa” and “Fann at-Tanbura” are types of music performed mainly by Kuwaitis of East African origin. “Al Arda Al Bahariya” is a well-known Kuwaiti sailor song, as are the “al-Nahma”, a class of songs that accompanied many sailing activities. Kuwait pioneered contemporary Khaliji music. Kuwaitis were the first commercial recording artists in the Persian Gulf region. Kuwait is known as the center for “sawt”, a bluesy style of music made popular in the 1970s. Saleh and Daoud Al-Kuwaity pioneered the Kuwaiti sawt music genre and wrote over 650 songs, many of which are considered traditional and still played daily on radio stations both in Kuwait and the rest of the Arab world. Kuwait has a reputation for being the central music influence of the GCC countries. Over the last decade of satellite television stations, many Kuwaiti musicians have become household names in other Arab countries. For example, Bashar Al Shatty became famous due to Star Academy. Contemporary Kuwaiti music is popular throughout the Arab world. Nawal El Kuwaiti, Nabeel Shuail and Abdallah Al Rowaished are the most popular contemporary performers.

Music of Kyrgyzstan

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

Traditional music#

Travelling musicians and shamans called manaschi are popular for their singing and komuz-playing. Their music is typically heroic epics, such as the most famous story, the Manas epic (20 times longer than Homer’s Odyssey), which is the patriotic tale of a warrior named Manas, and his descendants, who fight with the Chinese. There are modern reciters of the Manas who are very popular, such as Rysbek Jumabaev and Sayaqbay Karalaev. Aside from the komuz, Kyrgyz folk instruments include the kyl kiak (qyl-qyiyak), a two-stringed upright bow instrument (cf. fiddle), sybyzgy, a side-blown flute, chopo-choor and the temir ooz komuz (mouth komuz), also known as jaw harp in some countries. The komuz is the national instrument of Kyrgyzstan. It is a plucked string instrument. The kyl kiak, however, is also an important symbol of Kyrgyz identity. It is a string instrument, related to the Mongolian morin khuur, and is associated with horses and the vital role they play in Kyrgyz culture. Shamanistic elements of Kyrgyz folk culture remain, including the dobulba (a frame drum), the asa-tayak (a wooden device decorated with bells and other objects) and the earlier mentioned kyl kiak. A widespread variety of instrumental music called kui (or küü) tells narratives that revolve around a musical journey. The narrative, which is entirely expressed without words, is sometimes punctuated with exaggerated gestures to mark important parts of the story.

Music of Laos

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

Classical music#

The term ເພງລາວເດີມ “peng Lao deum” (traditional Lao songs) describes the Royal Court music of Laos. Historical records indicate that an indigenous classical tradition existed, which was mainly influenced by ancient Khmer traditions and mountainous ethnic groups. King Fa Ngum was raised and educated in Angkor Wat, so the Khmer traditions were the first center for the court music, which evolved and changed as the Lao kingdom grew. Performers in Tennessee, USA tried to rebuild court music in diaspora and failed due to a lack of members. The classical ensemble and its instruments get used in traditions, are only used for the “lam” traditions and the only “theater” like traditions “li-ke” (or “lam poem”, from 1940) which immigrated from northern Siam, gets performed with acting, storytelling in “lam” singing styles and a Khene mouth organ.

Music of Latin America

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

Argentina#

While the exact origins of tango remain uncertain, Argentine writer Jorge Luis Borges believed the genre to have originated in the brothels of 19th century Buenos Aires or Montevideo. Editors of World Music: The Rough Guide (2000) called Borges’ statement “a little presumptive” and pinpoint the early developments of tango to the bars frequented by porteños. Emerging from a melting pot of European immigrants, criollos, blacks, and indigenous peoples, the genre is believed to have been influenced by Andalusian flamenco, Spanish contradanse, Italian folk music, Cuban habanera, African candombe and percussion, German polkas, Polish mazurkas, and Argentine milonga. In its early history, tango music was associated with brawls at brothels and knife-wielding womanizing men, known locally as malevos or compadritos. By 1914, men outnumbered women in Argentina by 100,000, leading to an increased rate of prostitution and the brothel lifestyle that came with it. Men would often dance at cafes and bars and try to outdo one another with improvised dance steps in an attempt to attract a woman. Their dances were characterized by “showy yet threatening, predatory quality, often revolving around a possessive relationship between two men and one woman”. In its original form, tango music included the violin, guitar, and flute. By the late 19th century, the bandoneon had been introduced into the genre. The instrument, first developed in Germany for playing folk and religious music in churches that lacked organs, is believed to have been brought to the region by immigrants and sailors. One of its early pioneers, Eduardo Arolas, was nicknamed the “Tiger of the Bandoneón”. Arolas believed the instrument was made to play in tango. Vicente Greco is credited with standardizing tango with his group, Orquesta Típica Criolla, by using two violins and two bandoneons. The instrumentation of tango remained largely unchanged until the 1940s. Tango music began playing in populated areas such as fairgrounds and streets in Buenos Aires. It contained lyrics that were “sometimes obscene and deeply fatalistic”. Similar to families in the United States during the rise of rock and roll, families in the area tried to shield their children from tango. Upper-classmen began taking an interest in tango: writer Ricardo Güiraldes performed tango during a tour of Europe in 1910 and has been credited with introducing tango in Europe. Güiraldes’ introduction made tango the first Latin dance to gain popularity in Europe. Actor Rudolph Valentino performed the tango in his film The Four Horseman of the Apocalypse (1926), with Hollywood taking advantage of " Valentino’s charisma, the magnetism of tango, and the attraction they both had on a huge public". Other styles of music in Argentina include the chacarera, milonga, zamba and chamamé. Modern rhythms include cuarteto (music from the Cordoba Province) and electrotango. Argentine rock (known locally as rock nacional) was most popular during the 1980s, and remains one of Argentina’s most popular music genres. Rock en español was first popular in Argentina, then swept through other Hispanic American countries and Spain. The movement was known as the “Argentine Wave”.

Music of Latvia

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

Dainas#

Traditional Latvian folklore, especially the dance of the folk songs, date back well over a thousand years. More than 1.2 million texts and 30,000 melodies of folk songs have been identified. Dainas are very short, which usually consist only one or two stanzas, are unrhymed, and are in a four-footed trochaic metre. Lyrically, dainas concern themselves with native mythology, but in contrast to most similar forms, do not have any legendary heroes. Stories often revolve around pre-Christian deities like the sun goddess Saule, the moon god Mēness and, most notably, the life of people, especially its three most important events – birth, wedding, and death (including burial). The first collection of dainas was published between 1894 and 1915 as Latvju Dainas by Krišjānis Barons. Latvju tautas mūzikas materiāli, translated in English as the Materials of Latvian Folk Music, is the anthology and commentary of Latvian folk. It analysed 5999 items of Latvian ethnography published in 6 editions from 1894 to 1926 by the Latvian musicologist and composer Andrejs Jurjāns (1856–1922). Latvju tautas mūzikas materiāli Sestā grāmata (the sixth book) was published posthumously in Riga, 1926. On page 1 latvju komponistu biedrības izdevums is inscribed, translated as the Latvian Society of Composers edition.

Music of Lebanon

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

Traditional music in Lebanon#

Traditional Lebanese music shares influences with nearby countries including Syria and Egypt. Beirut music also features similarities with Bedouin tradition as well as folk music from Lebanon’s more rural regions. The capital’s secular music was heavily shaped by the Ottomans and music guilds offering some form of protection to artists despite Lebanese society’s view of them coming from a lower status. Lebanese folk music features Aramaean, Byzantine and later Islamic styles of music found across the Levant, with significant religious influences. Key features include poetic and rhythmic tunes that have a typically unison melody sung solo or with a group. Zajal poetry is considered one of the most well-known forms of traditional music in Lebanon as well as other styles like ma’anna, a part of the melismatic and syllabic music type, and qarrâdi known for its charming village feel. These music styles are often paired with dabke and feature a range of popular instruments in Lebanon. Nahda Music (1885-1940), translating to “Arab Renaissance” is attempted to be revived through Tajdīd min al-Dakhil translating to “Renewal from Within” which is an effort in preserving traditional music that has gained support in Lebanon after 2009. Supported by the Music Institute at Antonine University and the Arabic Music Archiving and Research (AMAR) Foundation, the group was centered on recovering Nahda performances, styles and instruments. Specifically, they have collected music records, reels and wax cylinders from across the Middle East including Lebanon in an effort to preserve traditional music.

Music of Lesotho

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

Traditional music and instruments#

The traditional musical forms and instruments of Lesotho are part of a shared inheritance among Southern African nations. It is not clear whether these instruments were brought to Lesotho via the Bantu Migrations, were created locally by San, Khoi, or other peoples, or is a mix of these sources. For example, musical bows appear to pre-date the arrival of the Bantu peoples, but the instruments became more complex after their arrival.

Music of Liberia

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

Gbema music or traditional music#

Liberian music makes particular use of vocal harmony, repetition and call-and-response song structure as well as such typical West African elements as ululation and the polyrhythm typical of rhythm in Sub-Saharan Africa. Christian music was introduced to Liberia by American missionaries and Christian songs are now sung in a style that mixes American harmonies with West African language, rhythm and the call-and-response format. Traditional music is performed at weddings, naming ceremonies, royal events and other special occasions, as well as ordinary children’s songs, work songs and lullabies.

Music of Libya

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

Malouf#

Malouf, one of Libya’s most notable musical forms, traces its origins to Andalusian music brought to North Africa following the expulsion of the Moors from Spain in the 15th century. This genre is traditionally structured around 24 nubas, each subdivided into five sections called mīzān, with performances often lasting six to seven hours and beginning with an instrumental prelude known as a tushiya. Libyan Malouf is related to similar styles found in Tunisia, Algeria (Gharnati), and Morocco (Ala), but it has its own distinctive repertoire and performance style. Traditional instruments like the oud and bendir are central to this music.

Music of Liechtenstein

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

Music institutions#

A popular tourist site, Liechtenstein hosts a number of music festivals, including the Guitar Days, held annually. The rock and metal music festival Wavejam Openair is held annually in Balzers. Musical organizations include the Liechtenstein Musical Company. Radio Liechtenstein was the biggest radio station in the country, until it was shut down. There are more than 400 music associations in Liechtenstein, including the Liechtenstein Musical Company and the International Josef Gabriel Rheinberger Society.

Music of Lithuania

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

History#

Music was very important part of ancient Lithuanian polytheistic belief. It is known that, at the start of the 2nd millennium, Baltic tribes had special funeral traditions in which the deeds of the dead were narrated using recitation, and ritual songs about war campaigns, heroes and rulers also existed. First professional music was introduced to Lithuania with travelling monks in the 11th century. After the christianization of Lithuania in 1387, religious music started to spread, Gregorian chant was introduced. Travelling musicians arranged concerts in the manors and castles of the Lithuanian nobleman, local cappellas were founded. It is known, that Anna, Grand Duchess of Lithuania, wife of Vytautas the Great which had diplomatic relationships with the Teutonic Knights, who sent her expensive gifts, including clavichord and portative organ in 1408. Daughter of Grand Duke of Lithuania Gediminas, Aldona, when married to Casimir III of Poland, 1325 took her palace orchestra to Cracow. It had musicians which played lute, zither and lyre. The first opera (Dramma per musica) in Lithuania was staged in the Palace of the Grand Dukes of Lithuania in 1636. Marco Scacchi and Virgilio Puccitelli were the opera’s impresarios. The appearance of the opera in Lithuania is quite early, especially considering the fact that Italian opera phenomena was formed at about 1600 and first opera staged in Paris was just before 1650. In the 17th century in Palace of the Grand Dukes of Lithuania, three Italian operas were staged – all by palace composer Marco Scacchi, to librettos by Virgilio Puccitelli - Il ratto d’Elena (The Elena Kidnapping) (1636), L’Andromeda (Andromeda) (1644), Circe Delusa (Disillusioned Circe) (1648). The scenography and stage machinery was made by Italian architects and engineers Agostino Locci, Bartolomeo Bolzoni and Giovanni Battista Gisleni. The cultural life of the Palace of the Grand Dukes of Lithuania was especially intense during the reign of Sigismund II Augustus. The Vilnius residence was a place to host many chamber concerts, music and dance festivities and carnivals, and music has become an integral part of the public life of the Palace. Musicians from other countries, especially from Italy, were invited to Vilnius. Among the most notable was Hungarian composer and lutenist Bálint Bakfark, who came to Vilnius from Rome, Italian composer Diomedes Cato. Composer and lutenist Michelagnolo Galilei, brother of Galileo Galilei was playing in the court of Radvila in Vilnius in the 17th century. Approximately 100 musicians worked in Vilnius at the court of Mikalojus Radvila Juodasis, the Protestant Grand Chancellor of the Grand Duchy of Lithuania and the Palatine of Vilnius (1515–1565). First printed Lithuanian book Catechismusa Prasty Szadei (The Simple Words of Catechism) in 1547 contained 11 religious hymns in Lithuanian with sheet music. Lithuanian jesuit Žygimantas Liauksminas (Sigismundus Lauxminus) published the first music handbook in Lithuania - Ars et praxis musica in 1667. It was a first book of the trilogy, devoted to Gregorian chant - other books include Graduale pro exercitatione studentium and Antifonale ad psalmos, iuxta ritum S. Romanae Ecclesiae, decantandos, necessarium. The books were published at the University of Vilnius - S.R.M. Academicis Societatis Jesu. Recent findings - The Sapieha Album (Sapiegos albumas) and the Kražiai Organbook (Kražių vargoninko sąsiuvinis) demonstrated that the big part of the Lithuanian church music of the 17th century was directly influenced by the most prominent composers of Italy of that time - Girolamo Frescobaldi; Italian organ tablature notation prevailed, basso continuo was studied. In 1877, an oratorio The Creation by Joseph Haydn was translated to Lithuanian and performed in Vilnius. The first national opera Birutė by composer Mikas Petrauskas (1873-1937), libretto - Gabrielius Landsbergis-Žemkalnis (1852-1916) was staged in 1906. Mikalojus Konstantinas Čiurlionis (1875-1911) is considered the greatest Lithuanian composer of his generation, and probably of all time.

Music of Louisiana

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

New Orleans (Traditional Genres)#

In the 19th century, there was already a mixture of French, Spanish, African and Afro-Caribbean music. The city had a great love for Opera; many operatic works had their first performances in the New World in New Orleans.

Early African, Caribbean and Creole music#

Unlike in the Protestant colonies of what would become the USA, African slaves and their descendants were not prohibited from performing their traditional music in New Orleans and the surrounding areas. The African slaves, many from the Caribbean islands, were allowed to gather on Sundays, their day off, on a plaza known as Congo Square. Permitted as early as 1817, dancing in New Orleans had been restricted to the square, which was a hotbed of musical fusion, as African styles from across America and the Caribbean met and danced in large groups, often in circle dances. The Congo Square gatherings became well known, and many whites came to watch and listen. Nevertheless, by 1830, opposition from whites in New Orleans and an influx of blacks from elsewhere in the U.S. caused the decline of Congo Square’s prominence. The tradition of mass dances in Congo Square continued sporadically, though it came to have more in common with minstrelsy than with authentic African traditions. Caribbean dances known to have been imported to Louisiana include the calenda, Congo, counjai, and bamboula. Louis Gottschalk was an early 19th-century white Creole pianist and composer from New Orleans, the first American musician/composer to become famous in Europe. A number of his works incorporate rhythms and music he heard performed by African slaves. In addition to the slave population, antebellum New Orleans also had a large population of free people of color, mostly Creoles of mixed African and European heritage who worked as tradesmen. The more prosperous Creoles sent their children to be educated in France. They had their own dance bands, an opera company, and a symphony orchestra. The community produced such composers as Edmund Dede and Basil Bares. After the American Civil War many Creole musicians became music teachers, teaching the use of European musical instruments to the newly freed slaves and their descendants.

Music of Luxembourg

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

History#

Music in what is now the Grand Duchy of Luxembourg has a history stretching back to the Gallo-Roman period. The 3rd-century Roman mosaic from Vichten presents excellent representations of the muses Euterpe with her flutes and Erato playing the lyre, testifying to an early interest in music. The 6th-century Latin poet Venantius Fortunatus tells us he was impressed by the music he heard in the region. From the 8th century, the Abbey of Echternach became an important centre for church music. Around the year 900, the abbey produced the Officium Sancti Willibrordi manuscript, one of the first examples of musical notation from Luxembourg. After the Grand Duchy was established in 1815, interest in music slowly developed across the country, initially with patriotic music played by military bands. In 1842, the Luxembourg Army Band known as the Musique militaries grand-ducale was found in Echternach with some 24 musicians from the battalion stationed there. In 1852, the Société philharmonique was founded in Ettelbrück by the local priest J. B. Victor Müllendorf with the objective of “supporting all types of vocal and instrumental music”. On the occasion of the first train from Luxembourg to Thionville on 4 October 1859, the national poet Michel Lentz wrote the words and music for De Feierwon, a patriotic song with the famous line Mir welle bleiwe wat mir sin (We want to remain as we are).

Music of Madagascar

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

Traditional music#

Malagasy music is highly melodic and distinguishes itself from many traditions of mainland Africa by the predominance of chordophone relative to percussion instruments. Musical instruments and vocal styles found in Madagascar represent a blend of widespread commonalities and highly localized traditions. A common vocal style among the Merina and Betsileo of the Highlands, for instance, does not preclude differences in the prevalence of particular instrument types (the among the Merina, and the and among the Betsileo). Similarly, the practice of (entering a trance state, typically induced by music) is present on both the western and eastern coasts of the island but the vocal styles or instruments used in the ceremony will vary regionally. Music in Madagascar tends toward major keys and diatonic scales, although coastal music makes frequent use of minor keys, most likely due to early Arab influences at coastal ports of call. Malagasy music has served a wide range of social, spiritual and mundane functions across the centuries.

Music of Malawi

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

Kwela Music#

In the late 1960s, South African kwela music was popular in Malawi. The country produced its own Kwela stars that were not as popular as the South African counterparts, but contemporary Kwela artists like Daniel Kachamba & His Kwela Band have enjoyed popularity. South African Kwela music was first created by Malawian immigrants who, upon moving to South Africa, fused their music with local sounds. The word, ‘Kwela’, in Chichewa means ’to climb’ which is similar to the South African definition, which means to “get up” or “rise”.

Music of Malaysia

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

Ethnic traditions#

Besides Malay music, Chinese and Indian Malaysians have their own forms of music, and the indigenous tribes of Peninsular and East Malaysia have unique traditional instruments.

Malay music#

Traditional Malay music spans from music for various theatrical forms such as wayang kulit, bangsawan and dance dramas as well as story-telling, to folk songs and music for dances, royal ceremonies, martial arts (silat), life cycle events, and religious occasions. Many forms of traditional Malay music and performing arts appear to have originated in the Kelantan-Pattani region with influence from India, China, Thailand and Indonesia. The music is based around percussion instruments, the most important of which is the gendang (drum). There are at least 14 types of traditional drums, including kompang and hadrah drums. Drums and other traditional percussion instruments are often made from natural materials. In East Malaysia, gong-based musical ensemble such as agung and kulintang are commonly used in ceremonies such as funerals and weddings. These ensembles are also common in neighbouring regions such as in the southern Philippines, Kalimantan in Indonesia and Brunei. also popular in Malaysia, while essentially still important as a branch of the self-defence form. Similar to tai chi , though of independent origin, it is a mix of martial arts, dance and music typically accompanied by gongs, drums and Indian oboes. The natives of the Malay Peninsula played in small ensembles called kertok, which performed swift and rhythmic xylophone music. This may have led to the development of dikir barat. In recent years, the Malaysian government has promoted this Kelantanese music form as a national cultural icon. Johor art performances such as Zapin and Hamdolok as well as musical instruments including Gambus and Samrah have apparent Arab and Persian influences. Arabic-derived zapin music and dance is popular throughout Malaysia, and is usually accompanied by a gambus and some drums. Ghazals from the Indian subcontinent are popular in the markets and malls of Kuala Lumpur and Johor, and stars like Kamariah Noor are very successful. In Malacca, ronggeng is the dominant form of folk music. It played with a violin, drums, guitar, bass, synthesizer, button accordion and a gong instrument. Another style, Dondang Sayang is slow and intense; it mixes influences from China, India, Arabia, and Portugal with traditional elements.

Music of Mali

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

National music#

The national anthem of Mali is “Le Mali”. After independence under President Modibo Keita orchestras were state-sponsored and the government created regional orchestras for all seven then regions. From 1962 the orchestras competed in the annual “Semaines Nationale de la Jeunesse” (“National Youth Weeks”) held in Bamako. Keita was ousted by a coup d’état in 1968 organized by General Moussa Traoré. Most of Keita’s support for the arts was cancelled, but the “Semaines Nationale de la Jeunesse” festival, renamed the “Biennale Artistique et Culturelle de la Jeunesse”, was held every 2 years starting in 1970. Notable and influential bands from the period included the first electric dance band, Orchestre Nationale A, and the Ensemble Instrumental National du Mali, comprising 40 traditional musicians from around the country and still in operation today. Mali’s second president, Moussa Traoré, discouraged Cuban music in favor of Malian traditional music. The annual arts festivals were held biannually and were known as the Biennales. At the end of the 1980s public support for the Malian government declined and praise-singing’s support for the status quo and its political leaders became unfashionable. The ethnomusicologist Ryan Skinner has done work on the relationship of music and politics in contemporary Mali.

Music of Malta

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

History#

Għana (pronounced aana) is the traditional folk music of Malta. A type of singing which “involves a tight voice type with the straining of throat muscles and controlled use of diaphragm muscles to produce a loud sound”. The most common style in the modern day is the spirtu pront (literally ‘quick witted’); which is an improvised rhyming song-duel which is performed by either four or six għannejja (‘singers’, pronounced anneyya), and accompanied on guitars. Malta organises its own Malta Song Festival yearly since 1960. In 1971 Joe Grech was the first singer to represent Malta in the Eurovision Song Contest. Andy Partridge from XTC was born on Malta in 1953. Later, Thea Garrett won the Malta Song for Europe 2010 called My Dream. Lynn Chircop represented Malta at Eurovision 2003 with the pop song “To Dream Again”. It was sung in Riga with 5 additional backing singers on the stage. Chircop got 4 points at the end of the voting process. Morena is another artist who is a winner of Malta Song for Europe 2008 called VODKA. Klinsmann participated in Malta Song for Europe in 2007 (She Gives me Wings) and 2008 (Go finalist song). Claudia Faniello was the second runner up in Malta Song for Europe 2008 who participated with the songs Caravaggio and Sunrise. Chiara represented Malta in Eurovision a total of 3 times: 1998, 2005, 2009. Gaia Cauchi represented and won for Malta in the Junior Eurovision Song Contest in 2013. Gianluca Bezzina represented Malta in 2013. Destiny Chukunyere represented and won for Malta in the Junior Eurovision Song Contest in 2015. Chukunyere represented Malta at Eurovision 2020 after winning the Maltese version of X Factor.

Music of Martinique

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

Folk music#

Carnival is a very important festival, known as Vaval on Martinique. Music plays a vital role, with Martinican big bands marching across the island. Vaval declined following World War II, bouncing back with new band formats and new traditions only in the 1980s. Like Guadeloupe, Martinique features participatory, call-and-response style songs during its Vaval celebrations. In the early 20th century on Martinique, Creole bands travelled on trucks or small carts during Vaval, playing a music known as biguine vidé (or just videé). After the decline of Vaval in World War II, the tradition began anew in the 1980s, when large marching bands of fifty or more people became common, including a number of horn players, percussionists and dancers. These large bands, known as groups à pied, are each identified with a neighborhood.

Music of Mauritania

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

Instruments#

Traditional instruments include an hourglass-shaped four-stringed lute called the tidinit and the woman’s kora-like ardin. Percussion instruments include the tbal (a kettle drum) and daghumma (a rattle).

Types of Mauritanian music#

There are three “ways” to play music in the Mauritanian tradition: *Al-bayda - the white way, associated with delicate and refined music, and the Bidan (North African Moors) *Al-kahla - the black way, associated with roots and masculine music, and the Haratin (Sub-Saharan Moors) *l’-gnaydiya - the mixed or “spotted” way Music progresses through five modes (a system with origins in Arabic music): karr, fagu (both black), lakhal, labyad (both white, and corresponding to a period of one’s life or an emotion) and lebtyat (white, a spiritual mode relating to the afterlife). There are further submodes, making for a complicated system, one to which nearly all male musicians conform. Female musicians are rare and are not bound by the same set of rules.

Music of Mauritius

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

Sega#

The sega is the most popular form of music and dance of Mauritius. The traditional instrumentation includes the ravanne, a goat-skin covered drum, the triangle, and the maravanne. It is not clear when sega originated. Most claim that sega music and dance origins are found in the slavery epoch, most probably started in Mauritius at the end of 17th century to early 18th century during the French colonisation of the island, but research has not established the exact date. Nowadays, Mauritians sing sega as a form of self-expression. Rural forms of music include Mauritian Bhojpuri songs, kawals, that date from the epoch of indentured labour and remained popular in Mauritian villages but are now fast disappearing. There have been many groups that have been formed that fuse these two as well as others that have a deeper connection to the roots of each genre. Cassiya is an example of a group that has become popular not only in Mauritius but also in the neighboring islands such as Reunion. Their single “Mo fami Peser” gives an idea of how life has evolved for the black indentured laborer post-slavery. It tells about how life as a fisherman becomes more difficult as the seas become more polluted and even though they tried to find a normal city job, they still prefer peaceful life of a fisherman.

Music of Meghalaya

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

Music of Melbourne

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

History#

The Esplanade Hotel, built in 1878, one of the earliest, largest and most prominent 19th century resort hotels in Victoria, has served as a venue for various styles through the 20th century. Between 1920 and 1925, the “Eastern Tent Ballroom” constructed to the rear of the site became an important jazz venue and dance venue in St Kilda, one of the main entertainment districts in Melbourne at the time. In the 1970s, the hotel’s Gershwin Room, a grand dining room, was turned into a disco, complete with flashing Saturday Night Fever-style dance floor. Since the 1970s, it has hosted primarily rock-related acts and is currently the longest continuously running live music venue in Australia.

Music of Mesopotamia

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

Religious#

Music played a central role in ancient Mesopotamian religion. In the Old Babylonian period ( BCE – BCE), when music was performed as part of a religious ceremony, the practitioners, known in Sumerian as gala priests, sang in a dialect of Sumerian called Emesal. There were two types of Emesal prayers, the Balag and the Ershemma, named after the instruments used in their performance (the balag and shem, respectively). In some depictions of religious festivals, musicians were accompanied by dancers, jugglers, and acrobats. Evidence from the city of Mari offers a picture of how the musicians were situated within the temple. An instrument called Ninigizibara was placed opposite a statue of that city’s deity, Eštar. Singers sat to the right of the instrument, an orchestra sat to its left, and female musicians stood behind the instrument. Ritual acts were performed during these sung lamentation prayers, whose purpose was to persuade the local deity not to abandon the city. Moreover, some laments included grief over the loss of music itself during the destruction of a city and its temple. In one such work, the “weeping goddess” Ninisinna laments the destruction of her city, Isin, not only bemoaning the loss of food, drink, and luxury, but also because there were “no sweet-sounding musical instruments such as the lyre, drum, tambourine, and reed pipe; no comforting songs and soothing words from the temple singers and priests”. Some rituals involved the instruments themselves, deified, and capable of receiving animal sacrifices as gods. In a ritual closely associated with a drum described in an Akkadian text, a bull was brought to the temple and offerings were made to Ea, god of music and wisdom. Various parts of the bull were burned with a torch during the ritual. Twelve linens were placed on the ground, and a bronze image of a god was placed on top of each linen. Sacrifices were made and a drum was put into place. The bronze images were then put inside the drum, incantations were whispered into the bull’s ears, a hymn was sung accompanied by an oboe, and the bull was sacrificed.

Music of Mexico

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

History#

The foundation of Mexican music comes from its indigenous sounds and heritage. The original inhabitants of the land used drums (such as the teponaztli), flutes, rattles, conches as trumpets and their voices to make music and dances. This ancient music is still played in some parts of Mexico. However, much of the traditional contemporary music of Mexico was written during and after the Spanish colonial period, using many Old World influenced instruments. Many traditional instruments, such as the Mexican vihuela used in Mariachi music, were adapted from their old-world predecessors and are now considered very Mexican. There existed regional and local musical traditions in the colonial period and earlier, but national music began to develop in the nineteenth century, often with patriotic themes of national defense and against foreign invaders. Conservative general and president Antonio López de Santa Anna brought Catalan musician Jaime Nunó from nearby Cuba to create a network of military bands on a national scale. He composed the music for the Mexican national anthem. During the French Intervention in Mexico, which placed Maximilian of Habsburg on the throne of the French empire in Mexico, many musicians accompanied his entourage and he established the National Conservatory of Music in 1866. Liberal President Benito Juárez saw the need to create military bands. Village brass bands proliferated in the late nineteenth century, with concerts in town squares, often on a central kiosk. During the Porfiriato, musical styles expanded, with Mexican national music, cosmopolitan music brought by foreign elites, and European regional music such as polkas, mazurkas, and waltzes, as well as opera overtures. Musicians had access to and used sheet music. In some indigenous regions, new music and bands helped bring a level of unity. In Oaxaca, a waltz, “Dios nunca muere” (God never dies) became the state’s anthem. A variety of musical styles from elsewhere were incorporated into Mexican popular music in the nineteenth century. Music, dance, and poetry flourished during the Porfiriato. Mexico’s National Conservatory of Music was strongly influenced by Italian masters, who gave way to French influence at the turn of the twentieth century. Following the Revolution, Venustiano Carranza, leader of the winning Constitutionalist faction of the Revolution, mandated that the National Conservatory “recover the national” in its musical education, abandoning rather than privileging foreign music. Younger Mexican composers emerged, including Carlos Chávez, Silvestre Revueltas, and Luis Sandi, who developed Mexican “art music.” Chávez was a prolific composer and one who embraced creating Mexican orchestral music drawing on revolutionary corridos, and composed an Aztec-themed ballet. He became the director of the National Conservatory of Music, which became affiliated with the Ministry of Education (SEP). Revueltas composed music for the emerging Mexican cinema, and Sandi created choral works, creating music for civic events, as well as incorporating indigenous music from the Yaqui and Maya regions in his compositions. Chávez is seen as the driving force behind the split between Mexican art music and traditional styles, privileging art music. However, traditional or folkloric music continues to be popular, and the Ballet Folklórico de México, established in 1952, performs regularly at Bellas Artes.

Music of Mizoram

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

Etymology#

The Mizo did not traditionally possess a single collective term for music; each instrument and each form of song had its own name. The word rimawi was coined in 1966 by B. Thanmawia, then Deputy Director General of All India Radio, during a broadcast. Rimawi is composed of two syllables: ri (sound) and mawi (melodious, beautiful). The term covers instrumental music but does not necessarily include song (hla) or dance (lam). The word hla, meaning song, is among the most frequently occurring words in Mizo oral tradition and forms part of the name of virtually every recognised song category.

Music of Moldova

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

Folk music#

During the Soviet era, Moldovan folk culture flourished, and was strongly promoted by the government. However, many elements were altered to obscure the shared history of Romania and Moldova, because the Soviet Union wanted to discourage secession. The Mioriţa is ancient ballad that is a very important part of Moldovan folk culture.

Popular Moldovan musicians#

;Artists * Doina and Ion Aldea Teodorovici * Dan Bălan * Irina Rimes * * Natalia Barbu * Maria Bieșu * * * Nelly Ciobanu * * * * Anatol Dumitraș * Nicolae Glib * * Patricia Kopatchinskaja * Anastasia Lazariuc * Arkady Luxemburg * Gândul Mâței * The Motans * * Andrew Rayel * Sofia Rotaru * Radu Sîrbu * Pavel Stratan * Cleopatra Stratan * Nicolae Sulac * Ion Suruceanu ;Groups * Alternosfera * Arsenium * Carla’s Dreams * Delta Pe Obraz * DoReDos * Infected Rain * Noroc * Orizont * O-Zone * SunStroke Project * Zdob și Zdub

Music of Mongolia

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

Overtone singing#

Overtone singing, known as höömij (throat), is a singing technique also found in the general Altai area. This type of singing is considered more as a type of instrument. It involves different ways of breathing: producing two distinctively audible pitches at the same time, one being a whistle like sound and the other being a drone bass. The sound is a result of locked breaths in the chest. In Mongolia, the most famous throat-singers include Khalkhas like Gereltsogt and Sundui. Khalkha singers have conceptualized Mongolian lyrical xöömei into several different styles while kharkhiraa remains a separate technique. *uyangiin xöömii /melodic or lyrical xöömii **uruulyn / labial xöömii **tagnain /palatal xöömii **xamryn/ nasal xöömii **bagaIzuuryn, xooloin / glottal, throat xöömii **tseejiin xondiin, xeviiin / chest cavity, stomach xöömii **türlegt or xosmoljin xöömii / xöömii combined with long song

Music of Montana

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

Native American music#

Montana is home to several Indian reservations and traditionally to more than two dozen distinct tribes, each with their own forms of music. These include the Blackfeet, Crow, Flathead, Cheyenne, Chippewa-Cree, Gros Ventre, Assiniboine, and Sioux. An example of the modern synthesis of popular and traditional Native music in Montana is Jack Gladstone, a folk musician and lecturer/presenter who embraces Native themes, and who has collaborated with fellow Montana musician Rob Quist.

Music of Morocco

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

Aita#

Aita ( “call, cry or lament”) is a popular Bedouin musical style that originates from the countryside of Morocco, especially the Atlantic plains—areas such as Doukkala-Abda, Chaouia-Ouardigha, and Rehamna.

Amazigh folk music#

There are many varieties of Berber folk music and dance, such as Rif, Atlas, Chawia, and Canaria.

Ahwash#

Ahwash (, ) is a collective musical form associated with Amazigh communities in southern Morocco, particularly around Ouarzazate, the Dra’a Valley, and Sous. Ahwash involves dance, singing, poetry, and percussion.

Music of Mozambique

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

Timbila#

The Chopi people of the coastal Inhambane Province are known for a unique kind of xylophone called the mbila (pl: timbila) and the style of music played with it, which “is believed to be the most sophisticated method of composition yet found among preliterate peoples.” Ensembles consist of around ten xylophones of four sizes and accompany ceremonial dances with long compositions called ngomi which consist of an overture and ten movements of different tempos and styles. The ensemble leader serves as poet, composer, conductor, and performer, creating a text, improvising a melody partially based on the features of the Chopi’s tone language, and composing a second countrapunctal line. The musicians of the ensemble partially improvise their parts according to style, instrumental idiom, and the leader’s indications. The composer then consults with the choreographer of the ceremony and adjustments are made. (Nettl 1956, p. 18-19)

Music of Myanmar

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

Classical traditions#

The orthodox Theravada Buddhism rejects music as being decadent, but despite this cultural backdrop, the Burmese monarchy, along with the infusion of different regional music styles, created several classical traditions of Burmese music. The oldest of such influences may perhaps come from China, which shares a similar pentatonic musical scale as classical Burmese music. Other influences include Mon music (called or “sounds of the Talaing Mon “), particularly in the Mahāgīta (), the complete body of classical Burmese music. A prevailing one is called (), which is essentially a class of Burmese adaptations to songs accompanied with the saung gauk and come from the Ayutthaya kingdom (modern-day Thailand) during the reigns of Bayinnaung (1551–1581) and Hsinbyushin (1753–1776), which brought back a variety of cultural traditions including the Ramayana.

Music of Namibia

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

Folk music#

Traditional Namibian dances occur at events such as weddings and at traditional festivals such as the Caprivi Arts Festival. Folk music accompanies storytelling or dancing. The Nama people use various strings, flutes and drums while the Bantu use xylophones, gourds and horn trumpets. * The Herero people’s oviritje is popularly known as konsert. Otjiherero is the primary language of Oviritje music. Oviritje was made popular by Kareke Henguva as a pioneer of Modern Oviritje Music when he together with the likes of Kakazona Kavari, Meisie Henguva and Oomzulu Pietersen introduced the keyboard element as prior to the introduction of the keyboard Oviritje Music was performed with vocals only. Prior to Kareke people like Matuarari Kaakunga and Bella Kazongominja have developed the Oviritje genre. Today in recognition of his contribution to the Oviritje music Kareke Henguva has been accorded the title of doctor of modern Oviritje music. Other groups that took over from Henguva and made this music popular are The Wild Dogs from the Okakarara area with their hit song “Kaondeka”, Okazera from the Omaheke Region, the first group to include a San-speaking member, Bullet ya Kaoko, based in Opuwo in the Kunene Region, Tuponda, Katja, Millenium, Kareke and the United Kingdom-based Oviritje queen Kakazona ua Kavari. * Maǀgaisa, a dance music genre commonly known as Damara Punch, is performed by Stanley, ǃAubasen, Dixson and Damara Dikding. Phura Duwe is known to be the king of Ma/gaisa as he came up this genre of music then follows the likes of Raphael and Pele, Pule, Ruby and Riio. Many female singers are entering the Ma/gaisa world yearly. The genre was derived from Damara traditional music and is mainly sung in Khoekhoegowab. * Shambo, the traditional dance music of the Oshiwambo-speaking people, derives its name from “Shambo Shakambode” - “music”. In the late nineties Yoba Valombola blended existing Oshiwambo music widely popularised by folk guitarist Kwela, Kangwe Keenyala, Boetie Simon, Lexington and Meme Nanghili na Shima. Later Setson and the Mighty Dread Band combined these and other Namibian styles and this was the birth of Shambo shakambode music. Yoba based Shambo on a dominant guitar, a rhythm guitar, percussion and a heavy “talking” bassline. Themes range from love to war and history. Young Namibian musicians contributed sampled tracks backed by a blend of house music and Kwaito. Prominent shambo musicians include Tunakie, Ama Daz Floor, Tate Kwela and D-Naff, also a gospel musician. Kwiku mixes shambo with Kwassa kwassa. The genre was made popular by Tate Buti and his sister Janice with Faizel MC on the song “Kwiku”. It is listened to by most Namibians including Basters and Coloureds. In 2005 it was recognized by the Namibia Society of Composers and Authors of Music (NASCAM) as one of Namibia’s folk music genres. The annual Sanlam-NBC Music Awards also included it as one of their awarding genres in 2005. Other kwiku artists include trio PDK, Olavi, Killa B, Castro, Faizel MC, Tunakie, and the late YT de Wet. * Afrikaans music is also popular in Namibia. Afrikaans music primarily influenced by European folk music. In Namibia it is more popular among the white communities. Stefan Ludik is the most successful Afrikaans musician.

Music of Nepal

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

Tamang music#

The Tamang community is well known for the Damphu, a traditional instrument. Tamang Selo music is accompanied by the Damphu and Tungna. It is said that British people derived the idea of making drum sets from Damphu during their stay in India. Some modern Tamang Selo music also shows influences of western and Indian instruments. Hira Devi Waiba is hailed as the pioneer of Nepali folk songs. She sang about 300 songs throughout her 40-year musical career. After Hira Devi Waiba died in 2011, her son Satya Waiba and daughter Nanveet Aditya Waiba took upon the task of reviving her songs, re-recorded them with a new sound and released them in Navneet’s voice. They named the album Ama Lai Shraddhanjali - Tribute to Mother. Navneet is the only artist in the Nepali folk music genre who sings authentic traditional Nepali folk songs without adulteration or modernisation.

Music of New Zealand

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

Māori music#

Pre-Colonial Māori produced a range of music including song (waiata). The haka is a form of song that is accompanied with movement. Songs included lullabies, laments and love songs, and as an oral culture were used for education, to remember history and many other things. This is seen in the lasting traditional song poetry form mōteatea and some microtonal techniques such as glissando slides utilised in modern waiata. SOUNZ Centre for New Zealand Music published a series in 2021 called He Reo Tawhito: Conversations about Mōteatea where Crystal Edwards interviewed various specialists including Te Ahukaramū Charles Royal, Hōhepa Te Rito, Hana O’Regan and Taiarahia Black.

Music of Nicaragua

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

Styles of music#

Nicaraguan music is a mixture of different cultures from indigenous tribes, European conquerors, and slaves. Styles of music vary throughout the different regions in the country. In the Caribbean coast music with African and indigenous influence are heard, in the Pacific coast the music is considered to be a mixture of the indigenous and Spanish culture and in the North/Central region of Nicaragua the music has more of a European flavor, this is because of the significant wave of Europeans, mostly Germans, that live in the region. European influenced dances like the polka and Mazurka are also danced in this region. Another popular musical genre in Nicaragua is the Chicheros, often consisting of a trumpet and trombone or other brass instruments, with additional musicians playing various percussion. This is often to be heard in private parties around the country.

Music of Niger

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

Modern Nigerien music#

Music for the purpose of entertainment has not been readily accepted by the Nigerien government, though restrictions have loosened since the death of Seyni Kountché in 1987. A competitive music festival called the Prix Dan Gourmou helped inspire a musical renaissance in the country, led by people like Alassane Dante. The Centre for Musical Training and Promotion was founded in 1990, furthering this process, using a grant from the European Development Fund. Musicians formed bands to seek fame both domestically and internationally, with the most successful being the group Takeda, formed by Reggae singer Adams Junior, Saâdou Bori, Fati Mariko, Mamoudou Abdousalam, Sani Aboussa, John Sofakolé, Moussa Poussy and Yacouba Moumouni. In the mid-1990s, record producer Ibrahima Sylla traveled to Niamey and ended up signing Poussy and Saadou Bori. He has since also helped release records from Adam’s Junior and from Mamar Kassey, perhaps the best-known Nigerien group outside the country, who combine traditional Songhai styles and modern jazz. The band Etran Finatawa (“the stars of tradition”), consisting of Tuareg and Wodaabe members, formed in 2004 at the Festival in the Desert. Between 2004 and 2015 Etran Finatawa toured the globe with performances in over 45 countries. Since 2008 Tal National has been the most popular modern band in Niger. They are based in Niamey. Their 2008 album A-Na Waya reached the top of the charts in Niger and earned the band numerous awards. In 2013 they signed a worldwide record deal with Fat Cat Records for the album “Kaani”. Another popular band, Groupe Sogha, created in 2004, has been a popular neo-traditional musical group that combines traditional and modern instruments in its music composed of ten members, five instrumentalists, three singers, and two dancers. The group was Niger’s music ambassador for the fifth Francophone Games in Niamey. Sogha has two albums to its credit recorded under the artistic direction of the maestro Boncana Maiga.

Music of Nigeria

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

Hausa#

The people of the North are known for complex percussion instrument music, the one-stringed goje, and a strong praise song vocal tradition. Under Muslim influence since the 14th century, Hausa music uses free-rhythmic improvisation and the Pentatonic scale, similar to other Muslim Sahelian tribes throughout West Africa, such as the Bambara, Kanuri, Fulani and Songhai. Traditional Hausa music is used to celebrate births, marriages, circumcisions, and other important life events. Hausa ceremonial music is well known in the area and is dominated by families of praise singers. The Hausa play percussion instruments such as the tambora drum and the talking drum. The most impressive of the Hausa state instruments, however, is the elongated state trumpet called Kakaki, which was originally used by the Songhai cavalry and was taken by the rising Hausa states as a symbol of military power. Kakaki trumpets can be more than two metres long, and can be easily broken down into three portable parts for easy transportation.

Music of North Africa

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

Algeria#

Of all the North African countries, Algeria’s popular music may be the best-known abroad. Raï, a style of urban popular music developed in early 20th century Oran, has become a common sound in parts of Europe, especially France (which has a large Algerian population) since the late 1980s. The music of the Berber Kabyle people and Chaabi are both also renowned throughout the country, and in France. Developed from musical styles which were themselves borrowed from Andalusia in the 15th century, Algerian Nuubaat is a kind of classical music that remains popular in much of the country. Over the years, it has evolved into related styles like the rabaab and hawzii.

Music of North Korea

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

Taejung kayo#

After the division of Korea in 1945 and the establishment of North Korea in 1948, revolutionary song-writing traditions were channeled into support for the state, eventually becoming a style of patriotic song called taejung kayo () in the 1980s combining classical Western symphonic music, the Soviet socialist realism style, and Korean traditional musical forms. The songs are generally sung by female and male performers - either a choir, small groups or a soloist - with accompanying bands or choirs accompanied by a large orchestra (either Western style, traditional or a hybrid of western and traditional) or a concert band, and in recent years, a pop band or big band/jazz band with guitars, electric guitars, keyboards, piano, strings, double bass, a drum kit and brass section with occasional accordions and traditional instrumentation. North Korean music follows the principles of Juche (self-reliance) ideology. The characteristic march like, upbeat music of North Korea is carefully composed, rarely individually performed, and its lyrics and imagery have a clear optimistic content. Much music is composed for movies, television dramas, and TV movies, and the works of the Korean composer Isang Yun (1917–1995), who spent much of his life in Germany, are popular in North Korea.

Music of North Macedonia

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

Folk music#

The ethnic Macedonian folk music (Macedonian: Народна музика, Narodna muzika) includes: *Traditional music (Macedonian: Изворна музика, translit.: Izvorna muzika literally meaning: roots music) *Contemporary folk music (Macedonian language: современа народна музика)

Traditional music#

The Macedonian traditional music, which can be rural or urban (starogradska muzika), and is recognizable by the heavy use of the Phrygian dominant scale, includes: lyric songs, epic songs, labour songs, ritual songs, humorous songs, circle dance (“oro”), the old urban style called Čalgija (not to be confused with chalga) etc. Popular traditional songs are: Kaleš bre Anǵo, Slušam kaj šumat šumite, Biljana platno beleše, Dafino vino crveno, Zemjo Makedonska and many others. Narode Makedonski is a nationalist folk song about the Macedonian national revival. Often referenced oro dances are Teškoto from the village of Galičnik, Kalajdžiskoto, Komitskoto (The Dance of the freedom fighters) and others. An internationally acclaimed professional folklore association is the award-winning Tanec. File:Tanec folk ensemble Macedonia 1.jpg Female oro performed by Tanec File:Tanec folk ensemble Macedonia 2.jpg Men’s oro performed by Tanec File:Tanec folk ensemble Macedonia 3.jpg Female folk dance performed by Tanec File:Tanec folk ensemble Macedonia 4.jpg Men’s oro by Tanec File:Tanec folk ensemble Macedonia 5.jpg Female folk dance by Tanec File:Tanec folk ensemble Macedonia 6.jpg Mixed male and female dances The music of the Balkans is known for complex rhythms. Macedonian music exemplifies this trait. Folk songs like “Pomnish li, libe Todoro” (Помниш ли, либе Тодоро) can have rhythms as complex as 22/16, divided by stanza to 2+2+3+2+2+3+2+2+2+2, a combination of the two common meters 11=2+2+3+2+2 and 11=3+2+2+2+2 (sheet music). In order to add tension to notes, musicians (primarily from older schools) will add the distinctive characteristic of stretching out beats. The gajda (гајда), a type of bagpipe, was the most common folk instrument in traditional Macedonian culture. It has now become an instrument for concert recitation, drawing on recent legends like Pece Atanasovski (video), leader of the Radio Skopje ensemble Ansambl na Narodni Instrumenti, as the source of modern tradition. Other instruments include: *šupelka (шупелка) – small flute *kemane (кемане) – three-stringed fiddle *tambura (тамбура) – long-necked lute *zurla (зурла) – large double-reed horn *tapan (тапан) – cylindrical drum *kaval (кавал) – rim-blown flute *harmonika (хармоника) – accordion Macedonian folk orchestras consist of a clarinet or saxophone, drum kit, bass guitar, accordion and guitar, sometimes with modern synthesizers and drum machines. These orchestras are very popular in Macedonia. Popular members are virtuoso musicians Skender Ameti and Goran Alachki on accordion and Miroslav Businovski on clarinet. Čalgija is an urban style, played by bands (Čalgii) with a dajre (tambourine) and tarabuka (hourglass drum) providing percussion for ut (lute), kanun (zither), clarinet and violin. Though modern musicians have updated the Čalgija into a spectrum of hard and soft, classical and pop sounds, some traditional musicians remain. Perhaps the most influential of recent years was Tale Ognenovski, who plays a wide variety of traditional and modern sounds. After World War II People’s Republic of Macedonia sponsored the creation of professional ensembles such a “Chalgii orchestra”, “Folk music orchestra” and “Authentic folk instruments orchestra” which were departments of “Radio Television Skopje” and performed arranged version of folk melodies. Folk music orchestras performed arranged versions of folk melodies. Since 1971 the Macedonian folk music duo, Selimova-Želčeski is active. At the International Folklore Conference organized by the International Folklore Committee in Istanbul, Turkey, 1977, on the subject of “Folklore on the Radio” representative from Yugoslavian Radio Television (Former Yugoslavia) was Dushko Dimitrovski, Editor of the Folk Music Department for “Radio Television Skopje” (now Macedonian Radio Television) from the Socialist Republic of Macedonia presented folklore material in his presentation entitled “Chalgija music in Macedonia”, including the recordings of Macedonian folk dances: “Kasapsko oro”, arranged by Tale Ognenovski, and “Kumovo oro chochek”, composed by Tale Ognenovski and performed by him as clarinet soloist accompanied by the “Chalgii” orchestra of Radio Television Skopje (now Macedonian Radio Television), which created great interest not only amongst the delegates of the Conference but also around the world. In the book entitled “Rough Guide to World Music Volume One: Africa, Europe & The Middle East” written by Simon Broughton and Mark Ellingham on page 202 subtitle: Macedonia tricky rhythm, Kim Burton noted: “In western music, a bar of triple time – such as a waltz has three equal beats: but in Macedonia it may a bar of 7/8 divided up as 3-2-2 or 2-2-3 or 2-3-2 and so on…” In this book on page 203 was written: “One of the few clarinettists to have performed successfully both with a calgia and in the more modern style is Tale Ognenovski, born in 1922 and one of the most influential musicians of the post-war era. He was a member of the Tanec group during the 1950s and lead clarinet of the Radio Skopje calgia. The composer of many tunes that have become standards, and which is the basis for Macedonia’s own new composed folk music.” The magazine “Ilustrovana politika” observes,“Radio Television Belgrade” (PGP-RTB, now PGP-RTS Radio Television of Serbia, Serbia) released an LP of Macedonian folk music (LP 1439 RTB, produced in 1979), on which is performances by the extraordinary clarinetist Tale Ognenovski. His music repertoire is folk dances, jazz (besides others he includes works by Benny Goodman and Artie Shaw), concerts from Carl Maria von Weber, Mozart and Ernesto Cavallini…This is Tale Ognenovski who began to play the clarinet in the village of Brusnik near Bitola, who with this wooden instrument toured the world and received well-deserved applause wherever he performed." In his book, For Our Music Dushko Dimitrovski writes: “The impossible becomes possible: two usually non-complementary parallel-existing worlds of sounds, Europe and The Orient, are in Tale Ognenovski’s music naturally brought closer together, understand each other and merge.” In September, 2001 Tale Ognenovski released CD album: Jazz, Macedonian Folk Dances and Classical Music Reviewer Neil Horner of the MusicWeb International comments, “He is undoubtedly an exceptional artist and the predominant image created in my mind is of Benny Goodman playing the superb Contrasts he commissioned Bartók to write for him …This disc is likely to appeal to world music aficionados who enjoy the Balkan/Levantine soundworld and perhaps also those who care to hear the source musics of their classical favourites, the aforementioned Bartók but also, here, perhaps people like Skalkottas.”

Music of Northeast China

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

Harbin#

China’s oldest symphony orchestra, the Harbin Symphony Orchestra, was founded in 1908, and China’s first music school ‘Harbin’s No.1 music school’ was founded twenty years later in 1928. a large Jewish diaspora in the region of some 20,000 throughout the 1920s in many ways credited for the city’s rich musical heritage. The Harbin Summer music festival was established in 1958 and in 2010 the United Nations recognised Harbin as a Music City.

Music of Northumbria

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

Local musical forms and styles#

Northumbria shares with southern Scotland the long history of border ballads, such as ‘The Ballad of Chevy Chase’. It is also known for local dances, namely rapper dancing and Durham and Northumberland style clog dancing. The dance music of Northumbria differs markedly in style from that of the rest of England. It has more in common with Irish dance music, and especially Scottish dance music, yet is to some extent unique. Many dances from the region have the characteristic rant step. Although many tunes are shared with other regions of England or other nations, there is often a distinct difference between a Northumbrian version of a tune and versions from elsewhere. For instance a simple Irish tune, ‘The Chorus Jig’, with three strains, appears in the Northumbrian tradition as ‘Holey Ha’penny’, an ornate five-strain variation set. A Scottish strathspey, ‘Struan Robertson’s Rant’ appears, stripped of the Scotch snap, as a smallpipe tune, ‘Cuckold come out of the Amrey’, a long variation set. These two examples illustrate the impossibility of ascribing a regional origin to an old tune; each can be played on a primitive instrument, and may have been played for as long before first publication, as they have been since. Assumptions of regional origins can bedevil the study of music undertaken by enthusiastic musicians (who may sadly follow partisan allegiances) however regional versions and styles (like Northumbrian) are quite a different matter, having reliable established sources. Tunes in hornpipe rhythm are much appreciated in the region, both for playing and for dancing, particularly clog dancing. One rhythm characteristic of the region is the rant, used for figure dances such as The Morpeth Rant with a characteristic step; musically it is similar to a reel, though somewhat slower, and with more of a lilt. During 1770–2 William Vickers made a manuscript collection of local dance tunes, of which some 580 survive, including both pipe and fiddle tunes, many of which are from Scotland, southern England, Ireland and even France, revealing the very extensive and varied repertoire of local musicians at that time.

Music of Norway

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

Traditional and folk music#

Before 1840, there were limited written sources of folk music in Norway. Originally these historical attainments were believed to have a distinct Christian influence. As research continued, there were also mythical and fairy tale connections to the folk music. Overall the purpose of folk music was for entertainment and dancing. Norwegian folk music may be divided into two categories: instrumental and vocal. As a rule instrumental folk music is dance music (). Norwegian folk dances are social dances and usually performed by couples, although there are a number of solo dances as well, such as the . Norway has very little of the ceremonial dance characteristic of other cultures. Dance melodies may be broken down into two types: two-beat and three-beat dances. The former are called , or , whereas the latter are or . Traditional dances are normally referred to as bygdedans (village or regional dance). These dances, sometimes called “courting dances” were often connected to the important events of rural (farming) life: weddings, funerals and cyclical feasts like Christmas. Folk music in Norway falls in another 2 main categories based in the ethnic populations from which they spring: North Germanic and Sami. Traditional Sami music is centered around a particular vocal style called joik. Originally, joik referred to only one of several Sami singing styles, but in English the word is often used to refer to all types of traditional Sami singing. Its sound is comparable to the traditional chanting of some First Nations/Native Americans cultures. Traditional North Germanic Norwegian vocal music includes (kvad), ballads and short, often improvised songs (stev), among the most common types of traditional music. Work songs, hymns, vocals (nonsense syllables) and broadside ballads () have also been popular. Norway shares some Nordic dance music tradition with its neighbouring countries of Sweden and Denmark, where the most typical instrument is the fiddle. In Norway, the Hardanger fiddle (hardingfele), the most distinctive instrument in Norwegian folk music, looks and plays similar to a standard violin. It is only to be found primarily in the western and central part of the country. The Hardanger fiddle dates back to around 1700 and differs from the ordinary fiddle in many respects. The most important of these is that it has sympathetic strings and a less curved bridge and fingerboard. Thus, the performer plays on two strings most of the time, creating a typical bourdon style. The Hardanger fiddle tradition is rich and powerful. By traditional, orally conveyed instruction was one of the most important aspects of a Hardanger fiddle player’s accomplishment. Epic folk songs are the most important form of vocal folk music in Norway. Although there are many types of epic folk songs, the most intriguing are the medieval ballads. They were first transcribed in the 1800s, but the ballad tradition has been handed down from the Middle Ages. The lyrics of these songs also revolve around this period of history, recounting tales of the lives of nobles, and of knights and maidens. A number of the ballads describe historical events, and they are often dramatic and tragic. In the second half of the 19th century, some fiddlers, especially those from Voss and Telemark, significantly Lars Fykerud (who eventually moved to Stoughton, Wisconsin in the United States and then returned to Telemark late in life), began introducing more expressive ways of playing, turning the traditional music to concert music for the urban classes. At the same time, new dances and tunes were imported from Europe, including the fandango, reinlender, waltz, polka and mazurka. These forms are now known as (round dances) or gammeldans (old dances). Perhaps the most popular and controversial of modern Hardanger fiddle artists is Annbjørg Lien, who released her first album, Annbjørg in 1989. The album featured Helge Førde and Frode Fjellheim and was both praised for its innovative fusion work and expressive style, and criticized for its watering-down of traditional sounds and a lack of regional tradition. Other Norwegian traditional instruments include: * bukkehorn (goat horn) * harpeleik (chorded zither) * langeleik (box dulcimer) * lur (an older, trumpet-like instrument) * seljefløyte, a willow flute * tungehorn and Melhus (clarinets) * munnharpe As of today, there is an eclectic use of both folk music and its traditional instruments. Interest in folk music is growing, and there are a number of promising young performers. They are not only drawn to instrumental music, however. Many young people are now learning to sing in the traditional style. During the past few decades (since the folk-rock trend), folk musicians have shown a greater interest in experimentation. A new generation has emerged which, while showing respect for the old traditions, is also willing to think along new lines. A number of well-known folk music artists in Norway have made excellent recordings using new instruments and new arrangements. In recent years artists like Gåte and Odd Nordstoga have made folk music more accessible to younger crowds. Gåte fused folk music with metal and became very popular. Lumsk is another band mixing Norwegian traditional folk music with metal. The most famous Sami singer is undoubtedly Mari Boine, who sings a type of minimalist folk-rock with joik roots. Karl Seglem is a Norwegian musician and composer who plays saxophone and bukkehorn. Sofia Jannok is also a popular Sami contemporary artist. There are also some important institutions, for example the National Association of Folk Musicians. It is an organization founded in 1923 for folk music artists and folk dancers and it is primarily a union for local and regional folk music associations, but it is also open to individual members. As of 1990, the national association had 6,000 members from approx. 125 different local organizations. The National Association of Folk Musicians publishes Spelemannsbladet, a folk music journal that comes out 12 times a year. It also arranges the annual Landskappleiken (National Contest for Traditional Music), which is the most important event of its kind in Norway. Folk music has a distinct part of Norwegian history, and most historical collection was done by L.M Lindeman. A large part of the collections are maintained and preserved in the National Folk Music Collection and at the National Library. Norwegian Broadcasting Corporation (NRK) uses and includes recordings of folk music from the archive of NRK, which contains over 50,000 recordings from 1934 until today, in addition to other recordings in the radio channels and the specialized radio channel NRK Folkemusikk.

Music of Oman

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

Dance#

All of Oman’s traditional music is sustained by oral transmission between generations, and each region has its own unique forms. Al-Razha is a traditional war dance characterized by its use of the sword and its exchange of poetry between men. Men leap into the air, carrying a heavy sword, and must not falter upon landing. The men also throw the sword into the air and catch it as it comes down-a show of strength and prowess. the Razha was used as a way to express the needs of the people in the tribe and also to announce war, victory, muster troops or mediate between warring factions. Al Razfa, also known as the Yowlah is performed by men of all ages and classes during social occasions, such as weddings and national festivals. Male performers form two facing lines with dancers filling the space between. Led by the main singer, the two rows create a dual chorus, singing chants in an anti-phonal manner to the accompaniment of drums and other instruments. Many chants are verses of traditional Nabati poetry, carefully selected to match the occasion. The dancers perform choreographed movements to the music while holding wooden replica of rifles in their hands. Sticks, also known as assa are more commonly used in place of the rifles. The music and poetry performed during the dance is referred to as Harbiya music, with Omani Harbiya groups like Abna Al Mazarie and others frequently performing at weddings, cultural festivals, national celebrations, and community gatherings.

Music of Ossetia

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

Folk music#

Ossetian folk music began to be collected in the late 19th and early 20th century. Boris Galaev made substantial contribution to the collection and documentation. Ossetian folk songs were divided into categories: * Historic songs * Revolution songs * Heroic songs * Worker’s songs * Wedding songs * Drinking songs * Humorous songs * Dance songs * Love songs * Lyrical songs Traditional Ossetian musical instruments include: *Kisyn fandyr (хъисын фæндыр or хъисын фандыр), a vertical fiddle with 2 or 3 strings *Duadastanon (дуадастанон, sometimes spelled дыуадастанон or дыууадæстæнон), an angular harp

Music of Pakistan

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

Folk music#

Pakistan has diverse folk traditions, with each region reflecting its local culture and language through its musical traditions. These folk traditions are passed down through generations and often form the core of community events, rituals, and festivals, typically celebrating themes of village life, nature, bravery, spirituality, love, longing and separation. Some of the famous folk singers/bands of Pakistan include Zarsanga, Sanam Marvi, Nazia Iqbal, Gul Panra, Raheem Shah, Saieen Zahoor, Abida Parveen, Ghazala Javed, Tina Sani, Musarrat Nazir, Tahira Syed, Laila Khan, Naheed Akhtar, Zeb Bangash, Suraiya Multanikar, Allan Fakir, Alam Lohar, Hadiqa Kiani, Ali Zafar, Haroon Bacha, and Khumarian.

Music of Palestine

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

Pre-1948#

In the areas now controlled by both Israel and Palestine, multiple ethnic groups and religions have long held on to a diversity of cultures. Mandatory Palestine population with Arabs (including urban and rural Muslim classes, Arab Christians, Druze and Muslim Bedouin) constituted the largest group, followed by Jews (including Sephardim, Mizrahim and Ashkenazim), Samaritans, Circassians, Armenians, Dom and others. Wasif Jawhariyyeh was one oud player, famous for his post-1904 diary.

Music of Panama

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

Saloma and Mejorana#

The saloma and mejorana feature a distinctive vocal style said to derive from Sevillians. The most important native instruments used to play these musics are the mejoranera, a five-stringed guitar accompanying songs called mejoranas as well as torrentes, and the rabel, a violin with three strings used to play cumbias, puntos and pasillos in the central provinces of Coclé, Herrera, Los Santos and Veraguas.

Cumbia#

Closely related to its more well-known Colombian cousin, Panamanian cumbia, especially amanojá and atravesao styles, are domestically popular. Another important music is punto and the salon dances like pasillo, danza and contradanza. During the 19th and 20th centuries, the Pasillo music was very popular.

Music of Papua New Guinea

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

Traditional music#

After independence, the outside world knew little of the diverse peoples’ traditional music genres. The first commercial release to see an international audience did not occur until 1991, when percussionist Mickey Hart’s Voices of the Rainforest was released. After 1872, foreigners introduced Christian hymns, including Gregorian chanting. Peroveta anedia, ute and taibubu, all forms of Polynesian music, were also introduced in this period. The Gold Rush brought an influx of Australian miners who brought with them the mouth organ. Traditional celebrations, which include song, dance, feasting and gift-giving, are called sing-sing. Vibrant and colorful costumes adorn the dancers, while a leader and a chorus sing a staggered approach to the same song, producing a fugue-like effect. 1993 saw television spreading across the country, and American popular music continued to affect Papuan music given the diffusion of radio since World War II. Since 1953, singsings have become competitive in nature, with contests occurring in Port Moresby, Mt. Hagen and Goroka. 1949 saw the first Papuan to achieve international fame, Blasius To Una, begin his career. By the end of the 1970s, a local recording industry had appeared and artists such as Sanguma and later George Telek began mixing native and Western styles like rock and jazz.

Music of Paraguay

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

Instruments#

The Spanish guitar (not from Paraguay) and European harp are among the most popular instruments, while dances include the lively polka and distinctive bottle dance, which involves the performer twirling a bottle around her head. Composer and guitarist Agustín Barrios is perhaps the country’s best known export.

Paraguayan harp#

The Paraguayan harp deserves special mention as a popular instrument with a national style associated with it. The harp in South America dates back to at least 1556–1557, possibly as early as the beginning of the 16th century. It was introduced to Paraguay by Jesuit priests who came to evangelise (the native population of indigenous Guaranis) and founded many missions, called “reducciones” . It was frequently used in church music in place of the organ or harpsichord. The Paraguayan harp is the national instrument of Paraguay, its shape and size were consolidated in the early 20th century by interpreter and composer Felix Perez Cardozo, who composed some of the most memorable pieces for the Paraguayan harp. It stands about 1.5 metres (5 ft) high and is very light and portable. The sound box is made of cedro (a type of mahogany) and pine. However, more recently, harps have begun to be constructed with the addition of levers to overcome this limitation, and many players are now using levered harps.

Music of Perth

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

History#

Perth’s geographic isolation has long posed a challenge for emerging artists, increasing the cost of travel and reducing access to major industry networks. Many acts have historically relocated to Sydney, Melbourne, or overseas to advance their careers. This includes influential bands such as The Triffids and the globally successful electronic act Pendulum, who gained international recognition after relocating to the United Kingdom.

Current#

The Perth International Arts Festival continues to be the longest-running multi-arts festival in Australia. Other major music institutions include the West Australian Opera and the West Australian Symphony Orchestra.

Music of Peru

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

History#

Peruvian music reflects the country’s rich cultural heritage, blending Indigenous, Spanish, and African influences. Pre-Columbian traditions, characterized by instruments like pan flutes and drums, were later infused with Spanish stringed instruments such as the guitar and harp. During the colonial period, African rhythms introduced vibrant percussive styles. Iconic genres like huayno and marinera emerged, highlighting regional diversity. In the 20th century, Peruvian music evolved further with criollo music gaining prominence and the rise of Andean fusion bands, like Los Kjarkas and international stars, such as Susana Baca, promoting Peru’s musical identity globally. The earliest printed polyphonic music in Peru, indeed anywhere in the Americas, was “Hanacpachap cussicuinin,” composed or collected by Juan Pérez Bocanegra and printed in 1631.

Music of Poland

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

Medieval and Renaissance#

The origin of Polish music can be traced as far back as the 13th century, from which manuscripts have been found in Stary Sącz, containing polyphonic compositions related to the Parisian Notre Dame School. Other early compositions, such as the melody of Bogurodzica, may also date back to this period. The first known notable composer, Mikołaj z Radomia (Nicholas of Radom), lived in the 15th century. During the 16th century, mostly two musical ensembles – both based in Kraków and belonging to the King and the Archbishop of Wawel – led the rapid innovation of Polish music. Composers writing during this period include Wacław z Szamotuł, Mikołaj Zieleński, Nicolaus Cracoviensis, Marcin Leopolita and Mikołaj Gomółka, who composed “Melodies to Polish Psalter”. Diomedes Cato, a native-born Italian who lived in Kraków from about the age of five, became one of the most famous lutenists at the court of Sigismund III, and not only imported some of the musical styles from southern Europe, but blended them with native folk music.

Music of Polynesia

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

Christian music#

In the 1790s, Christian missionaries arrived in Polynesia for the first time. Hymns and other forms of Christian music were instituted, and native musical genres were driven underground and prohibited. Soon, traditional polyphonic singing was merged with Christian styles and church singing, and along with brass bands became an important part of Polynesian music culture across the Pacific.

Popular music#

Popular music in Polynesia is a mixture of more traditional music made with indigenous instruments such as the nose flute in Tonga, and the distinctive wooden drums of the Rarotonga, and local artists creating music with contemporary instruments and rhythms, and also a blend of both. In the 1980s, Fijian stars like Laisa Vulakoro and Lagani Rabukawaqa became popular across the Pacific. Raiatea Helm is an internationally touring Hawaiian singer who has won has been nominated for the Grammys. Kalani Pe’a is a popular Hawaiian singer songwriter who has also won two Grammys. His music is traditional style Hawaiian songs, and include four-part-harmony oli aloha (greeting chants of appreciation) as well as contemporary Hawaiian music. He also translates popular songs into Hawaiian language. Na Hoku Hanohano Awards are music awards in Hawaii. There is a form of reggae called Pacific reggae which features different instruments such as the ukulele and Pacific Island drums than reggae in other places. Herbs is a popular New Zealand band in this genre. J Boog (USA) is a reggae performer of Samoan descent based in Hawaii. Polynesian heritage artists feature in pop music culture including Dinah Jane (USA) of Fifth Harmony. Some Polynesian islands have developed a cassette industry, most notably Fiji, Tonga and Samoa.

Music of Portugal

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

History#

Portugal has had a history of receiving different musical influences from around the Mediterranean Sea, across Europe and former colonies. In the two centuries before the Christian era, Ancient Rome brought with it Greek influences; early Christians, who had their differing versions of church music arrived during the height of the Roman Empire; the Visigoths, a Romanized Germanic people, who took control of the Iberian Peninsula following the fall of the Roman Empire; the Moors and Jews in the Middle Ages. Hence, there have been more than two thousand years of internal and external influences and developments. Its genres range from classical to popular music. Portugal’s music history includes musical history from the medieval Gregorian chants through Carlos Seixas’ symphonies era to the composers of the modern era. The musical history of Portugal can be divided in different ways. Portuguese music encompasses musical production of the Middle Ages, Renaissance, Baroque, Classical, Romantic and Modern eras, especially from Angola with Kizomba. Portugal has very good dancing clothes making Portuguese dancing famous.

Music of Puerto Rico

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

Early music#

The music culture in Puerto Rico during the 16th, 17th, and 18th centuries is poorly documented. Certainly, it included Spanish troubadour, church music, military band music, and diverse genres of dance music cultivated by the jíbaros and enslaved Africans and their descendants. While these later never constituted more than 11% of the island’s population, they contributed to some of the island’s most dynamic musical features becoming unforgettable and distinct indeed. On September 19, 1512, the customs house Casa de la Contratación recorded the first known instance of a European music instrument to Puerto Rico, a small vihuela property of Alonso de Buenaño. These were popular with the early settlers, and by November 1513, proved enough for merchant Juan de Vizcaínos to import eighteen rolls for them. On January 3, 1516, Catalina Ortiz brought with her a tambourine. Vihuelas continued arriving from several sources during this year. A maestro was introduced in 1672. On June 23, 1684, bishop Francisco de Padilla made a request for two to four hornpipe players. Folk music and instruments were present in popular culture, incorporated as part of dances. As did the creation of a new municipal theater. The African people of the island used drums made of carved hardwood covered with untreated rawhide on one side, commonly made from goatskin. A popular word derived from creole to describe this drum was shukbwa, which translates to ’trunk of tree’. After the arrival of African slaves, Bomba became the music of the people. In 1875, the provincial deputation decided to push musical education for the orphans at the Asilo de Beneficiencia. Rosario Arturi was placed in charge of the classes, remaining teacher until his death in 1878. Sandalio Callejo succeeded him, introducing cord instruments and a religious orchestra. Graduates joined military bands and other local groups. Callejo was succeeded by Jaime Bastard Tizol. In 1887, José Gotós created a piano school at Mayagüez. Others such as composer Rosario Aruti, Carlos Allard (flute), Juan Inés Ramos & José Álvarez (clarinet) and José Cabrizas (piano) did the same in their respective expertise. Military bands also recruited locally, with Rafael Hernández joining the Hellfighters of the 369th Infantry in 1917. and Nito Mendez (1941 – 2011), saw lots of studio time, influencing new sounds in the Caribbean. On March 8, 1913, efforts were made to create a music conservatorium, the Academia de Música, Canto y Declamación giving control to the Universidad de Puerto Rico (UPR) and the speaker of the House of Representatives of Puerto Rico over the initiative. The project, however, was not passed. In 1914, the Boys Charity School and its counterpart Girls Charity School served as the alma mater of several musicians that later joined municipal and other bands and orchestras. Among these was Rafael Bracero López. While places like the Victory Garden continued to successfully host operas, Julio C. Arteaga decided to create an academy in 1920. During Theodore Roosevelt Jr.’s governorship, Arístides Chavier led a group that wanted to create a music conservatorium, but the governor preferred folk music to the European style that they favored. Roosevelt would later recognize Epiphany as a celebration. On August 27, 1933, Augusto Rodríguez introduced his philharmonic orchestra. In 1946, the Escuela Libre de Música program was established, becoming a cornerstone of music education throughout the remainder of the century. By 1952, Ernesto Ramos Antonini began pushing for the creation of a music conservatorium. The university’s chorus joined local figures like Flavia Acosta, Graciela Rivera, Félix Caballero and María Esther Robles. Afterwards, Ángel Ramos sponsored 1956–57, through El Mundo.

Music of Punjab

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

Classical music#

Patiala Gharana
Sham Chaurasia gharana
Punjab Gharana

Instruments#

During the past century, Punjabi folk musicians used 87 instruments, 55 of which are still used today. It is notable that the instruments used today serve a function that exceeds musical necessity in that they are closely tied to Punjabi culture and heritage. The dhol, for example, continues to be popular because it is important to special proceedings such as weddings and sporting events. Additionally, the popularity of certain instruments encourages people to continue learning to play them; therefore, maintaining their relevance in Punjabi events. Terrorist events during the late 1980s threatened the existence of Punjabi folk music and the instruments that accompanied this genre. With several notable artists being killed and major festivals being cancelled there was not a space for folk music to exist. The boom of technology also threatened folk music by creating a new genre of music known as Punjabi Pop, which mixed electronic and folk music. The following instruments are the most popular within Punjabi music. Algoza: The algoza “consists of two joined beak flutes, one for melody, the second for drone” and the “flutes are either tied together or may be held together loosely with the hands”. A continuous flow of air is necessary as the player blows into the two flutes simultaneously. Dhol: Resembles much of the construction of a drum. It is a two-sided drum of mango wood, 48 cm long and 38 cm wide and is played using two slightly curved sticks. It is thought to have a much more significant value to the artisans such as the blacksmiths or the cobblers. It is usually played during neutral occasions and mostly by only men. Chimta: The chimta are similar to tongs and consist of 122 cm long iron strip that is bent in half and adorned with an iron ring set. The small metal discs called chaene are “attached on the inner side of the tongs so as to strike against each other like small cymbals when the arms of the chimta are struck”. Dholki: The dholki is a smaller, feminine version of the dhol. It accompanies singing, dances and religious activities. Kato: This a stick with a squirrel (galad) on top. Attached to the head of the squirrel is a cord, which jerks its head up, “producing a sharp click”. At the same time, bells attached to its tail jingles. Dhad: The Dhad has the hourglass shape of the damroo and but is slightly larger. The body of this instrument is made from mango, mulberry or sheesham wood and the heads are covered in goatskin held taut with cords. The fingers are used to tap and make sounds that can vary based on how tightly or loosely the strings are maintained.

Music of Qatar

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

History#

The country’s first musical troupe was created in Doha in 1966 by Abdulaziz Nasser Al Obaidan under the name Al Adwaa. One of the band’s founding members was Ibrahim Ali, who is considered a pioneer in Qatari music and who specialized in playing the oud. In 1968, Qatar Radio introduced a music segment in its programming, mainly due to the efforts of Al Obaidan. In 1991, it was noted in Al-ughniya al-sha biyya f Qatar that there were at least 26 folk music bands, including several female ones. Many of the band members had full-time employment outside of music. Band expenses were paid for by royalties for appearing on Qatar Television and radio stations, as well as performing at events such as weddings. Among the most well-known artists of this era are Saeed bin Salem Al-Badie Al-Mannai, Rashid Almas, and Salem Faraj. Qatar adopted its current national anthem, As-Salam al-Amiri, on 6 December 1996, shortly after Hamad bin Khalifa Al Thani became emir. Composed by Abdulaziz Nasser Al Obaidan, an active musician since the 1960s, the lyrics are based on a poem written by Mubarak bin Saif Al Thani.

Music of Quebec

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

Traditional music#

When it was under French control, Québec was referred to as Le Canada. It was known as the advanced colony out of all the New France settlements. After some generations of French settlers being born in Canada, the colonists began to identify with their home country and call themselves les Canadiens (the Canadians) as distinct from les Français (the French), those native to France. The Canadiens brought with them a rich tradition of songs and dances from northern France, namely the regions of Île-de-France, Picardy, Normandy, Poitou, and Brittany. Influence from these regions and the Irish immigration to Quebec of the 19th century may explain the Celtic connection that Quebec still shares with Brittany, Ireland, Scotland and the Maritimes. As time went by, the French Canadians began to develop their own music, and also incorporated and transformed the styles of music played by the settlers from Great Britain, in particular the Scots, after the Conquest. (One hundred of these songs were collected by Ernest Gagnon for an 1865 compilation, one of the first such collections to be published in Canada.) Traditional music is infused with many dances, such as the jig, the quadrille, the reel and line dancing, which have developed in the festivities since the early days of colonization. And in Quebec’s culture, the following musical instruments are the most prominent: harmonica (music-of-mouth or lip-destruction), fiddle, spoons, jaw harp and accordion. Traditional Quebec music is characterized by podorythmie which means giving the rhythm with the feet, and is currently provided by various contemporary groups performing mostly during Christmas and New Year’s Eve celebrations, the Quebec National Holiday and many local festivals.

Music of Rajasthan

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

List of Rajasthani folk singers#

One of the most famous Rajasthani Maand singers is Allah Jilai Bai of the Bikaner Gharana. *Allah Jilai Bai *Kutle Khan *Kheta Khan *Mame Khan *Seema Mishra *Prakash Mali * Satkeer *Chotu Singh Rawna *Anupriya Lakhawat *Hemraj Goyal *Dapu Khan *Ila Arun *

External links#

The Modern Endangered Archives Program Recordings of Hereditary Musicians of Western Rajasthan collection is available through the UCLA Library.
Monograph on Langas: a folk musician caste of Rajasthan. by Komal Kothari. 1960.
Folk musical instruments of Rajasthan: a folio, by Komal Kothari. Rajasthan Institute of Folklore, 1977.
Bards, ballads and boundaries: an ethnographic atlas of music traditions in West Rajasthan, by Daniel Neuman, Shubha Chaudhuri, Komal Kothari. Seagull, 2007. .

Music of Réunion

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

Sega#

Séga is a popular style that mixes African and European music.

Maloya#

Maloya has a strong African element reflected in the use of slave chants and work songs.

Non-traditional music#

In Réunion there is a very strong jazz community and rock culture is also becoming strong on the island. Rap, Reggae, Zouk, Ragga and Dancehall are also popular. One popular ragga song recently is Ragga Chikungunya about the 2005 mosquito disease outbreak.

Music of Romania

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

History#

Folk music is the oldest form of Romanian music, characterised by great vitality; it is the primary source of Romanian art music, both sacred and secular. Conservation of Romanian folk music has been aided by a large and enduring audience and by numerous performers who helped preserve and popularize Romanian folk music. One of them, Gheorghe Zamfir, is world-famous today and helped popularize a traditional Romanian folk instrument, the panpipes. Romanian sacred music, which developed under the influence of Byzantine music and adapted to the intonations of indigenous folk music, saw a golden age between the 15th and 17th centuries, when schools of liturgical music developed within Romanian monasteries. Western influence exposed religious music to polyphony in the 18th century, and a series of Romanian composers continued to develop the genre into the 19th and 20th.

Music of Russia

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

Early history#

Written documents exist that describe the musical culture of the Rus’. The most popular kind of instruments in medieval Russia were thought to have been string instruments, such as the gusli or gudok. Archaeologists have uncovered examples of these instruments in the Novgorod region dating as early as 11th century. (Novgorod republic had deep traditions in music; its most popular folk hero and the chief character of several epics was Sadko, a gusli player). Other instruments in common use include flutes (svirel), and percussive instruments such as the treshchotka and the buben. The most popular form of music, however was singing. Bylinas (epic ballads) about folk heroes such as Sadko, Ilya Muromets, and others were often sung, sometimes to instrumental accompaniment. The texts of some of these epics have been recorded. In the time the Tsardom of Russia, two major genres formed Russian music: the sacred music of the Orthodox Church and secular music used for entertainment. The sacred music draws its tradition from the Byzantine Empire, with key elements being used in Russian Orthodox bell ringing, as well as choral singing. Neumes were developed for musical notation, and as a result several examples of medieval sacred music have survived to this day, among them two stichera composed by Tsar Ivan IV in the 16th century. Secular music included the use of musical instruments such as fipple flutes and string instruments, and was usually played on holidays initially by skomorokhs – jesters and minstrels who entertained the nobility. During the reactionary period of the Great Russian Schism in the 17th century, skomorokhs along with their form of secular music were banned from plying their trade numerous times, their instruments were burned and those who disagree with Alexis of Russia’s 1648 law “About the correction of morals and the destruction of superstitions” (Об исправлении нравов и уничтожении суеверий) were punished physically first and then were to be deported to Malorossia (modern Ukraine), but despite these restrictions, some of their traditions survived to the present day.

Music of Rwanda

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

Traditional music#

Traditional music and dance are taught in “amatorero” dance groups, which are found across the country. The most famous of these is the Ballet National Urukerereza, which was created in the early 1970s to represent Rwanda in international events. Also famous were the Amasimbi n’amakombe and Irindiro dance troupes. The ikinimba is perhaps the most revered musical tradition in Rwanda. It is a dance that tells the stories of Rwandan heroes and kings, accompanied by instruments like ngoma, ikembe, iningiri, umuduri and inanga. The inanga, a lyre-like string instrument, has been played many of Rwanda’s best-known performers, including Rujindiri, Sebatunzi, Rwishyura, Simparingoma, Sentoré, Kirusu, Sophie and Viateur Kabarira, and Simon Bikindi. Jean-Paul Samputu, along with his group Ingeli, won two Kora awards (African Grammy awards) for “Most Inspiring Artist” and “Best Traditional Artist” in 2003 for their performance of neo-traditional Rwandan music. The group tours the world spreading the Christian message of peace and reconciliation, and helps raise money for the many orphans of Rwanda. In 2007 Samputu brought twelve of these orphans, known as Mizero Children of Rwanda, to tour the U.S. and Canada. Cyprien Kagorora was nominated for a 2005 Kora Award in the category of “Best Traditional Artist”. He is among the most recognizable male vocalists in Rwanda. Notably, the musical tradition of pre-colonial Rwanda also included ballads and epic poems(ibitekerezo), which recounted history, genealogy and moral lessons, as well as praise songs dedicated to kings (abami) and heroes.

Music of Samoa

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

Instruments#

Traditional Samoan musical instruments included a fala, which is a rolled-up mat beaten with sticks. It is an idiophone which often accompanied choral singing. Another idiophone, a soundingboard, sometimes accompanied the solo recitation of poetry. A conch shell was blown for signaling. Amusement for small groups and individuals in private was afforded by a jaw harp, a raft panpipe, and a nose-blown flute. Samoan wooden slit drums and variants have been used throughout Samoa for over a thousand years. There are many uses for these wooden drums, including calling village meetings, in times of war and peace, songs/chants and dance, and signalling long distances in inter-island naval warfare. In recent times they are used predominantly for calling chiefly and royal ceremonies as well as contemporary religious practices. The five Samoan slit drum variants from largest to smallest are: 1) Logo - felled trees - largest of the drums - The logo can only be played by being struck from the side, for instance by sliding the beater or very large log-like playing stick across the top of the drums to hit the slit lip on the other side. The logo was used to announce the king of Samoa, high chiefs and monarchy in times of old. The logo was also used to announce attacks and signals during times of war see re: Samoan Civil War, the Fijian Wars and also the Tongan Wars. Samoa also has recorded historical records of lesser known battles with neighbouring islands of Manono, Pukapuka, Tokelau, Tuamotu and Rarotonga, these battles may be classed as independent isolated skirmishes and inter-Island skirmishes between large familial klan groups. 2) 2 x Lali - large drum - The Lali are always played in pairs by two drummers. One of them beats the larger of the two, this is called the Tatasi, the other drummer plays the smaller Lali in the rhythmic pattern called the Talua. Both slit drums are played with sticks called Auta. The Lali were said to be introduced from Fiji via Tonga before European discovery.. 3) Talipalau . The Talipalau skin drum was introduced to Samoa from east Polynesia in the 1800s, possibly as a result of early missionary society activities in both regions. 4) Pate - this hand-held slit drum was introduced from Tahiti in the 1800s, probably by British missionaries or their Tahitian converts. 5) Nafa - smaller slit drum also made from Milo wood. Now obsolete, only the name remains in proverbial expressions. “Amerika Samoa”, a song with words by Mariota Tiumalu Tuiasosopo and music by Napoleon Andrew Tuiteleleapaga, has been the official territorial anthem of American Samoa since 1950. “The Banner of Freedom,” a song that honors the flag of Samoa, has been the national anthem of Samoa since 1962; it was composed by Sauni Iiga Kuresa. Post-European contact With the introduction of Christianity, especially after the arrival of LMS missionaries in 1830, the music of Samoa was greatly influenced by Western evangelical hymnody and popular music, particularly North American popular music. Two stringed instruments quickly became commonplace in the islands: the guitar (kitara) and in the early 20th century the ‘ukulele. By the end of the 19th century, European-style brass bands had come into existence in the major towns. As the islands were Christianized late in the 19th century, ancient songs, accompanied by the percussive sound of sticks beating on a rolled mat, gave way to church choirs singing to the harmonies of pedaled organs. Later, radio transmissions brought more variety, as local artists and audiences embraced each wave of “new” music. The arrival of U.S. Marine Corps during World War II helped solidify the affinity for American popular music. Many earlier bands copied or imitated this music—a trend that continues. It is common practice and well accepted for Samoan music makers to take a Western song, replace the lyrics with Samoan words, and reintroduce the tune as an original. The guitar and ‘ukulele became the usual instruments for composing and performing music. That sound is now often replaced by the electronic keyboard and the multiplex of sounds and faux instruments available with it. Many current Samoan musicians “upgrade” old Samoan tunes with new technology, or imitate and copy American popular music.

Music of San Marino

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

Music of Sardinia

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

Launeddas#

The launeddas are an ancient instrument, dating back to at least the 8th century BC. They are played using circular breathing. Launeddas are used to play a complex style of music that has achieved some international attention, and they are still played during religious ceremonies and dances (su ballu). Some of the most famous player were Efisio Melis, Antonio Lara, Dionigi Burranca and Luigi Lai. Many of the launeddas musicians are from the south of the island from villages like Villaputzu, San Vito and Muravera in the subregion named Sarrabus, or from Samatzai and even from Cabras near Oristano and Ovodda near Nuoro. Distinctively, they are played using extensive variations on a few melodic phrases and, because of the technique of circular breathing, a single song can last over an hour.

Music of Saskatchewan

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

History#

In the early days of settlement, the musical landscape of the province was defined by military and police bands, church choirs, immigrant teachers, and many travelling groups of artists who travelled by rail across the continent.

Regina#

Regina was incorporated in 1883, and became the provincial capital in 1905. Early in its history, the city boasted numerous bands, including a brass band, Musical and Dramatic Society and a number of church choirs. Frank L. Laubach, a professional Scottish musician arrived in Regina in 1904, and was a prominent figure for eighteen years. During that time, he founded the Regina Philharmonic Society (1904), the Regina Orchestral Society (1908), the Regina Operatic Society (1909) and the province-wide Saskatchewan Music Festival (1908, with F. W. Chisholm). and Kenny Shields of Streetheart. Bands from Regina include The Dead South, Ghosts of Modern Man, Into Eternity, Library Voices, and Rah Rah. William Earl Brown founded the Soundaround label starting in the 1960s which featured many of the local country and ethnic bands recording in his basement studio. Mel West & The Meteors, and The Canadian Downbeats had a few singles on the Soundaround label, later picked up Canada-wide via Stan Klees’ “Red Leaf” label. Mel West & The Meteors would chart Canada wide with their tracks “Sad & Blue” and “Seventh Saint”. Earl had later success with the Grand Coulee Old Tyme Jug Band, and sold a number of albums via TV infomercials in the 1980s.

Music of Saudi Arabia

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

Ardah#

Ardah, a type of folkloric dance, is the most popular dance in Saudi Arabia, and also the national dance. It is performed with two rows of men opposite of one another, each of whom may or may not be wielding a sword or cane, and is accompanied by drums and spoken poetry. Najdi ardah is the most common variant of ardah in Saudi Arabia. It is also the most practiced and highly televised male folkloric dance in the entire country. The Saudi government changed its name to ‘Saudi ardah’ in the 21st century. However, there are numerous variations of ardah distinct from Najdi ardah throughout the country, notably in the regions of Najran, Asir and Jizan.

Music of Scotland

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

Early music#

Stringed instruments have been known in Scotland since at least the Iron Age. The first evidence of lyres was found in the Greco-Roman period on the Isle of Skye (dating from 2300 BCE), making it Europe’s oldest surviving stringed instrument. Bards acted as musicians but also as poets, storytellers, historians, genealogists, and lawyers, relying on an oral tradition that stretched back generations in Scotland as well as Wales and Ireland. Often accompanying themselves on the harp, they can be seen in records of Scottish courts throughout the medieval period. Scottish church music from the later Middle Ages was increasingly influenced by continental developments, with figures like the 13th-century musical theorist Simon Tailler studying in Paris before returning to Scotland, where he introduced several reforms of church music. Scottish collections of music, like the 13th-century “Wolfenbüttel 677”, which is associated with St Andrews, contain mostly French compositions but with some distinctive local styles. In 1501 James IV re-founded the Chapel Royal within Stirling Castle with a new and enlarged choir and it became the focus of Scottish liturgical music. Burgundian and English influences were probably reinforced when Henry VII’s daughter Margaret Tudor married James IV in 1503. James V (1512–42) was a major patron of music. A talented lute player, he introduced French chansons and consorts of viols to his court and was patron to composers such as David Peebles (c. 1510–1579?). The Scottish Reformation, directly influenced by Calvinism, was generally opposed to church music, leading to the removal of organs and a growing emphasis on metrical psalms, including a setting by David Peebles commissioned by James Stewart, 1st Earl of Moray. The return in 1561 from France of James V’s daughter Mary, Queen of Scots, renewed the Scottish court as a centre of musical patronage and performance. The Queen played the lute and virginals and, unlike her father, was a fine singer. She brought many influences from the French court where she had been educated, employing lutenists and viola players in her household. Mary’s position as a Catholic gave a new lease of life to the choir of the Scottish Chapel Royal in her reign, but the destruction of Scottish church organs meant that instrumentation to accompany the mass had to employ bands of musicians with trumpets, drums, fifes, bagpipes and tabors. He followed the tradition of employing lutenists for his private entertainment, as did other members of his family. When he came south to take the throne of England in 1603 as James I, he removed one of the major sources of patronage in Scotland. The Scottish Chapel Royal was now used only for occasional state visits, as when Charles I returned in 1633 to be crowned, bringing many musicians from the English Chapel Royal for the service, it began to fall into disrepair. From now on the court in Westminster would be the only major source of royal musical patronage.

Music of Senegal

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

List#

Bomvola
Ilulam
Tuga Carat
ooga
Gahtim
Kghvawasi
Ghata
Sirom
Xylophone (Around Senegal Brazil China Sudan Ecuador)
Zazoli
bolbia
Tam Tam

National music#

During the colonial ages Senegal was colonized by France and many, though not all, Senegalese identified as French instead of any African ethnicity. Post-independence, the philosophy of negritude arose, which espoused the idea that the griot traditions of Senegal were as valid, classical and meaningful as French classical music. The first President of Senegal, Léopold Sédar Senghor (also a poet) was one of the primary exponents of this. The national anthem of Senegal, “Pincez tous vos koras, frappez les balafons” (“Pluck all your koras, strike the balafons”), was adopted in 1960. Its lyrics, by president Senghor, refer to Senegalese music tradition, while its music was composed by Herbert Pepper (fr).

Music of Serbia

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

Music of the Middle Ages#

Church music was performed throughout medieval Serbia by choirs or individual singers. The songs performed at the time were derived from the Octoechos (Osmoglasnik), a collection of religious songs dedicated to Jesus. Composers from this era include nun Jefimija, monks Kir Stefan the Serb, Isaiah the Serb, and Nikola the Serb, who together belong to the “Serbo-Byzantine school”. Aside from church music, the medieval era in Serbia included traditional music, about which little is known, and court music. During the Nemanjić dynasty era musicians played an important role at the royal court, and were known as sviralnici, glumci and praskavnici. The rulers known for the musical patronage included Emperor Stefan Dušan and Despot Đurađ Branković. Medieval musical instruments included horns, trumpets, lutes, psalteries, drums and cymbals. Traditional folk instruments include the gajde, kaval, dajre, diple, tamburitza, gusle, tapan (davul), šargija, ćemane (kemenche), zurla (zurna), and frula among others. Sung Serbian epic poetry has been an integral part of Serbian and Balkan music for centuries. In the highlands of Serbia and Montenegro these long poems are typically accompanied on a one-string fiddle called the gusle, and concern themselves with themes from history and mythology. After the Ottoman conquest of Serbia, music was enriched with oriental influences at the expense of Serbian folk music. During Ottoman rule, Serbian faith and folk music went underground so to speak since the people were forbidden to own their property, to learn to write and read and were also denied the use of musical instruments. The Serbs however were stubbornly tenacious enough to maintain an oral history through folk poems and songs recited with the accompaniment of the Gusle. These brave defenders of Serbian art and culture in these arduous and treacherous times were the peasants who played the Gusle, a one-stringed instrument in the shape of a lute. As their punishment for playing a musical instrument, many of these musicians were blinded by their oppressors. Denied music or dance, the Serbs invented a silent kolo in which the syncopation of the pounding of the feet became an instantaneous musical accompaniment to the folk dancers. This particular dance is still being performed today. The German poet Goethe so admired Serbian poetry and folklore that he learned to speak Slavonic-Serbian, the common language then spoken by Slavs in the Balkans and northern regions of the Austrian Empire. Goethe and Grimm’s works were also the major inspiration in encouraging Brahms, Carl Loewe, Tor Aulin, Anton Dvorak, Leos Janacek, Josef Suk, Peter Tchaikovsky and Josef Maria Wolfram (1789–1839) to create compositions based on Serbian folk poetry and literature. Brahms’ famous lullaby is derived from a Serbian folk poem. When the Jews fled Spain the Serbs provided a hospitable environment in which they could resettle and prosper, particularly in Sarajevo in Bosnia and Herzegovina and Serbia. The oldest Jewish Choir in the modern world is located in Belgrade. The formation of the Pančevo Church Choral Society in 1838 and the Belgrade Choral Society in 1853 resulted in each becoming centers for nurturing young talent. The first music schools were founded through the efforts of these choral societies. From the Habsburg rule, Serbia was enriched by Western music.

Music of Sierra Leone

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

Sierra Leone National music#

The national anthem of Sierra Leone, “High We Exalt Thee, Realm of the Free”, was composed by John Akar with lyrics by Clifford Nelson Fyle and arrangement by Logie E. K. Wright. It was adopted upon independence in 1961.

Traditional music#

The largest ethnic group in Sierra Leone (2009) is that of the Mel-speaking Temne people, 35% of the population. Next, at 31%, the Mende, along with 2% Mandingo, have music traditions related to Mende populations in neighbouring countries. Other recorded populations were the Limba ( 8%), the Kono (5%), the Loko (2%) and the Sierra Leone Creole people (2%), while 15% were recorded as “others”. The wars and civil conflict throughout West Africa, have resulted in a decrease in the presence of traditional music artists.

Music of Singapore

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

Popular music#

Singapore has been a regional centre of music industry for a long time. Recordings of Chinese and Malay popular music were done at the PhilipsRecordingsStudio, EMI studio in Singapore in the colonial period, but until the 1960s, recordings were sent to be pressed in India and the records then sent back for sale. It was a centre of Malay popular culture where Malay stars such as P. Ramlee were based, but after Singapore independence in 1965, the Malay music industry began to shift to Kuala Lumpur.

Music of Slovakia

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

History of music in Slovakia#

The term Slovak music is slightly confusing; many peoples lived over the ages in the territory now represented by the state of Slovakia, and the history of the region’s music is therefore not merely the history of the music of the Slovaks

Earliest times#

Bone pipes dating from the Early Bronze Age (about 3000 BC) have been found in the Nitra region, testifying to the early role of music in the Celtic ‘Nitra Culture’. Such instruments were produced continuously, albeit with more sophistication, up to the mediaeval period. Other early instruments found include drums dating back to the Palaeolithic period, iron and bronze bells from the 3rd or 4th century AD. Other folk instruments of the region whose early development must remain largely conjectural include the fujara and the Slovak versions of bagpipes and the jaw harp. They certainly existed in the 15th century.

Music of Slovenia

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

Prehistory#

The Divje Babe flute, a perforated bone found in a cave at the Divje Babe site Cerkno, Slovenia. It is controversially believed to be a flute, which makes it possibly the oldest known musical instrument ever. Its age is estimated at approximately 55,000 years. The history of modern Slovenian music can be traced back to the 5th century, when Christianity spread in Carantania. Liturgical hymns (kyrie Eleison) were introduced, and became the first plainchant to make a connection to the peoples’ language.

Music of Somalia

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

Traditional Somali music#

Somali people have a rich musical heritage centered on traditional Somali folklore. Somali songs are pentatonic. That is, they only use five pitches per octave in contrast to a heptatonic (seven note) scale such as the major scale. At first listen, Somali music might be mistaken for the sounds of nearby regions such as Oromo in Ethiopia, Sudan or the Arabian Peninsula, but it is ultimately recognizable by its own unique tunes and styles. Somali songs are usually the product of collaboration between lyricists (lahamiste), songwriters (abwaan), and vocalists (odka or “voice”). The Somali word for dance is ciyaar. Traditional instruments prominently featured in the music of Somalia include the oud lute (kaban). It is often accompanied by small drums and a reed flute in the background. However, heavy percussion and metallic sounds are uncommon within Somalia. *Membranophones: nasaro, mokhoddon and masoondhe (high and heavy drums), reeme, jabbu and yoome (small drums); *Aerophones: malkad and siinbaar (flutes), sumaari (double clarinet), fuugwo (trumpet) buun, muufe and gees-goodir (horns); *Idiophones: shagal (metal clappers), shanbaal (wooden clappers), shunuuf (vegetable ankle rattles), tenegyo (xylophone); *Chordophones: shareero (lyre), kinaandha (lute), madhuube (thumb piano), seese (one-chord violin)

Music of Somerset

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

Folk music#

The county has a well-documented and still vibrant folk music heritage, It was studied by one of the earliest British musicologists, Cecil Sharp. Sharp began his career of collecting folk songs in Somerset in 1903 with the editorial help of his friend Rev Charles Marson, vicar of Hambridge. Cycling around the county during holidays, Sharp ultimately collected more than 1,500 songs from Somerset. The folksinging tradition in Somerset centers on solo, a cappella singing and playing—at home, at work, and at gatherings, small or large. Sharp’s five volume collection of Somerset folk songs formed the basis for his English Folk Song: Some Conclusions, a seminal 1907 publication. Some of Sharp’s collections formed the basis for Songs of the West (with Sabine Baring-Gould) and Somerset Rhapsody by Gustav Holst and the “March from Somerset” in Vaughan Williams’ English Folk Song Suite. Somerset also has a contemporary folk music scene. Ange Hardy and Reg Meuross, are from the county, as well as Kitty McFarlane, Mary Bateman, Hannah Cumming and Johnny Dyer, and The Leylines. The best known folk act to come out of Somerset is undoubtedly the Wurzels, who brought the region’s association with cider and farming to the international stage. The region boasts several popular folk festivals, including the Priddy Folk Festival, the West Somerset Folk Festival, Bath Folk Festival, Stogumber Festival, The Weston-super-Mare Sea Shanty and Folk Music Festival, and the Kingsbury May Festival.

Music of South Africa

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

Pre-20th-century history#

Early records of music in South Africa as well as Southern Africa indicate a fusion of cultural traditions: African, European and Asian. The early modern country musician Enoch Sontonga wrote the Southern African national anthem Nkosi Sikelel’ iAfrika in 1897. By the end of the nineteenth century, South African cities such as Cape Town had grown large enough to attract foreign musicians, particularly American ragtime players. In the 1890s Orpheus McAdoo’s Jubilee Singers popularised African-American spirituals. Makwaya (meaning “choir”) blended European hymnody with African-American spirituals and emphasized close harmony singing.

Music of South Asia

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

Hindustani classical music and carnatic classical music#

The foundations of South Asian classical music can be traced back to forms of Vedic literature, based on ancient Sanskrit scriptures and religious texts that were vital to Hinduism in India. The scriptures were significant in the creation of two broad categories of classical music in South Asia, Hindustani classical music and Carnatic classical music. Hindustani classical music is commonly listened to in areas such as Northern India, Afghanistan, Bangladesh and Pakistan, and includes some influences from Arabic and Persian music. On the other hand, Carnatic classical music is more popular in regions such as South India and Sri Lanka, and consists of ancient religious and spiritual hymns that take close inspiration from Vedic literature. This style of music developed mostly independent of Islamic and Persian influences and is regarded as being closer to the ancient roots of the Vedas. There are also many other types of classical music that are less focused on Sanskrit scriptures, and are prominent in areas such as Nepal, Kashmir, Afghanistan and northeastern India, for example Sufi music and Klasik.

Music of South Korea

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

Traditional music#

Korean traditional music is also known as Gugak (national music). The first evidence of Korean music appeared in the extant text of Samguk sagi (History of the three kingdoms) in 1145, which described two string-like instruments; Gayageum and Geomungo. Traditional Korean music was brought to heights of excellence under the kings of the Joseon dynasty between 1392 and 1897. During the Joseon period, a social hierarchy was observed with the King and the yangban (government officials, generals, and the elite) at the top and the sangmin (merchants, craftsman) and slaves at the bottom. There were two forms of music: jeongak (court music) and minsokak (folk music). Jeongak was the music category that the yangban listened to for enjoyment and was played during state rituals like banquets, military processions, etc. However, minsokak and nongak (farmer’s music) dominated among the common people. The different types of folk music were: pansori, pungmulnori, and minyo (folk songs). Pansori became definite in the seventeenth century and gained respect over time. It is now considered as the ideal traditional music in contemporary South Korea. There are several regional variations of this song. However, the Joseon Dynasty came to an end after Japan’s successful war against China (1894–1895) and Russia (1904–1905) which ultimately took over the Korean peninsula. Japan then controlled the major levers of politics, economics, and culture in Korea. Following the viral success of band LEENALCHI’s “Tiger Is Coming” () being featured in the Korean Tourism Organization’s “Feel the Rhythm of Korea” video advertising series with Ambiguous Dance Company in 2020, interest in the genre increased. Fusion gugak survival shows like JTBC’s “Captain of Poong-New” and MBN’s “Chosun Pan Star” soon emerged, with many highly respected musicians within the Gugak scene participating as contestants and judges.

Music of Spain

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

Origins#

Throughout its history, the Iberian Peninsula has received musical influences from around the Mediterranean Sea and across Europe. In the two centuries before the Christian era, Roman rule introduced the music and ideas of Ancient Greece. Early Christians, who had their own differing versions of church music, arrived during the height of the Roman Empire. The Visigoths, a Romanized Germanic people, took control of the peninsula following the fall of the Roman Empire, and later the Moors and Jews arrived in the Middle Ages. These more than two thousand years of internal and external influences produced a large number of unique musical traditions that continue to shape Spanish music today.

Music of Sri Lanka

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

Folk music#

Caste -based folk poems, Jana Kavi, originated as communal song shared within individual groups as they engaged in daily work. Today, they remain a popular form of cultural expression. Folk poems were sung by ancient people of Sri Lanka to minimise their loneliness, sadness, tiredness etc. There isn’t a known author for the folk poems. Kavi was also sung to accompany annual rituals. These ancient rites are rarely performed in contemporary Sri Lanka, but the preserved songs are still performed by folk musicians. Sri Lanka is known to have songs that date back to 1400 A.D. That are still performed today. Another traditional Sri Lankan folk style is called the Virindu. It involves an improvised poem sung to the beaten melody of a rabana. Traditional song contests were held in which two virindu singers would compete through spontaneous verse. The Portuguese influenced baila has been a popular folk tradition along the coastal districts in the past five hundred years and is now part of the mainstream music culture.

Music of Sudan

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

Rural traditional music and dance#

As in other neighboring African regions, the traditional musical styles of Sudan are ancient, rich and diverse, with different regions and ethnic groups having many distinct musical traditions. Music in Africa has always been very important as an integral part of religious and social life of communities. Performances of songs, dance and instrumental music are used in rituals and social ceremonies like weddings, circumcision rites or to accompany the long camel treks of the Bedouins and sedentary Arabs. In these performances, music always has been a social event, marked by the combination of performers, lyrics, music and the participation of the community, like dancing or other types of sharing a musical event. Traditional music and its performance have been handed down from generation to generation by accomplished musicians to younger generations and was not written down, except in recent times by formally trained musicians or ethnomusicologists. In contrast to traditional Arabic music, most Sudanese music styles are pentatonic, and the simultaneous beats of percussion or singing in polyrhythms are further prominent characteristics of Sudanese music. Cross-beat are also a feature in traditional Sudanese music featuring complex, layered, and interlocking patterns often based on a 3:2 ratio like the Tumtum (or tum tum) rhythm common in the North and West of the country. The music of Sudan also has a strong tradition of lyrical expression that uses oblique metaphors, speaks about love, the history of a tribe or the beauty of the country. In his essay Sudanese Singing 1908–1958, author El Sirr A. Gadour translated an example for the lyrics of a love song from the beginning of the 20th century as follows: One of the most typical East African instruments, called tanbūra or kissar in Nubian music, was traditionally played by the singers as the usual accompaniment for such songs, but this Sudanese lyre has largely been replaced in the 20th century by the Arabic oud. middle eastern Drums, hand clapping and dancing are other important elements of traditional musical performances, as well as the use of other Arabic instruments, like rabbabas, mizamars and qanun. One example for this are the elaborate wooden gourd trumpets, called al Waza, played by the Berta people of the Blue Nile state. Despite this adaption of some arabic and western instruments in 20th century Sudanese popular music over some traditional and ancient Nubian instruments, Sudanese music remained Distinctively related to Ancient Nubian Music, the sahel, The Horn of Africa and Sub saharan Africa in Melodic use of the pentatonic scale (especially the Minor pentatonic scale like in 1940’s Haqibah music), Polyrhythmic structure, call and response and emphasis on rhythm, polyphonic and homophonic textures with more traditional Ancient Sudanese Drums remaining favored in most Sudanese music and generally uniquely distinct from music from much of the arab world (particularly Egypt, the Levant and Mesopotamia) which generally utilises the melodic Arabic maqam, emphasis on Melody, a monophonic texture and traditional Rhythm in Arabic music (iqa’at and Dumbek rhythms), Musical Structures and Elements generally being absent in Sudanese music, This unique Sudanese music Distinct Among the arab world suggests an Ancient Nubian Folk music Origin for much of modern Northern Sudanese Music. The History of the World in 100 Objects features a large wooden slit drum in the shape of a buffalo from southern Sudan, probably made in the 19th century for traditional performances in larger ensembles or to summon warriors, that is now held in the British Museum in London. A copper kettle drum that was reputedly used by Mahdist forces in the Battle of Omdurman (1898) is in the collection of the National Army Museum in London.

Music of Suriname

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

Kawina#

Kawina originated around the 1860s, after the abolition of slavery. The vocals are typically call-and-response, and it is accompanied by all kinds of typical Surinamese percussion, such as the skratji. Like many South American music genres, the rhythm of the kawina originates in Africa. African slaves took their religions, such as Winti, and music with them to Suriname. To dissipate the time, the slaves sung during the work on the plantations, often in a typical pattern of one voice that asks for, and is answered in unison (“call-and-response”). The music was performed so rhythmically that it became a dance. In the beginning, the lyrics were religious. After abolition of slavery, it became entertainment music, with lyrics that are more socially critical in tone. From then on, kawina is performed by orchestras containing about ten band members, on various Surinamese percussion instruments. Typical instruments are the double-skinned drums, the zigzag or shaker and the kwa-kwa bangi (idiophone). The vocals have always remained in the call-and-response pattern. If a drum kit forms part of the occupation, it is called kaskawi - a subgenre that arises in the 1970s. In the following years, kawina also mixed with other musical genres such as kaseko and rhythm and blues.

Music of Sweden

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

Traditional#

Swedish folk songs are dominated by ballads and kulning; the latter was originally used as a cow-herding call and is traditionally sung by women. Ballad stories descend from skillingtryck printed songs from the 19th century. Modern bands like Folk och Rackare, Hedningarna and Garmarna incorporated folk songs into their repertoire.

Swedish folk instruments#

The fiddle is perhaps the most characteristic and original instrument of the Swedish folk tradition. It had arrived by the 17th century, and became widespread until 19th-century religious fundamentalism preached that most forms of music were sinful and ungodly. Despite the oppression, several fiddlers achieved a reputation for their virtuosity, including Jämtland’s Lapp-Nils, Bingsjö’s Pekkos Per and Malung’s Lejsme-Per Larsson. None of these musicians were ever recorded; the first major fiddler to be recorded was Hjort Anders Olsson. Other early fiddlers of the 20th century included Nils Agenmark and Päkkos Gustaf. There is an extensive traditional repertoire of fiddle tunes, in forms such as the 3/4 polska and the 4/4 gånglåt. One type of fiddle peculiar to Sweden is the låtfiol, a fiddle with two sympathetic strings, similar to the Norwegian Hardanger fiddle. The nyckelharpa (keyed fiddle) is similar to both a fiddle and a hurdy-gurdy, and is known from Sweden since at least 1350, when an image of one was carved on a gate in a church in Gotland. During the 15th and 16th centuries, the nyckelharpa was known throughout Sweden, Denmark and particularly in the province of Uppland. The latter has long been a stronghold for nyckelharpa music, including through the 60s revival, which drew on musicians like Byss-Calle from Älvkarleby. The instrument played at this time was not the same as that used today; August Bohlin and Eric Sahlström made changes to the instrument that made it a chromatic and straight, more violin-like instrument. In spite of these innovations, the nyckelharpa’s popularity declined until the 1960s roots revival. The nyckelharpa was a prominent part of several revival groups later in the century, especially Väsen and Hedningarna. The Swedish bagpipes (säckpipa) has been part of a long-running folk tradition, passed down orally until the death of Gudmunds Nils Larsson in 1949. Later revivalists such as Per Gudmundson added a tuning slide and revitalized the instrument. Accordions and harmonicas were an integral part of Swedish folk music from the beginning of the 20th century, when they contributed to the gammeldans genre. The most famous Swedish accordionist is undoubtedly Kalle Jularbo, who was famous throughout the early 20th century. Later, the accordion fell out of favour within the roots revival, and did not return until the very end of the 1970s.

Music of Switzerland

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

Classical music#

Switzerland has produced many esteemed classical composers over the centuries, such as Rennaissance composer Ludwig Senfl, Joachim Raff, Arthur Honegger (who has featured on the Swiss franc note), and Ernest Bloch.

Folk music#

Due to a lack of detailed records, little is known about Swiss folk music prior to the 19th century. Some 16th-century lute tablatures have been reconstructed into authentic instrumental arrangements; however, the first major source of information comes from 19th-century collections of folk songs, and work done by musicologist Hanny Christen. One of the oldest varieties of folk music was the Swiss song Kühreihen, an agricultural Alpine song in the Lydian mode. Traditional instruments included alphorn, hammered dulcimer, fife, hurdy-gurdy, castanets, rebec, bagpipe, cittern and shawm. At the beginning of the 19th century, Swiss folk music was largely performed by ensembles made of itinerant musicians and solo acts using an instrument, with only a few duos. In the 1830s, however, the Swiss military was reorganized, leading to the formation of brass bands that used modern instruments. These instruments, mostly brass or wind, were built much better than those played by itinerants, and musicians brought them back to their villages. Local players joined these ensembles, which played dance music for festivals and other celebrations. Dance styles included schottisch, mazurka, waltz and polka. In 1829, the accordion was invented in Vienna, and it had spread to Switzerland by 1836. The accordion was popular because it was relatively easy to play and cheap to acquire, and took only one musician to play the melody and accompaniment. By the 1850s, the accordion was an integral part of Swiss folk music, and semi-professional ensembles were appearing to play at large social dances. Alongside the brass bands came string instruments like the violin and double bass; string bands soon began to displace the older brass bands. The accordion, however, did not make an appearance in these dance bands until about 1903, and it eventually replaced the two violins which had become standard. Following World War I, Switzerland became more heavily urbanized, and music moved to cities like Zürich. Rural folk music became the most popular style for middle-class audiences, and musicians like Joseph Stocker (“Stocker Sepp”) became renowned across the country. Stocker knew his audience liked the exotic appeal of rural music, and so he bought traditional costumes from Unterwalden for his band. This was the beginning of laendlermusic, which peaked in popularity in the 1930s and 1940s. In the urban areas of Switzerland, folk music began to mix with new styles, like jazz and the foxtrot, while the saxophone replaced the clarinet. Beginning in the 1930s, the Swiss government began to encourage a national identity distinct from Germany and other neighbors. Laendlermusic became associated with this identity and grew even more popular. Following World War II, however, laendlermusic quickly grew less popular with the influx of imported styles. The field also grew less diverse, with more standardized band formats and only four or five dance types in the repertoire. By the 1960s, trios consisting of two accordions and a double bass were the most common format, and many Swiss people felt it was a civic duty to preserve this tradition and guard it against change. They have largely succeeded in preventing change, but the field has grown stagnant and much less popular. There are still popular performers, such as Res Schmid, Willi Valotti, Markus Flueckiger, Dani Haeusler, and Carlo Brunner, but the total fanbase has shrunk enormously. During the late 1990s, and especially in the 2000s from around 2008 to the present, the family band Oesch’s die Dritten, a yodeling family from the Bernese Oberland, have been enjoying success. Their format is a Schwyzerörgeli (small accordion) played by Hans Oesch, a guitar, an electric bass, and a large accordion. They are fronted by Melanie Oesch.

Music of Syria

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

Characteristics of Syrian music#

Syria borders the Mediterranean sea and is located in the Levant. This area has been culturally influenced by many conquests and geopolitical activity. The multiple influences and sweeping conquests have created many of the cultures to share particular practices or traditions. Music of the Middle East has a predominantly monophonic nature. This is more clearly understood as the music not having multiple melodies or harmonies playing. There can be a rich texture created if multiple instruments playing the same melody with slight variations or rhythmic ornamentations. Ethnomusicologist Bruno Nettl describes this as more common style of music texture known as another style of texture which he calls parallel polyphony which consists of a singer improvising a melody and an instrument following behind with the that same melody. Many of the tones played are played as an interpretation of the music from the player, rather than the music notation or song. This gives the player the freedom to bend or mold the notes causing an improvisational effect on the structure of the music. This results in a personal interpretation of the players feelings towards the song. This causes an effect that connects the performer with the audience which can create a feeling of ecstasy in the listener. Compared to western music, this may be similar to a solo produced by a player during a song or a rendition of a song that keeps the same form but is changed slightly creating an effect that is predictable enough to the listener while revealing new variations of the song. This style of song in Syrian music creates a feeling of excitement for how the musician will play the upcoming sections.

Music of Taiwan

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

Background#

The Kuomintang-led Republic of China government arrived in Taiwan in 1949, a government that suppressed native Taiwanese culture and implemented Standard Chinese (Mandarin) as the official language. This political event has significant effects on the development of music in Taiwan in the 20th century as it resulted in a gap in the transition of the traditional music culture. In 1987, a revival of traditional culture began when the martial law declared by the government was lifted. (See Taiwanese localization movement.) Instrumental music includes multiple genres, such as beiguan and nanguan. Nanguan originally hails from Quanzhou, while it is now most common in Lukang and is found across much of the island. Taiwanese puppetry (hand-puppet theater) and Taiwanese opera, two genres of spectacle that are strongly related to music, are very popular, while the latter is often considered the only truly indigenous Han form of music still extant today. Holo folk music is most common today on the Hengchun Peninsula in the southernmost part of the island, where performers sing accompanied by yueqin (moon lute), which is a type of two-stringed lute. While the Hengchun yueqin plays only five tones, the pentatonic music can become diverse and complex when combined with the seven tones of Taiwanese Hokkien. Famous folk singers include Chen Da and Yang Hsiuching.

Music of Tajikistan

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

Tajik folk music#

Tajik folk music is traditionally divided into three styles, Pamir (Mountain-Badakhshan province), Central Kuhistoni (Hisor, Kulob, Gharm provinces) and Sogdiana’s northern style; the latter is part of the same musical culture as the adjacent regions of Uzbekistan (Kashkadarya Province and Surkhandarya Province). There are many kinds of songs, both lyrical and instrument, including work songs, ceremonial, funeral, wedding and musical epics, especially the central Tajik heroic legend Gurugli also known as “Omar Sham Sham”.

Music of Tamil Nadu

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

Ancient music#

The tradition of Tamil music goes back to the earliest period of Tamil history. Many poems of the Sangam literature, the classical Tamil literature of the early common era, were set to music. There are various references to this ancient musical tradition found in the ancient Sangam books such as Ettuthokai and Pathupattu. The early narrative poem Silappatikaram, belonging to the post-Sangam period also mentions various forms of music practiced by the Tamil people. Music was also utilised in the compositions of the Tamil Saiva saints such as Appar, Thirugnana Sambanthar and Manikkavasagar during the Hindu revival period between the sixth and the tenth centuries CE. The musical poet (sandakkavi) Arunagirinathar further embellished the Tamil musical tradition through his compositions of Tamil hymns known as Thiruppugazh.

Music of Tanzania

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

Ngoma (dance)#

Ngoma (Bantu, meaning dance, drum, and celebration) The traditional forms of ngoma dancing prominently feature movements of the hips. It also features a large variety of instruments used, but most notable is the use of drums, specifically those that take the name from the style, ngoma drums. In more recent times, particularly after 1985, this has been changing with ngoma becoming both more modern, and fluid or creative.

Music of Texas

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

Piano#

Van Cliburn, who was raised in Kilgore, Texas was a pianist celebrated for his extraordinary talent and numerous accomplishments. He gained international fame after winning the first International Tchaikovsky Competition in Moscow, Soviet Union in 1958, becoming an emblem of Cold War cultural diplomacy and a symbol of American musical excellence. Cliburn’s subsequent concert tours and recordings solidified his status, making him one of the first classical musicians to achieve pop star-like fame. He received numerous accolades throughout his career, including a Grammy Lifetime Achievement Award and the Presidential Medal of Freedom. He also founded the Van Cliburn International Piano Competition, which continues to celebrate and promote young pianists worldwide, further cementing his legacy in the classical music community, and the musical legacy of Kilgore.

Music of Thailand

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

Classical music#

Thai classical music is synonymous with those stylized court ensembles and repertoires that emerged in their present form within the royal centers of Central Thailand some 800 years ago. These ensembles, while being influenced by older practices and repertoires from India, are today uniquely Thai expressions. While the three primary classical ensembles, the Piphat, Khrueang sai and Mahori differ in significant ways, they all share a basic instrumentation and theoretical approach. Each employs small ching hand cymbals and krap wooden sticks to mark the primary beat reference. Thai classical music has had a wide influence on the musical traditions of neighboring countries. The traditional music of Myanmar was strongly influenced by the Thai music repertoire, called Yodaya (ယိုးဒယား), which was brought over from the Ayutthaya Kingdom. As Siam expanded its political and cultural influence to Laos and Cambodia during the early Rattanakosin period, its music was quickly absorbed by the Cambodian and Lao courts. As Frédéric Maurel explains: “From the close of the eighteenth century and through the nineteenth century, a number of Khmer pages, classical women dancers, and musicians studied with Thai ajarn (masters or teachers) in Cambodia. The presence of this Thai elite in Cambodia contributed to the development of strong Thai cultural influence among the Khmer upper classes. Moreover, some members of the Khmer royal family went to the Thai court and developed close relations with well-educated Thai nobility, as well as several court poets. Such cultural links were so powerful that, in some fields, one might use the term ‘Siamization’ in referring to the processes of cultural absorption at the Khmer court at that time.” Several kinds of small drums (klong) are employed in these ensembles to outline the basic rhythmic structure () that is punctuated at the end by the striking of a suspended gong (mong). Seen in its most basic formulation, the classical Thai orchestras have a very strong influence on the Cambodian (Khmer) pinpeat and mahori ensembles, and are structurally similar to other orchestras found within the widespread Southeast Asian gong-chime musical culture, such as the large gamelan ensembles of Bali and Java, which most likely have their common roots in the diffusion of Vietnamese Dong-Son bronze drums beginning in the first century. Traditional Thai classical repertoire is anonymous, handed down through an oral tradition of performance in which the names of composers (if, indeed, pieces were historically created by single authors) are not known. However, since the beginning of the modern Bangkok period, composers’ names have been known and, since around the turn of the century, many major composers have recorded their works in notation. Musicians, however, imagine these compositions and notations as generic forms which are realized in full in idiosyncratic variations and improvisations in the context of performance.

Music of the African diaspora

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

Background#

Many genres of music originate from communities that have visible roots in Africa. In North America, it was a way that the early slaves could express themselves and communicate when they were being forcibly relocated and when there were restrictions on what cultural activities they could pursue. The sorrows of song were the only freedom slaves had working on cotton fields, and overall through labor tactics. This burden of slavery became a gateway for other genres of music such as the blues. For example, Black music does not just encompass sounds of the U.S. black experience but also a global black experience that stretches from Africa to Americas. The term for many coming from places of “Black” origin can be perceived in a derogatory manner by cultures who see the term as a blurring of lines which ignores the true roots of certain peoples and their specific traditions. To refer to musical genres with strong African-American influence, such as hip hop music, is very limited in scope and is not adopted by academic institutions as a true category of music. The individual aspects and collectively of black music is surrounded by the culture in itself as well as experience. Black music is centered around a story and origin. Many artists sing about the things they have experienced firsthand. Music was a tool black people used to communicate and express themselves during hard times such as slavery. Their songs were used to give guidance to one another and tell stories. The varieties of sounds and expressions used in the music helped stress their emotions. Black music began to reflect urban environments through amplified sounds, social concerns, and cultural pride expressed through music. It combined blues, jazz, boogie-woogie and gospel, taking the form of fast paced dance music with highly energized guitar work appealing to young audiences across racial divides.

Music of the Andaman and Nicobar Islands

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

Instruments#

One instrument played on the Andaman Islands was a sounding board called a pū kuta yem nga. This is a large wooden board in the shape of an oval that is half-buried in the sand while the upper half is supported by a stone. While dancing, some of the dancers’ steps will land on the board to create a rhythm for the dancers.

Dances#

The women of the Gadaba tribe of the Nicobar Islands perform a courting dance.

Music of the Cayman Islands

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

Music of the Central African Republic

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

Popular music#

Popular music in the Central African Republic generally comes from the music of the Democratic Republic of the Congo or elsewhere in Africa; however, Latin, European and American pop are also common, as is jazz and rock and roll. African folktales are very popular as well, like the Panda.

Banda music#

The Banda people have produced some modern popular music, using a trumpet-based kind of jazzy music which UNESCO has called one of the “great musicological discoveries of our century”. Banda folk music includes the ongo, a kind of trumpet made from wood or antelope horn. Ongos are used in ceremonies and rituals, including adolescent initiation rites, in polyphonic ensembles of eighteen trumpets.

Music of the Czech Republic

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

Traditional music#

Bohemian traditional music includes that of , where bagpipes are common. Moravian traditional music is known for the cimbalom, which is played in ensembles that also include double bass, clarinet and violins. The traditional music of Moravia displays regional influences, especially in Valachia with a Romanian and Ukrainian legacy, and has close cultural relations with Slovakia and Lachia (the borderland of northern Moravia and Czech Silesia) with its Polish aspects. A famous dance from the region is the Bohemian polka.

Music of the Democratic Republic of the Congo

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

Traditional music and instruments#

The Democratic Republic of the Congo is one of Africa’s most ethnically diverse nations, with more than 250 to 450 ethnic groups generally grouped into four major ethnolinguistic families: Bantu, Central Sudanic, Nilotic, and Pygmy (often identified as Indigenous peoples). Bantu peoples account for nearly 80 percent of the population across the western, central, and southeastern regions of the country. Central Sudanic groups, including the Ngbandi, Zande, Mangbetu, and Lugbara, are concentrated mainly in the northern and northwestern areas. Nilotic groups such as the Alur, Lendu, and Hema (many of whom have Bantu ancestry) are also present. The Pygmy classification includes groups like the Mbuti, Twa, and Baka. Music serves an important social function in accompanying religious ceremonies, life-cycle events such as births, weddings, and funerals, and communal labor. According to Congolese columnist Samuel Malonga Nkilutomba Luba Mabitidi, the use of traditional instruments has sharply declined in urban areas, where modern bands favor contemporary instruments. He argues that this change has weakened the sacred dimension of ancestral music and diminished the authentic African spirit traditionally associated with it. He also notes that as modern influences grow, “ethno-tribal” musical forms and instruments are being pushed to the margins, but some contemporary musicians still draw on these traditions, even if only in limited ways. Most instruments are handcrafted from wood derived from indigenous plant species, though wood is not the sole material, as iron and various animal-derived elements, such as skin and horn, are also commonly employed. These instruments are built by artisans and are played at social events like festivals, weddings, and community gatherings, as well as at traditional and cultural ceremonies such as initiation rites, birth and mourning rituals, village councils, circumcision, and other rites of passage. Some instruments have changed over time due to new technology. For instance, the Zombo folklore band Konono Nº1 modified the likembe (a type of sanza) by adding electric amplification to make it louder for modern performances. Historically, instruments such as these were mainly used to support dances and chants during major ethnic celebrations. They were also seen as a way to express feelings such as attraction, romance, poetry, joy, and excitement. In the general classification of African musical instruments, those from the Congo are grouped into four main types: aerophones, chordophones, idiophones, and membranophones.

Music of the Dominican Republic

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

Merengue#

Merengue is a musical genre native to the Dominican Republic. It has a moderate to a very fast 2/4 rhythm played on güira (metal scraper) and the double-headed tambora. The accordion is also common. Traditional, accordion-based merengue is usually termed merengue típico and is still played by living accordionists like Francisco Ulloa, Fefita la Grande, El Ciego de Nagua, and Rafaelito Román. More modern merengues incorporate electric instruments and influences from Jazz, Blues, Soul, and rock and roll. Choruses are often sung in a call and response form by two or three back-up singers, or more traditionally, by the musicians playing tambora or güira. Beginning in the 1960s, dancing became a part of the singers’ work with Johnny Ventura’s Combo Show format, and is now a staple of many of the genre’s biggest stars. Lyrically, irony and double entendres are common. Merengue continued to be limited in popularity to the lower classes, especially in the Cibao area, in the early 20th century. Artists like Juan F. García, Juan Espínola and Julio Alberto Hernández tried to move merengue into the mainstream, but failed, largely due to social prejudices. Some success occurred after nationalistic feelings arose among the Cibao elite who resented the U.S. occupation of the country from 1916 to 1924. Legend has it that at this time the faster () was slowed down to accommodate American soldiers who could not dance the difficult steps of the merengue; this mid-tempo version was called pambiche. Major mainstream acceptance started with Rafael Trujillo’s rise to power in the early 1930s. Dictator Rafael Trujillo, who seized the presidency of the Dominican Republic in 1930, helped merengue to become a national symbol of the island up until his assassination in 1961. Being that he was of humble origins, he had been barred from elite social clubs. He was therefore resentful of these elite sophisticates and began promoting the Cibao-style merengue, forcing all social classes to participate in the low-class dance. At Trujillo’s command, virtually all musical groups had to compose merengues praising Trujillo’s dictatorship, its guidelines and actions of his party. Trujillo even made it mandatory for urban dance bands to include merengue in their repertoire. Piano and brass instruments were also added in merengue-oriented big bands, a trend towards upward mobility popularizing by Luis Alberti’s group in Santiago de los Caballeros. On the other hand, merengue that continued to use an accordion became known (rather disrespectfully) as (‘ripped parrot’). It was because of all this that merengue became and still is the Dominican Republic’s national music and dance. In the 1960s, a new group of artists (most famously Johnny Ventura) incorporated American R&B and rock and roll influences, along with salsa music. The instrumentation changed, with accordion replaced with electric guitars or synthesizers, or occasionally sampled, and the saxophone’s role totally redefined. In spite of the changes, merengue remained the most popular form of music in the Dominican Republic. Ventura, for example, was so adulated that he became a massively popular and influential politician on his return from a time in the United States, and was seen as a national symbol. The 1980s saw increasing Dominican emigration to Europe and the United States, especially to New York City and Miami. Merengue came with them, bringing images of glitzy pop singers and idols. At the same time, Juan Luis Guerra slowed down the merengue rhythm, and added more lyrical depth and entrenched social commentary. He also incorporated bachata and Western musical influences with albums like 1990’s critically acclaimed .

Music of the Gambia

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

National music#

“For The Gambia Our Homeland”, the national anthem of the Gambia, was composed by Jeremy Frederic Howe, based on the traditional Mandinka song “Foday Kaba Dumbuya”, with words by Virginia Julia Howe, for an international competition to produce an anthem (and flag) before independence from the United Kingdom in 1965.

Traditional music#

The Gambia, the smallest country in mainland Africa, is an independent coastal state along the River Gambia. It gained its separate identity as a colony of the United Kingdom while Senegal was a colony of France, but the two countries’ traditional music are very much intertwined. Among Gambia’s people, who together number some 1.728 million (2010), 42% are Mandinka, 18% Fula, 16% Wolof\Serer, 10% Jola and 9% Soninke, the remainder being 4% other African and 1% non-African (2003). 63% of Gambians live in rural villages (1993 census), though the population is young and tends towards urbanization. 90% are Muslims and most of the remainder Christians. Griots, also known as jelis, hereditary praise-singers, a legacy of the Mande Empire, are common throughout the region. Gambian griots, as elsewhere, often play the kora, a 21 string harp. The region of Brikama has produced some famous musicians, including Foday Musa Suso, who founded the Mandingo Griot Society in New York City in the 1970s, bringing Mande music to the New York avant-garde scene and collaborating with Bill Laswell, Philip Glass and the Kronos Quartet. Mbalax (meaning “rhythm” in Wolof), derives its from accompanying rhythms used in sabar, a tradition that originated from the Serer of the Kingdom of Sine and spread to the Kingdom of Saloum whence Wolof migrants took it to the Wolof kingdoms. The Nder (lead drum), Sabar (rhythm drum), and Tama (talking drum) percussion section traces some of its technique to the ritual music of Njuup. The Njuup was also progenitor of Tassu, used when chanting ancient religious verses. The griots of Senegambia still use it at marriages, naming ceremonies or when singing the praises of patrons. Most Senegalese and Gambian artists use it in their songs. The Serer people are known especially for vocal and rhythmic practices that infuse their everyday language with complex overlapping cadences and their ritual with intense collaborative layerings of voice and rhythm." Each motif has a purpose and is used for different occasions. Individual motifs represent the history and genealogy of a particular family and are used during weddings, naming ceremonies, funerals etc.

Music of the Maldives

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

Maldivian (Dhivehi) Poetry Forms#

Bandhi – Short, witty verses often used for satire, riddles, or clever expressions in oral tradition.
Kaa – Rhythmic, call-and-response poetry traditionally used in group activities and communal work.
Farihi – Light, playful poetry, usually humorous or teasing in tone.
Raivari (Raivaru) – The most classical Dhivehi poetic form, with strict rules of meter, syllables, and rhyme; traditionally recited.
Lhen – A general term for poetry or verse, covering multiple poetic styles in Dhivehi literature.
Ambaa – Chant-like rhythmic poetry associated with music, drums, and celebrations.
Lava – Song-based poetry, flexible in structure and commonly used for emotional and lyrical expression.

Traditional performances#

The most widely known form of indigenous music is called boduberu. It is also the most popular, especially in the Northern Atolls. It is said to have appeared in the Maldives in about the 11th century and that it may have East African origins. It is a dance music, performed by about fifteen people, including a lead singer and three percussionists, as well as a bell and a small stick of bamboo with horizontal grooves called an onugandu. Boduberu songs begin with a slow beat, eventually entering a frenetic crescendo accompanied by frenetic dancing. Lyrics can be about any number of subjects and often include vocables (meaningless syllables). Thaara music is performed by about 22 people seated in two rows opposite each other. It is performed only by men and is somewhat religious. Like boduberu, thaara songs begin slowly and come to a peak. Thaara is said to have arrived with Arabs who came from the Persian Gulf in the middle of the 17th century. Gaa odi lava is a special type of song performed after the completion of manual labor. It was said to have been invented during the reign of Sultan Mohamed Imadudeen I (1620–1648) for the workers who built defenses for the city of Malé. In the early 20th century, during the reign of Sultan Muhammad Shamsuddeen III, the Maldives experienced a vibrant cultural transformation. It was in this rich historical context that the youth of the islands began to explore and innovate in the realm of music, leading to the emergence of a unique musical form known as langiri. This new genre was significantly influenced by thaara, a traditional style of music that served as its primary source. The youth, eager to express their creativity and cultural identity, adapted and modified the performance techniques associated with thaara infusing their interpretations and styles into the music. As a result, langiri not only represented a musical evolution but also a reflection of the changing social dynamics and the artistic aspirations of the Maldivian youth during this period. The bolimalaafath neshun is a dance performed by women on special occasions or when giving gifts to the sultan. These gifts, most often shells, are kept in an intricately decorated box or vase called the kurandi malaafath. About twenty-four women typically participate in small groups of two to six. They march towards the sultan, singing songs of patriotism or loyalty. Since becoming a republic in 1968, this dance is no longer performed for any sultan, since one no longer exists. Another women’s dance is called maafathi neshun, which is similar to langiri. It is performed by women dancing in two rows of ten each, carrying a semi-circular string with fake flowers attached. A dance called fathigandu jehun is performed by either one person or a group of men, using two pieces of short bamboo sticks to accompany the dancers and a drummer, who also sings. These songs are typically epics, most famously one called Burunee Raivaru.. Bandiyaa jehun is perhaps related to the Indian pot dance, and is performed by women. Dancers mark the beat with a metal water pot while wearing metal rings. Modern groups perform either standing or sitting and have added drums and harmonicas. Kulhudhuffushi (on Haa Dhaalu Atoll) is known for kadhaamaali, which is performed with numerous drums and a kadhaa, which is made of a copper plate and rod. About thirty men take part, dressed in costumes of evil spirits (maali). Kadhaamaali is associated with a traditional walk around the island late at night by the elders to ward off maali This walk lasted for three days, followed by music and dancing.

Music of the Netherlands

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

Classical and contemporary classical music#

Jan Pieterszoon Sweelinck (May 1562 – October 16, 1621) was a Dutch composer, organist, and pedagogue whose work straddled the end of the Renaissance and beginning of the Baroque eras. Sweelinck was a master improviser, and acquired the informal title of the “Orpheus of Amsterdam”. Over 70 keyboard works of his have survived, and many of them may be similar to the improvisations that residents of Amsterdam around 1600 were likely to have heard. Even his vocal music, which is more conservative than his keyboard writing, shows a striking rhythmic complexity and an unusual richness of contrapuntal devices. His influence was international. Some of his music appears in the Fitzwilliam Virginal Book, which otherwise mainly contains the work of English composers. Sweelinck wrote variations on John Dowland’s internationally famous Lachrimae Pavane, and John Bull, the English keyboard composer, wrote a set of variations on a theme of Sweelinck, indicating the close connection between the different schools of composition across the North Sea. Jacob van Eyck (ca. 1590–1657) was a blind recorder and organ virtuoso, who composed a unique collection of flute music. Unico Wilhelm van Wassenaer (1692–1766) was an accomplished baroque composer, whose work Concerti Armonici erroneously was attributed to Giovanni Battista Pergolesi. Igor Stravinsky used Unico’s music for Pulcinella. Alphons Diepenbrock (September 2, 1862 – April 5, 1921) created a musical idiom which, in a highly personal manner, combined 16th-century polyphony with Wagnerian chromaticism, to which in later years was added the impressionistic refinement that he encountered in Debussy’s music. Willem Pijper (1894–1947) is generally considered one of the most important figures in modern Dutch music. Between 1918 and 1922 he grew into one of the more advanced composers in Europe. In each successive work he went a step further and, from 1919, Pijper’s music can be described as atonal. However, Pijper remained a composer of strong emotional character, to which his Third Symphony (1926) bears witness. In Pijper’s later works the harmonic expression seems at times to approach monotonality. As a teacher Pijper had a great influence on modern Dutch music, teaching many prominent Dutch composers of the 1950s, 60s, and 70s. He was senior master of instrumentation in the Amsterdam Conservatoire, and from 1930 until his death in 1947 he was Head of the Rotterdam Conservatoire. Ton de Leeuw (born Rotterdam, 16 November 1926 - died Paris, 31 May 1996) is known for his experiments with microtonality. He wrote one opera, Antigone (1990–1991). Lex van Delden (1919–1988) and Simeon ten Holt (1923–2012) were important composers. Louis Andriessen (June 6, 1939 – July 1, 2021) was a composer whose early works show experimentation with various contemporary trends: postwar serialism (Series, 1958), pastiche (Anachronie I, 1966–67), and tape (Il Duce, 1973). Andriessen’s mature music combines the influences of Stravinsky and American minimalism. His harmonic writing eschews the consonant modality of much minimalism, preferring postwar European dissonance, often crystallised into large blocks of sound. Large-scale pieces such as De Staat ‘Republic’ (1972–76), for example, were influenced by the energy of the big band music of Count Basie and Stan Kenton and the repetitive procedures of Steve Reich, both combined with bright, clashing dissonances. Andriessen’s music is thus anti-Germanic and anti-Romantic, and marks a departure from postwar European serialism and its offshoots. He also played a role in providing alternatives to traditional performance practice techniques, often specifying forceful, rhythmic articulations, and amplified, non-vibrato, singing. Other notable works include Workers Union (1975), a melodically indeterminate piece “for any loud sounding group of instruments”; Mausoleum (1979) for two baritones and large ensemble; De Tijd ‘Time’ (1979–81) for female singers and ensemble; De Snelheid ‘Velocity’ (1982–83), for three amplified ensembles; De Materie ‘Matter’ (1984–88) a large four part work for voices and ensemble; collaborations with filmmaker and librettist Peter Greenaway on the film M is for Man, Music, Mozart and the operas Rosa: A Horse Drama (1994) and Writing to Vermeer (1998); and the recent La Passione (2000–02) for female voice and ensemble. Significant composers after Andriessen include Klaas de Vries (born 1944), Jacob Ter Veldhuis, a.k.a. JacobTV (b. 1951), Guus Janssen (b. 1951) and Cornelis de Bondt (b. 1953).

Music of the Philippines

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

Indigenous music#

Notable indigenous musicians include Ukà of Lange-Lange who specialized in the kutiyapi or kudyapi, the most difficult of all indigenous Philippine instruments, Masino Intaray who specialized in the basal, aroding, and babarak, and Samaon Sulaiman, who specializes as well in the kutiyapi. Notable folk song composers include the National Artist for Music Lucio San Pedro, who composed the famous “Sa Ugoy ng Duyan” that recalls the loving touch of a mother to her child. Another composer, the National Artist for Music Antonino Buenaventura, is notable for notating folk songs and dances. Buenaventura composed the music for “Pandanggo sa Ilaw”.

Music of the Republic of the Congo

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

National music#

The national anthem of the Republic of the Congo is La Congolaise. It was adopted upon independence in 1959, replaced in 1969 by but reinstated in 1991. The words were written by Jacques Tondra and Georges Kibanghi, the music was composed by Jean Royer and Joseph Spadilière.

Traditional music#

Folk instruments in the Republic of the Congo include the xylophone and mvet. The mvet is a kind of zither-harp, similar to styles found elsewhere in both Africa and Asia. The mvet is made of a long tube with one or two gourds acting as resonators https://web.archive.org/web/20060426211735/http://aainnovators.com/CMS/modules/wfsection/article.php?articleid=483 .

Music of the Solomon Islands

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

Traditional music#

Traditional Melanesian music in Solomon Islands includes both group and solo vocals, slit-drum and panpipe ensembles. These musical traditions have been extensively described and documented by ethnomusicologist Hugo Zemp. Panpipe orchestras, which are well known on Malaita and Guadalcanal use up to ten performers with different instrument, each with unique tunings.

Popular music#

In the 1920s bamboo music gained a following in several countries. Bamboo music was made by hitting open-ended bamboo tubes of varying sizes, originally with coconut husks. In the 1950s, Edwin Nanau Sitori composed the song “Walkabout long Chinatown”, which was to become popular throughout the Pacific, and has been referred to by the government as the unofficial “national song” of Solomon Islands. Modern Solomon Islander popular music includes various kinds of rock and reggae as well as something known as island music, a guitar and ukulele ensemble format influenced by Polynesian and Christian music. Traditional Melanesian choir singing features heavily in the soundtrack of the film The Thin Red Line, which is set against the backdrop of the Battle for Guadalcanal.

Music of the Soviet Union

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

Classical music of the Soviet Union#

Classical music of the Soviet Union developed from the music of the Russian Empire. It gradually evolved from the experiments of the revolutionary era, such as orchestras with no conductors, towards classicism favored under Joseph Stalin’s office. The music patriarchs of the era were Sergei Prokofiev, Dmitri Shostakovich and Aram Khachaturian. With time, a wave of younger Soviet composers, including Georgy Sviridov, Tikhon Khrennikov, and Alfred Schnittke managed to break through. Many musicians from the Soviet era have established themselves as world’s leading artists: violinists David Oistrakh, Leonid Kogan, Gidon Kremer, Viktor Tretiakov and Oleg Kagan; cellists Mstislav Rostropovich, Daniil Shafran, and Natalia Gutman; violist Yuri Bashmet; pianists Sviatoslav Richter, Emil Gilels and many other musicians.

Music of the Trecento

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

Background and early history (to 1330)#

Little newly composed Italian music remains from the 13th century, so the immediate antecedents of the music of the Trecento must largely be inferred. The music of the troubadors, who brought their lyrical, secular song into northern Italy in the early 13th century after they fled their home regions—principally Provence—during the Albigensian Crusade, was a strong influence, and perhaps a decisive one; many of the Trecento musical forms are closely related to those of the troubadours of more than a century before. Another influence on Trecento music was the conductus, a type of polyphonic sacred music which had the same text sung in all parts; texturally, Trecento secular music is more like the conductus than anything else that came before, although the differences are also striking, and some scholars (for example, Hoppin) have argued that the influence of the conductus has been overstated. Some of the poetry of Dante Alighieri (1265–1321) was set to music at the time it was written, but none of the music has survived. One of the musicians to set Dante’s poetry was his friend Casella (died 1299 or 1300), memorialized in Canto II of Purgatorio. Poems of Dante set by others included canzoni and ballate; if they were similar to the other earliest ballate, they would have been monophonic. Though the pioneering music theory of Marchetto da Padova was written in this early period, the influence of his treatise on notation, the Pomerium, is largely seen in the manuscripts of the succeeding generations. Marchetto, building on (or in parallel with) the innovations of Petrus de Cruce, described a system of division of the breve into 2, 3, 4, 6,8, 9, or 12 semibreves (later minims) with dots (singular punctus divisionis ) indicating breaks at the end of a breve (however, Marchetto never used a term “punctus divisionis”). Although more Trecento music is written in the international system of notation descended from Franco of Cologne and Philippe de Vitry than in the Marchettian system (and there exist a few, mostly instrumental, works not of Italian origin that use the Marchettian system), nonetheless, Marchetto’s contribution to rhythmic notation is so connected with the Italian Trecento that it is often referred to as simply, “Italian Notation.”

Music of the United Arab Emirates

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

Original music in the UAE#

The UAE houses a lively underground music scene consisting mostly of expatriates. Concentrated in Dubai, the majority of local artists play rock and metal music. Some musicians also play alternative styles of music such as ska, punk, house and experimental music. Yassin Alsalman, better known by his stage name Narcy, was born in Dubai in 1982. Canadian singer Karl Wolf lived in Dubai between the ages of three and seventeen, and has since returned to perform in the UAE. Wissam Khodur, better known as the Syrian/Lebanese MC Eslam Jawaad, has been living in the UAE since 2011. In 2017 he appeared onstage with Gorillaz, having previously worked with bandleader Damon Albarn on The Good, the Bad & the Queen. Members of the psychedelic indie band Flamingods lived for a time in the UAE, and founder Kamal Rasool credits Dubai as a pivotal incubator and inspiration behind 2016’s third album Majesty. In 2012 the UAE’s only chain music retailer, Virgin Megastores, revealed a chart of the best-selling local acts to entertainment magazine Time Out Dubai. Based on total sales of all combined releases, the list was nominally topped by Karl Wolf, with second and third places going to soul-pop quartet Abri and rock group Juliana Down - two of the first homegrown acts to achieve widespread recognition in the Emirates. In 2015 this concept was repeated in The National, which compiled a list of Virgin’s 20 best-selling local releases of the past five years, as well as breaking the chart down by genre. With Wolf this time deemed exempt, the list was topped by Juliana Down’s 2011 album Empires (Abri’s two albums were released earlier in 2008 and 2009), followed by house-pop duo SickAsSwans’ debut These Words and Nigerian-born urban act Ash Hamman’s self-titled debut. A year later The National updated the chart looking specifically at the best-selling releases of the past 12 months, revealing metal act Svengali to be the best-seller with debut Theory of Mind. Among the best-known UAE acts internationally are metal band Nervecell. Other hard rock and metal acts from the UAE to tour internationally include Anuryzm, E.Y.E., Point of View and Jay Wud, who launched a fundraising campaign to finance sessions in Los Angeles for third album Transitions. In 2012 hard rock quintet Point of View launched their debut album Revolutionize the Revolutionary with a concert alongside Ron ‘Bumblefoot’ Thal, then a member of Guns N’ Roses, who appeared onstage performing songs by both bands. Thal later joined the band on a tour of India and appeared onstage in Abu Dhabi wearing a “PoV” t-shirt. Point of View’s lead singer Nikhil Uzgare later branched out into Bollywood, recording a rock song as the theme to movie Iraada. Following the breakup of Abri, eponymous lead singer Hamdan Al-Abri released a self-titled EP before joining funk-rock band Bull Funk Zoo in 2012, alongside guitarist Assaad Lakkis. He later formed the popular cover band Abri & Funk Radius alongside jazz musicians Rony and Elie Afif, which released its first original music in 2017, debuting the single Sunny Daze, and was the only UAE act invited to perform at the alternative music festival Wasla. Lakkis went on to lead Bull Funk Zoo solo. In 2017 Al-Abri also unveiled new music as a member of trio Abri & the Dream Fleet, collaborating alongside producers Megadon Betamax and Adriano K on the album We Fly. The latter had earlier produced a collection of South American folk songs and curated an accompanying remix disc featuring contributions from international producers, released in 2012 as A L.A.S.. After a period of inactivity, in 2015 Juliana Down frontman Dia Hassan released a debut solo single What is Love?. Juliana Down’s former main songwriter and keyboardist Saleh Hamed began releasing music under the stage name “Dozenz"including the album “After The Storm/Chasing The Muse” (originally titled “The Album”) in https://www.thenationalnews.com/arts-culture/music/radio-needs-to-play-local-content-emirati-producer-saleh-hamed-on-his-new-album-and-the-fight-for-recognition-1.1035123 2021. Following the split of SickAwSwans, in the same year Clarita de Quiroz released her debut album Speak. Delete. Repeat. Formed in 2013, house-pop duo Hollaphonic have received international attention in the press, recording fourth single Dangerous with guest vocals from British reality TV star Vince Kidd. Teenage pop singer Esther Eden enjoyed significant local exposure after being handpicked by British star Jessie J to guest onstage at 2014’s Redfest DXB festival. Eden was later signed by Universal Music MENA and performed as a solo artist at the same festival a year later. In 2015 hip-hop trio The Recipe launched a well-received comeback with the single Death to Get Here. Behold The Locus released their second album ‘Nations’ in an online format during the summer of 2020.

Music of the United Kingdom

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

Background and classical music#

Music in the British Isles, from the earliest recorded times until the Baroque and the rise of recognisably modern classical music, was a diverse and rich culture, including sacred and secular music and ranging from the popular to the elite. Each of the major nations of England, Ireland, Scotland and Wales retained unique forms of music and instrumentation, but British music was highly influenced by continental developments, while British composers made an important contribution to many of the major movements in early music in Europe, including the polyphony of the ars nova and laid some of the foundations of later national and international classical music. Musicians from the British Isles also developed some distinctive forms of music, including Celtic chant, the Contenance Angloise, the rota, polyphonic votive antiphons and the carol in the medieval era. Church music and religious music were profoundly affected by the Protestant Reformation which affected Britain from the 16th century, which curtailed events associated with British music and forced the development of distinctive national music, worship and belief. English madrigals, lute ayres and masques in the Renaissance era led particularly to English-language opera developed in the early Baroque period of the later seventeenth century. In contrast, court music of the kingdoms of England, Scotland and Ireland, although having unique elements remained much more integrated into wider European culture. The Baroque era in music, between the early music of the Medieval and Renaissance periods and the development of fully fledged and formalised orchestral classical music in the second half of the 18th century, was characterised by more elaborate musical ornamentation, changes in musical notation, new instrumental playing techniques and the rise of new genres such as opera. Although the term Baroque is conventionally used for European music from about 1600, its full effects were not felt in Britain until after 1660, delayed by native trends and developments in music, religious and cultural differences from many European countries and the disruption to court music caused by the Wars of the Three Kingdoms and Interregnum. Under the restored Stuart monarchy the court became once again a centre of musical patronage, but royal interest in music tended to be less significant as the 17th century progressed, to be revived again under the House of Hanover. British chamber and orchestral music drew inspiration from continental Europe as it developed into modern classical music. The Baroque era in British music can be seen as an interaction of national and international trends, sometimes absorbing continental fashions and practices and sometimes attempting, as in the creation of ballad opera, to produce an indigenous tradition. However, arguably the most significant British composer of the era, George Frideric Handel, was a naturalised German, who helped integrate British and continental music and define the future of the classical music of the United Kingdom that would be officially formed in 1801. Musical composition, performance and training in the United Kingdom inherited European classical traditions of the 18th century (above all, in Britain, from the example of Handel) and saw a great expansion during the 19th century. Romantic nationalism encouraged clear national identities and sensibilities within the countries of the United Kingdom towards the end of the 19th century, producing many composers and musicians of note and drawing on the folk tradition. These traditions, including the cultural strands drawn from the United Kingdom’s constituent nations and provinces, continued to evolve in distinctive ways through the work of such composers as Arthur Sullivan, Gustav Holst, Edward Elgar, Hubert Parry, Ralph Vaughan Williams, Benjamin Britten, Michael Tippett, Peter Maxwell Davies and Harrison Birtwistle. Notable living British classical composers include Michael Nyman, James MacMillan, Jeremy Peyton Jones , Gavin Bryars, Andrew Poppy, Judith Weir, Sally Beamish and Anna Meredith.

Music of the United States

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

Characteristics#

The music of the United States can be characterized by the use of syncopation and asymmetrical rhythms, long, irregular melodies, which are said to “reflect the wide open geography of (the American landscape)” and the “sense of personal freedom characteristic of American life”. Some distinct aspects of American music, like the call-and-response format, are derived from African techniques and instruments. Throughout the later part of American history, and into modern times, the relationship between American and European music has been a discussed topic among scholars of American music. Some have urged for the adoption of more purely European techniques and styles, which are sometimes perceived as more refined or elegant, while others have pushed for a sense of musical nationalism that celebrates distinctively American styles. Modern classical music scholar John Warthen Struble has contrasted American and European, concluding that the music of the United States is inherently distinct because the United States has not had centuries of musical evolution as a nation. Instead, the music of the United States is that of dozens or hundreds of indigenous and immigrant groups, all of which developed largely in regional isolation until the American Civil War, when people from across the country were brought together in army units, trading musical styles and practices. Struble deemed the ballads of the Civil War “the first American folk music with discernible features that can be considered unique to America: the first ‘American’ sounding music, as distinct from any regional style derived from another country.” During this period the roots of blues, gospel, jazz, and country music took shape; in the 20th century, these became the core of American popular music, which further evolved into the styles like rhythm and blues, rock and roll, and hip-hop music.

Music of the Valencian Community

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

Traditional music#

Little is known about Valencian music in ancient times, with some prehistoric pictorial remains of Valencia and Alicante as only testimonies of musical activity. With the Muslim conquest of the Iberian Peninsula, and since the 9th century, the Córdoba musical tradition spread to Valencia and Xàtiva. The Muixeranga, a street festival, is an important tradition that originated in Valencia. Religious and work songs are common in Valencia, many are performed with accompaniment. El Misteri d’Elx is an old, religious musical play that dates back to mediaeval times. Havaneres are popular all along the Valencian coast. Valencian dances include: *Fandango of Albaida *El Ball del Danzants *El Ball dels Oficis *Los Alcides *Els Bastonets *Els Porrots *Paloteo of Requena *Valencian Jota

Music of Thrace

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

Types of dances#

Chelebinsko (Chain Dance of the Gentlemen): is a choreography by Belco Stanev with great music in an interesting meter. It’s 9/8 divided : 2 3 2 2. In the vocal part, the steps are exactly on the meter: QSQQ, but in the instrumental refrain, half a bar is added 2 3 (QS). The steps are in 2 2 2 3 (QQQS) and the missing half bar 2 2 (QQ) is added at the end so that is missing (mathematically).
Izgryala E Mesechinka (The moon has risen): A beautiful song from Northern (Bulgarian) Thrace that has inspired many choreographies, all of them with extensive arm work that is typical in dances from this region.
Jambolsko Paidushko: Pajdusko/Paidushko Horo/Baiduska, is a group of dances usually danced in a 5/16 or 5/8 (Q S) rhythm and found in a large area spanning Serbia, Macedonia, Bulgaria, Greece, and beyond. It resembles the “aksak” (Turkish for limping) rhythmic system. Its various forms reflect local preferences. This one is from the Jambol region in Northern (Bulgarian) Thrace, and was first introduced in the United States by Dick Crum.
Krivo Sadovsko Horo (Twisted chain dance from Sadovo, Northern Thrace): is a very fast dance, in a 13/8 rhythm, this dance has many versions.
Pazardzhishka Kopanitsa: Pazardzhik Kopanitsa from Pazardzhik, Northern Thrace.
Pravo Trakiisko Horo: Pravo Trakiisko Horo (Straight Thracian chain dance) is from Northern Thrace. It has very little in common with the simple Pravo Horo (straight chain dance). It’s a challenging choreography by a performing group that was brought down from the stage.
Sedi Donka (Donka is sitting): One of the most unusual musical patterns in Bulgaria, Sedi Donka is in 25/16 meters. It is subdivided 7+7+11, which in turn can be subdivided 3 2 2, 3 2 2, 2 2 3 2 2.
Trakiiska Rachenitsa: Trakiiska Rachenitsa is a highly stylized rachenitsa from Northern Thrace with much arm work.
Trite Pati: Trite Pati (the three times) is a dance from Northern Thrace. Like some other Thracian dances, it is also danced in Western (Greek) Thrace. It has many similarities with stis treis dance from Manastir villages and Kavakli (Topolovgrad). Stis treis is the Greek version of the dance and it’s mentioned below.
Kuluriastos: Kuluriastos is a Greek dance from Western Thrace. It has a slower Zonaradikos part, and a faster part where the beginning of the line loops into the center and back out again. It’s a lot of fun to dance this, especially if the dancer is near the beginning of the line. As with many Greek dances, it can be danced to multiple songs.
Sfarlis: Sfarlis is a beginner’s dance from Western Thrace.
Troiro: A fast dance from Northern Thrace, from the Boyalik villages. It is one of the most difficult Greek dances of Thrace. Many Bulgarian dances from Northern Thrace have “cousins” (very similar dances) in Western (Greek) Thrace, and this is one of them: a Greek dance that sounds and feels Bulgarian.
Dostlar Bizim Halaya: This is a rom dance from Eastern (Turkish) Thrace. It is a reminder of the so-called “tsigansko horo” (gypsy chain dance), but the dances are not at all alike.
Hassapia: an ancient dance that simulates a stealth approach on any enemy camp, from beginning to victory. The hassapia dance has been dated back to Hellenistic times, before the time of Alexander the Great whose soldiers brought it to Macedonia. It is a warrior’s dance in which the movements represent the noiseless approach on the enemy camp, the encounter, the fight, and the victory. This dance is done in a circle using a shoulder hold. A similar dance called “kasapsko horo” (butcher’s chain dance) is performed in Bulgaria.
Kallinitikos: performed by three people (either two men and one woman or two women and one man), named after the kalines, or friends of the bride during her wedding, who escort her to the church performing this dance. Kallinitikos is a dance done by groups of three people: a man in the middle and two women at his sides or a woman in the middle and two men at her sides. The dance is named after the kalines, the bride’s girlfriends, who do this dance as they escort her to the church. Performed in Western Thrace.
Kouseftos: derived from kousevo (to run in the Ancient Thracian language), performed, not in a circle, but in the form of a labyrinth Kouseftos, with its characteristic quick running steps, takes its name from the word kousevo in Ancient Thrace which means to run. It differs from other Thracian dances in that, instead of being danced in a circle, its dance progression takes the form of a labyrinth. Performed in Western Thrace.
Mandilatos (Sygkathistos): a couples dance performed at weddings. Mandilatos is a couples’ dance which takes its name from the mandilia or handkerchiefs that the dancers hold while dancing. This dance is done at weddings as the guests escort the bride or the best man to the church. During the procession, some guests hold a mirror which symbolizes the purity of the bride and others hold brooms which symbolize her housekeeping ability. This dance is performed in Western Thrace. A similar dance called “rachenitsa” (from “raka” - an arm) is performed in Northern Thrace.
Stis tris: a slow but swift dance. Stis Tris means “in threes.” Each dance set is composed of three parts of four steps each. The arms are held down and move in a synchronized motion with the steps. This dance is performed under different names in Northern Thrace and Western Thrace. It has many similarities with Trite pati and technically they are versions of the same dance, one Greek and one Bulgarian.
Sygkathistos: performed as the bride and groom are escorted to and from the church during weddings. Syngathistos is a free style couples dance that is danced as the bride and groom are escorted to and from the church. The bridal party also dances as they display and exchange gifts with the bride and groom, particularly gifts of handkerchiefs and head scarves. This dance is performed in Western Thrace.
Xesyrtos: a circle dance with men performed at the front of the line. Xesyrtos is a circle dance in which the men dance at the front of the line, followed by the women, and do variations to the dance step with characteristic slaps, jumps, and kicks. This dance is performed in Western Thrace.
Zonaradikos: a circle dance in which the participants (usually men) hold each other’s belts. It is one of the primary dances of Western Thrace, where a variety of dance moves are performed. The Zonaradikos is dance in which the participants hold each other by their belts or zonaria (hence the name Zonaradikos). The three variations of the basic movements are: paties or stomps, monopatia or single stomp, and psalidia or scissors; usually followed by the koulouriastos or curling. A similar dance called “na poyas” (for belt) is found in Northern Thrace.
Dousko Zonaradiko-Tsestos: Dousko is the zonaradiko of Northern Thrace. Tsestos is the dance that comes after dousko and they are danced together. Tsestos is a challenging twelve-step dance from Northern Thrace, also known as Eastern Rumelia (today’s Bulgaria) that is performed by both men and women. It begins as a moderate tempo dance with very limited dance figures (this part is named Dousko, the steps are almost the same as in the Zonaradiko dance). As it unfolds, the men come in the front and they clutch each other by the belt (zonari). At this point, the dance becomes very swift and intense and consists of a plethora of dance figures. Its origins can be traced to an ancient Greek dance, Pyrihios, which is a twelve-step dance too. Bulgarian Trakiisko Pravo Horo has many similarities with Dousko Zonaradiko Tsestos.
Paydushko (Baiduska, Pajdusko, Pajduska, Payduska): a very aggressive dance, usually performed by men. It is associated with fierce and intense dance moves. Performed in all three regions of Thrace: Northern (Paidushko Horo), Western (Baiduska), and Eastern (payduska). The dance has some differences between regions.
Halay: Halay is a famous dance in the Middle East. It is a symbol of the tempestuous way of life in its place of origin, Anatolia. It is a national dance in Armenia and Turkey. The traditional form of the Halay dance is played on the Zurna, supported by a Davul. The dancers form a circle or line while holding each other by the little finger. From Anatolia, the Halay has spread to other regions, such as Armenia and the Balkans.
Karsilama: a dance found in both Western and Eastern Thrace.

Listen to#

Ancient Greek Bagpipe (Askaulos) Improvisation by Giannis Pantazis
Pazardjishka kopanitsa
Krivo sadovsko horo
Paydushko horo
Alexander and the King (Thrace) (feat. Vangelis Dimoudis)
Izgryala e mesechinka
Yambolsko Trite Puti
Eleftheria Arvanitaki - Do sta lianohortaroudia (Zonaradiko)
Pajdusko (Balkan Guzeli)
Tricked by the Birds (Thrace) (feat. Vangelis Dimoudis)
Pajdusko (Balkan Guzeli) - Turkish Lyrics
Alan Cayirlari
Musical Travelogue with Domna Samiou in Thrace, Evros
Trite Puti
Mandilatos(Mandra)
Hijaz Mandilatos(Hicaz Mandra)
Kazım Koyuncu - Tabancamın Sapını(Mandilatos-Mandra havası)
A Bre Suluman Aga
Dousko Zonaradiko-Tsestos Greek Dance

Music of Tibet

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

History#

Western research into the history of Tibetan music has often focused more on religious than secular musics. It has been suggested that Tibetan religious music may have been strongly influenced by West-Asian musics, including those of pre-Muslim Persia (and perhaps even of Byzantium). It has also been suggested that the landscape – and in particular the resonances of caves, with their natural percussive sounding stones - exerted a formative influence on the overtone singing found in Tibetan Buddhist chant (and plausibly also in prehistoric shamanic invocations), which is produced by artful moulding of the oral cavity. The assiduous adoption and evolution of Indian Buddhist traditions and culture in Tibet between the 12th and mid-20th centuries – in a period when Buddhism had disappeared from most of the Indian subcontinent - allowed the Tibetans to perpetuate musical practices from India that would otherwise have been lost, and to develop them in distinctive ways. The Lama Mani tradition — the telling of Buddhist parables through song — dates back to the 12th century. The songs were performed by wandering storytellers, who travelled from village to village, drawing on their own often humble origins to relate to people from all backgrounds. Vividly illustrated Buddhist thangka paintings depicted the narrative and helped the audience understand what was essentially a teaching. Tibetan “street songs” were a traditional form of expression particularly popular as a means of political and other commentary in a country that was previously without newspapers or other means of mass communication. They provided political and social commentary and satire and are a good example of a bardic tradition, akin to that in medieval Europe or, more recently, the role calypsos played in the West Indies. As song lyrics in Tibet usually contained stanzas of 4 lines of 6 syllables each, the lyrics could be easily adapted to almost any melody. Secular Tibetan music has been promoted by organizations like the Dalai Lama’s Tibetan Institute of Performing Arts. This organization specialized in the lhamo, an operatic style, before branching out into other styles, including dance music like toeshey and nangma. Nangma is especially popular in the karaoke bars of the urban center of Tibet, Lhasa. Another form of popular music is the classical gar style, which is performed at rituals and ceremonies. Lu are a type of traditional a cappella folk songs that feature glottal vibrations and high pitches. There are also epic bards who sing of Tibet’s national hero Gesar.

Music of Timor-Leste

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

Instruments#

Musical instruments, costumes and adornments also play an important role in musical performance. Of the first, babadok and dadir (also dadil, gong or gon) stand out. The babadok is a small tapered wooden drum, about 30 to 50 centimeters long and about 15 centimeters in diameter, generally played by the women that strike it alternately with both hands. The dadir is a metal circle approximately 25 centimeters in diameter, which is struck with a wooden stick, of indefinite height and without the possibility of tuning. Like babadok, it is also an instrument played by women. The performed musical repertoire also includes violas and soprano flutes, western instruments introduced in the Timorese performance. As far as suits are concerned, they are made up of such mane and fetus, male and female, respectively. Such are multicolored cloths manufactured by hand in Timor-Leste, which men wrap around the waist and which women place around the body, under the armpits. The men put a scarf on their heads over which they apply kaibauk, a metal moon with applications of small tears and ears, the largest and most ornate belonging to the traditional Timorese liurai, chief or king. The surik, a warrior sword, and the belak, a metal disc suspended from the chest, complete the men’s attire. Women use kaibauk, in addition to ulum suku, to hold their hair in, and sasuit, a long-toothed comb. They usually wear mortene, a necklace made of different materials, and a white cloth around their waist. Finally, the lokum or kelui, a metal bracelet worn by men on the arm and women on the forearm. All the elements work barefoot and with a salenda, shawl made with the same type of handmade cloth, placed on the shoulders. The guitar has long been an important part of East Timorese music, though it is an import brought by colonisers; there are, however, native kinds of string instruments similar in some ways to the guitar. Foreign influences also include popular styles of music like rock and roll, hip hop and reggae . Lyrics of the songs can be sung in Tetum or Portuguese, official languages of Timor-Leste.

Music of Togo

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

National music#

The Togolese national anthem is Salut à toi, pays de nos aïeux (Land of our forefathers), written by Alex Casimir-Dosseh. From 1979 to 1992 it was replaced by an anthem composed by the party of the Rally of the Togolese People. French is the official and commercial language of Togo.

Traditional music#

Togo’s southern plain is its most populous area, where the capital, Lomé, is situated on the Gulf of Guinea but, like its neighbours, Ghana and Benin, its territory extends hundreds of kilometres northward, passing through a central hill region into the northern savanna that borders Burkina Faso. Its population of over 6 million people, which is 65% rural and agrarian, is composed of about 21 ethnic groups. Approximately 51% of the population has indigenous beliefs, 29% is Christian, and 20% Muslim. The two most populous language groups are the Ewe in the south (about 32% of the population) and the Kabye in the north (22% of the population). Gen or Mina is the second major language in the south, closely related to Ewe: most southern peoples use these two languages, which are spoken in commercial sectors throughout Togo. Fon, another related language, as well as Aja, are also spoken in the south: the Ewe had entered Togo from the east, and Akan people from the west, several centuries before Europeans arrived. Folk songs of fishermen in the south may be accompanied by bells such as the gankogui and frikiwa. Folk songs in Ewe and Kabye, are common, Fon and Yoruba songs also occur. Togolese music includes a great variety of percussion-led dance music. All over Togo drums are used, by Christians and Muslims as well, to celebrate all major events of life and for festivals like the Expesoso or Yeke Yeke festival. In the Aneho district alone drums in use include the and .

Music of Tonga

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

Colonial History#

Tonga was invaded by European explorers in 1616. Early invaders, such as Captain Cook in the 1770s, and William Mariner in the 19th century, describe traditional dance performances featuring singing and drumming. The first proselytizing religious zealots, English Methodists, arrived in 1822. By 1830, most of the population were nominally Christian. Western church music and Western classical and popular music would then start to mingle with the pure Tongan music, resulting in the often hybrid music of contemporary Tonga. Now popular guitar styles are used throughout Tonga too.

Music of Tripura

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

Tripuri folk music#

Tripuris use musical instruments like the kham made of wood and animal skin, the Sumui (flute) made of bamboo, Sarinda, Chongpreng, Dangdu and cymbals are very famous and popular among indigenous Tripuri people. Tripuri folk music, originating from the indigenous Tripuri people of Tripura, India, is deeply rooted in their cultural traditions and is often accompanied by unique bamboo-based instruments. One of the most iconic features of this music is the use of bamboo flutes and percussion instruments, crafted entirely from locally available bamboo. Instruments like the “Sumui” (a bamboo flute) and “Sarinda”, though the latter is partially wooden, are commonly played during festivals, religious ceremonies, and traditional dances. Bamboo, being abundant in the hilly terrains of Tripura, has been utilized not only for construction and daily tools but also for crafting musical instruments that produce soft, earthy, and rhythmic sounds, reflecting the serene lifestyle and natural surroundings of the Tripuri tribes. These instruments are played solo or in ensembles, accompanying traditional songs that often depict tales of love, nature, daily life, and ancestral legends. Tripura Tribal Areas Autonomous District Council (TTAADC). (n.d.). Cultural Heritage of Tripura.

Music of Tunisia

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

Malouf#

Malouf is played by small orchestras, consisting of violins, drums, sitars and flutes. Modern malouf has some elements of Berber music in the rhythms, but is seen as a successor to the cultural heights reached by Muslim Andalusia. Malouf has been called “an emblem of (Tunisian) national identity” https://web.archive.org/web/20050325204236/http://www.worldmusiccentral.org/article.php?story=20030421192920196 . Nevertheless, malouf can not compete commercially with popular music, much of it Egyptian, and it has only survived because of the efforts of the Tunisian government and a number of private individuals. Malouf is still performed in public, especially at weddings and circumcision ceremonies, though recordings are relatively rare. The term malouf translates as familiar or customary. Baron Rodolphe d’Erlanger is an important figure of modern Tunisian music. He collected the rules and history of malouf, which filled six volumes, and set up The Rachidia, an important conservatory which is still in use.

Music of Turkey

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

Classical music#

Ottoman court music has a large and varied system of modes or scales known as makams, and other rules of composition. A number of notation systems were used for transcribing classical music, the most dominant being the Hamparsum notation in use until the gradual introduction of western notation. A specific sequence of classical Turkish musical forms becomes a fasıl, a suite consisting of an instrumental prelude (peṣrev), an instrumental postlude (saz semaisi), and in between, the main section of vocal compositions which begins with and is punctuated by instrumental improvisations, called taksim. A full fasıl concert would include four different instrumental forms and three vocal forms, including a light classical song, şarkı. A strictly classical fasıl (in the early 19th-century style) remains in the same makam throughout, from the introductory taksim and usually ending in a dance tune or oyun havası. However shorter şarkı compositions, precursors to modern day songs, are a part of this tradition, many of them extremely old, dating back to the 14th century; many are newer, with late 19th century songwriter Haci Arif Bey being especially popular. ;Composers and Performers Other famous proponents of this genre include Sufi Dede Efendi, Prince Cantemir, Baba Hamparsum, Kemani Tatyos Efendi, Sultan Selim III and Sultan Suleyman the Magnificent. The most popular modern Turkish classical singer is Münir Nurettin Selçuk, who was the first to establish a lead singer position. Other performers include Bülent Ersoy, Zeki Müren, Müzeyyen Senar, Zekai Tunca, Arif Sami Toker and Emel Sayın.

Music of Turkmenistan

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

Classical Turkmen folk music#

According to Soviet musicologist Viktor Belyayev, Turkmen classical folk music is directly descended from Arabic music as taught and performed in Khorezm, particularly in Bukhara, which was the musical center of the Islamic world in the 13th century. The Turkic tribes of Central Asia, including the predecessors of today’s Turkmen, abandoned their own culture in the 9th century and shifted to Arab culture, including music, with their adoption of Islam.The Arabic musical tradition at that time bore Greek influences on local music dating to the 4th-century conquest by Alexander the Great as well as some Christian influence from the pre-Islamic period. Belyayev notes later influences of Azerbaijani and Afghan music as well. A terracotta figurine from ancient Merv dating to the 2nd through 4th centuries CE portrays a wandering minstrel bearing an instrument resembling the dutar. Belyayev also remarked that it is difficult to separate Arab from Persian influence, noting that kidnapped Persian brides were doubtless a source of Persian influence on Turkmen folk music, given the prevalence of certain Persian melodic influences, including the existence of the augmented second in Turkmen music and use of three Persian musical modes. Gullyyev and Rejepova assert that the epic poem Gorkut Ata reveals the names of early medieval instruments, the gopuz, surnaý, bory, and nagara, but concede that information on Turkmen musical culture of the 9th through 15th centuries is virtually nonexistent. Musician and musicologist Mamed Guseynov, however, notes, …information on musical instruments contained in the works of al-Farabi, al-Kindi, Ibn Sina, Safi al-Din and al-Urmavi (IX-XIII centuries) allows reconstruction of the appearance of more than seventy musical instruments that were widely popular among Turkmens at different times. By the beginning of the XX century, only a few instruments, the most compact and convenient for transportation during migrations, were in demand. These are dutar, gyjak, varieties of tuiduk and gopuz.

Music of Uganda

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

Traditional Music from different regions of Uganda#

Uganda is divided into 4 regions namely; Central, Northern, Eastern and Western. Each region has distinct traditional music as per the tribes and ethnicities. Uganda’s nationalities are diverse and spread evenly throughout the country. Native music in Uganda, like in most African regions, is mainly functional. This means that most music and music activities usually have specific functions related to specific festivities like marriage, initiation, royal festivals, harvests and war among others. The music is performed by skilled tribesmen and women who are good at playing various traditional instruments, folk songs and traditional dances.

Music of Ukraine

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

Folk music#

Ukraine’s geographical position at the crossroads of Asia and Europe is reflected by the region’s folk music, which is a mixture of exotic melismatic singing (the songs include single syllables of text while moving between different successive notes) and harmony which does not always easily fit the harmonic rules of traditional Western European music. The most striking general characteristic of authentic Ukrainian folk music is the common use of minor keys containing augmented seconds, an indication that the tonality system developed in Western European music did not become as entrenched in Ukraine. Ukrainian folk music rarely uses unusual time signatures, but compound metres are encountered. The music can be harmonically complex.Three- and four-part harmony spread from the central steppe regions of Ukraine, but had become less popular in the mountain regions by the late 19th century. Ritual songs show the greatest tendency to preservation. They are frequently in recitative style, essentially monodic, based on notes in the range of a third or a fourth. An example of this style is the theme for the Shchedrivka “Shchedryk” known in the West as “Carol of the Bells”. A large group of Ukrainian ritual melodies fall within a perfect fourth with the main central tone as the lowest note. Many of the ritual Easter melodies known as Haivky fall into this category. The tetrachordal system is also found in wedding and harvest songs. Folk dances often have melodies based on two tetrachords fused together. The pentatonic scale in anhemitonic form is common in Vesnianka songs. The bulk of Ukrainian folk songs melodies are based on scales identical to medieval modes, but differ in melodic structure. The Mixolydian and Dorian modes are used more often than Ionian and Aeolian modes. This is a feature of traditional paraliturgical koliadky. The augmented 2nd interval is found, as well as the raising of the fourth and seventh degree of the scale. It is often used for melodic expression. This melodic manner gives an effect that is described as adding severe tension or sadness in some Ukrainian songs. The phenomenon is not found in Russian folk songs and is thought to have been introduced or developed in the 17th century.

Music of Uruguay

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

Folk music#

Charrúa people used wooden drums, hornpipes, flutes, seashells to play music. Other folk musical instruments are marimba and musical bow. Since colonial times, Uruguay has had its own folk music. Among the most notable countryside musicians are Bartolomé Hidalgo, Santiago Chalar, Osiris Rodríguez Castillos, Tabaré Etcheverry, Juan José de Mello, Cacho Labandera, Anselmo Grau, Amalia de la Vega, Marcos Velásquez, Los Cantaclaro, Abel Soria, Julio Gallego, Teresita Minetti, Oscar Ramírez, Luis Arrúa, Carlos Malo, among others.

Music of Uttarakhand

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

Prominent folk artists of Uttarakhand#

Mohan Upreti(1928-1997): A famous folk-singer from Kumaon, Mohan Upreti is known for Rajula Malushahi Ballad. His iconic Kumaoni song Bedu Pako Baro Masa isreferred to as the cultural anthem of Uttarakhand. This song gained widespread recognition and is said to have been a favorite of former Indian Prime Minister Jawaharlal Nehru and is also the official regimental song of the Kumaon Regiment of the Indian Army.
Narendra Singh Negi (1949-Present) : Negi has sung various folk styles in Uttarakhand be it Jagar, Chaumasa, Thadya, or Playback. He has sung over 1000 songs in different local languages like Garhwali and Jaunsari. curated more than 2500 folk songs from Uttarakhand and gave his voice to more than 500 songs of Garhwali and Kumaoni language. He was also the first singer to sing a ghazal in Garhwali language known as Teri Mukhiri.
Meena Rana, Jeet Singh Negi, Girish Tiwari ‘Girda’, Pritam Bhartwan are also notable folk singers of this region. Rising young talents of Uttarakhand include Jubin Nautiyal and B. K. Samant.

Traditional Music Instruments of Uttarakhand#

Dhol: This is a drum in which a wooden or brass hollow is covered with leather at both ends.
Damau: This percussion instrument consists of two leathered brass cones of different sizes. The larger one is called ‘Daindama’ and the smaller one ‘Baundamu’ - both producing distinct sounds.
Turturi or turhi : Turhi is a wind instrument made of bronze and brass.
Mushak Been or Bagpiper : The mashak (also known as mushak baja, masak, mishek, meshek, moshug, moshaq, moshuq, mashak bin, bin baji) is similar to a bagpipe.
Bansuri/Murali :The bansuri is revered as Lord Krishna’s divine instrument and is often associated with Krishna’s Rasa lila dance- akin to a flute.

Significance of music in Pahari Culture#

Live music plays a key role in traditional dance forms, including Pandav Lila (Garhwal) and Chapeli (Kumaon), which are performed primarily during festivals . While the dancers are performing, they are accompanied by musicians playing traditional instruments such as the dhol, damau, and turri. The presence of live music during festivals and community gatherings helps preserve the storytelling aspects embedded within the dances. Garhwal and Kumaon, the two regions in Uttarakhand, primarily differ in their lyrical texture and musicality. Kumaoni music tends to be more upbeat and are based on stories (folk music) whereas Garhwali music are romantic ballads and devotional songs. The presence of live music during festivals and community gatherings helps preserve the folklore embedded within the dances.

Music of Uzbekistan

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

Classical music of Uzbekistan#

The music of what is now Uzbekistan has a very long and rich history. Shashmaqam, a Central Asian classical music style, is believed to have arisen in the cities of Bukhara and Samarqand in the late 16th century. The term “shashmaqam” translates as six maqams and refers to the structure of music with six sections in different musical modes, similar to classical Persian traditional music. Interludes of spoken Sufi poetry interrupt the music, typically beginning at a low register and gradually ascending to a climax before calming back down to the beginning tone. After Turkestan became part of the Russian Empire in the 19th century, first attempts were taken to record national melodies of Turkestan. Russian musicians helped preserve these melodies by introducing musical notation in the region. In the 1950s, Uzbek folk music became less popular, and the genre was barred from radio stations by the Soviets. They did not completely dispel the music. Although banned, folk musical groups continued to play their music in their own ways and spread it individually. After Uzbekistan gained independence from the USSR in the early 1990s, public interest revived in traditional Uzbek music. Nowadays Uzbek television and radio stations regularly play traditional music. The people’s Artist of Uzbekistan Turgun Alimatov is an Uzbek classical and folklore composer, and tanbur, dutar, and sato player. His compositions include “Segah”, “Chorgoh”, “Buzruk”, “Navo”, and “Tanovar”. His image is associated with national pride and has been presented as the symbol of Uzbek classical music to the world. Another well-known Uzbek composer is Muhammadjon Mirzayev. His most famous compositions include “Bahor valsi” (“The Spring Waltz”) and “Sarvinoz”. “Bahor valsi” is played on Uzbek television and radio channels every spring. Sherali Joʻrayev was a singer of traditional Uzbek music. However, he fell out of favour with the Uzbek government, who banned his performances on Uzbek TV as well as his public performances beginning in 2002. He still performed at Uzbek wedding parties and in other countries to popular acclaim. In recent years, singers such as Yulduz Usmonova and Sevara Nazarkhan have brought Uzbek music to global audiences by mixing traditional melodies with modern rhythms and instrumentation. In the late 2000s, Ozodbek Nazarbekov mixed contemporary music with elements of traditional Uzbek music.

Music of Vatican City

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

External links#

Encyclical of Pope Pius XII on Sacred Music
Music manuscript display in the Vatican

Music of Venezuela

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

Joropo#

Joropo was developed by creative artists such as Juan Vicente Torrealba, Ignacio Figueredo, Augusto Bracca, Genaro Prieto, Rafael Angel Aparicio, Eneas Perdomo and Angel Custodio Loyola, who helped to popularize the music throughout the country. Since then a slick, contemporary form of pop-llanera has developed which has earned the scorn of some purists who perceive it as stale and watered-down. Some singers, such as Isabelita Aparicio, Adilia Castillo, Lorenzo Herrera, Simon Diaz, Mario Suarez, Edith Salcedo, Fernando Tovar, Miguelito Rios, Magdalena Sanchez, Rafael Montaño, Reyna Lucero, Vidal Colmenares, Armando Martinez, Raquel Castaños, Scarlett Linares, Cristina Maica, Luicel Mora, Emily Galaviz, José Catire Carpio, Cristobal Jimenez, Juan de los Santos Contreras (El Carrao de Palmarito), Rafael Montaño, and Reynaldo Armas have maintained a huge following over the years. In a similar vein, there is also neo-folklore, which takes traditional music and arranges it in an electronic style. In 2025, UNESCO inscribed Venezuelan joropo on the Representative List of the Intangible Cultural Heritage of Humanity.

Music of Vermont

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

Music education and institutions#

The Vermont Symphony Orchestra, founded in 1934, was the first state-funded orchestra in the nation. The orchestra’s first artistic director was Alan Carter, followed by Efrain Guigui, Peter Brown, and Kate Tamarkin. The Artistic Director and conductor today is Jaime Laredo. Laredo performs worldwide as a soloist and frequently in duo concerts with Sharon Robinson, cellist. The VSO’s “Made in Vermont” series annually commissions a Vermont composer to create a large-scale work that tours the State. Previous recipients have included G. Walker, L. Koplewitz, et al. Current composer-in-residence with the VSO is David Ludwig. The Vermont Youth Orchestra has come to prominence since the mid-1990s under the direction of composer/conductor Troy Peters. The Consortium of Vermont Composers was formed in 1988 to promote composers of classical music from the state; the Consortium calls Vermont the “most composer-friendly state” in the country.

Music of Vietnam

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

History#

Traditional Vietnamese music has been mainly used for religious activities, in daily life, and in traditional festivals. The music is considerably diverse due to Vietnam’s ethnic population. Moreover, each of Vietnam’s ethnic groups owns many unique types of musical instruments. The influence of Asian musical cultures on Vietnamese music can be seen in particular instruments such as the flutes, zithers, harps, and erhu. However, the recovery of an almost complete stringed instrument from a deer antler dated to 2,000 years old and shows clear similarities with traditional Vietnamese musical instruments indicate that these traditional instruments have ancient origins.

Music of West Africa

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

Popular music#

The sounds of popular music throughout West Africa are comparable to a combination of Western, Latin American and traditional African music. Genres such as Highlife, Afro-Calypso and African Jazz reflect this fusion Highlife is rarely sung in English. Highlife is regularly played by big bands composed of a wide variety of instruments. The prevalence of modern, typically European instruments in large highlife bands dates back to the 19th century; when the Gold Coast was established, European missionaries and merchants brought with them accordions, brass instruments, guitars and harmonicas. The sounds of these instruments combined with the more traditional drum-focused music of West Africa to create the fusion that is highlife. A major factor in highlife’s increase in popularity during the mid-20th century was the desire to raise spirits after World War Two. Afrobeat is a music genre with major popularity throughout West Africa. Originating in Nigeria in the early 20th century, Afrobeat grew in popularity in the 1960s. This growth was mainly due to the considerable fame of Fela Kuti, the ‘Father of Afrobeat’, and other pivotal artists such as Tony Allen and Ebo Taylor. Afrobeat is influenced by palm-wine music and Ghanaian highlife, as well as jazz, funk and fuji. Fela Kuti devised the term ‘Afrobeat’ as early as 1968 in his home country of Nigeria. The earlier sounds of Afrobeat have influenced Western artists such as British producer Brian Eno and American rapper Talib Kweli, the latter being a more general term used to describe popular contemporary music throughout West Africa. A distinct trait of Afrobeats’ sound is its focus on drum rhythms, commonly made electronically. Davido, Wizkid, Burna Boy Tekno are highly popular West African Afrobeats artists.

Music of West Bengal

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

Ragapradhan Gaan#

Bengali classical music is based on modes called ragas. In composing these songs, the melodies of North Indian ragas are used. As far as the Charyagiti (9th century), ragas have been used in Bengali music. Jaydev’s Gita Govinda, Padavali Kirtan, Mangal Giti, Shyama sangeet, Tappa, Brahma Sangeet and Tagore songs have been inspired by Ragas. The use of North Indian ragas in Bangla songs began in 18th century. This trend gathered momentum during the 19th and 20th centuries. The pioneers of these trend were Ramnidhi Gupta of North Kolkata, Kali Mirza of Hooghly, Raghunath Roy and the founder of the Bishnupur Gharana, Pandit Ramshanker Bhattacharya of Bankura. Nawab of Lucknow, Wajid Ali Shah played an important role in this trend. He was dethroned by the British Empire in 1856 and banished to Metiaburuz, Kolkata in present-day West Bengal. During his 30-year exile, he patronized music, specially dhrupad, tappa, thumri and kheyal. And, thus made a lasting impact on Bengali music. All traditional Bengali music tend to be based on various variations of Hindustani classical music. Rabindranath Tagore had a deep appreciation for north Indian ragas, successfully introduced ragas in his songs. He was followed by Dwijendralal Ray, Rajanikanta Sen and Atulprasad Sen.

Music of Wyoming

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

Music history#

The first music in Wyoming was played by various Native American tribes in the present-day U.S. state of Wyoming. European settlers later arrived, bringing with them harmonicas, flutes, fiddles, and guitars because these were relatively lightweight and easy to carry on the frontier. The military played a major role in the historical development of the music of Wyoming. Virtually all posts had a band, and many soldiers learned to play the bugle and served in the drum and bugle corps. Military music was often the most prominent source of entertainment in many parts of early colonial Wyoming. Outsider musician Moondog lived in Wyoming as a child. Pop punk band The Lillingtons were formed in Newcastle in 1995. Rapper Kanye West’s 2018 album Ye was recorded on his ranch in Jackson Hole, Wyoming and has a picture of the Teton Range on the cover.

Music of Xinjiang

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

Muqam#

The best-known musical form of the Uyghur people is the , a complex suite of 12 sections related to Uzbek and Tajik forms. These complex symphonies vary wildly between suites in the same muqam, and are built on a 7-note scale. Instruments typically include the dap (a frame drum), hammered dulcimers, fiddles, and lutes; performers have some space for personal embellishments, especially in the percussion. However, there is much variation on the number and kind of instruments used in the performance of a muqam. In November 2005 the Art of Uyghur Muqam was named a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO.

Music of Yemen

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

Pre-history#

Archaeological excavations have confirmed the antiquity of music in Yemen, demonstrating that it is a unique art form independent of influences from the ancient Near East. Yemeni music is deeply rooted in the region, widely disseminated, and influential among various cultures—even reaching the countries of the Far Maghreb. Archaeological surveys and excavations—ranging from petroglyphs in regions such as Saada, Tihama, Sanaa (Bayen Jadrain), Haz, Al-Jawf, Marib, and Najran—to artefacts such as coins, statues, and inscriptions—have revealed that music in ancient Yemeni civilisations originated when early Yemenis employed a diverse array of musical instruments. For example, a French mission in the Saada region uncovered a rock drawing depicting the kinara instrument, dating back to prehistoric times. In the Al-Jawf region, columns at the Arn Yedda Temple feature scenes of musical instruments accompanied by dancers, representing wind instruments like the trumpet and the khushkhishah—a sound-producing instrument—with this artwork dated to the 9th–8th century BC. Additionally, a column at the Ma’in Temple displays scenes of musical processions that include stringed instruments such as the Tanbura, alongside wind instruments like the trumpet and flute, carried by groups of priests. Numerous other archaeological findings further attest to the rich diversity of wind, percussion, vocal, and stringed instruments in ancient Yemen.

Music of Yugoslavia

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

History#

Different music genres rose, evolved, and declined at different times and in different places across and throughout the component republics of Yugoslavia. For example, Yugoslav punk and new wave rose in the late 1970s; disco, both foreign and “Yu-disco”, was making inroads by the early 70s, with international stars such as Earth, Wind & Fire performing in Zagreb, Belgrade, and Ljubljana in 1975. The communist government confiscated Edison Bell Penkala and Elektroton, companies that had been active in the interwar period, and used them to create the state-sponsored, Zagreb-based record label Jugoton in 1947. It became the largest Eastern European label outside of the USSR and was instrumental in the development of pop music in SFR Yugoslavia. From its founding in 1947 to 1953, it was under the direct purview of the Yugoslav Communist Party and produced classical, revolutionary, and tradition folk music repertoires in the tradition of social realism.

Music of Zambia

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

Traditional Music#

Traditional Zambian music is rooted in the beliefs and practices of Zambia’s various ethnic groups and has suffered some decline in the last three decades. Traditional Zambian music once had clear ritual purposes or was an expression of the social fabric of the culture. Songs were used to teach, to heal, to appeal to spirits, and for mere enjoyment. Despite the decline of traditional music, its influences can still be heard in many of today’s Zambian musical forms. The ubiquitous African “call-and-response” can be heard in almost every Zambian song no matter what the style. Traditional drum rhythms and polymeters are evident in many different kinds of Zambian music. Contemporary popular forms such as Zambian Kalindula also exhibit traces of traditional music in the finger-picking style used by guitarists and other musicians.

Music of Zimbabwe

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

Rock#

Some famous Zimbabwean rock bands are - Dividing The Element, Curfew At Midnight, Evicted, Flying Bantu and Chikwata-263.

Sungura#

Sungura is the most popular musical genre in Zimbabwe. It emerged in 1953, in a time when regional identity was in formation. This is the local genre of the Zimbabwe music industry. Sungura music became popular in the early 1980s, pioneered by frontman Ephraim Joe and his band Sungura Boys which counted many notable future hit makers as members. Their roll included John Chibadura (guitar), Simon Chimbetu (guitar and vocals), Naison Chimbetu, Ronnie Gatakata, Michel Jambo (drums), Ephraim Joe (guitar), Moses Marasha (bass), Never Moyo (lead guitar), Bata Sinfirio (rhythm guitar), System Tazvida (guitar and vocals). The Khiama Boys emerged as natural successors to the Sungura Boys after their demise during the mid-eighties. Members would include System Tazvida (Rhythm guitar), Cephas Karushanga (Vocals & Lead Guitar), Nicholas Zacharia (Rhythm at the time & Lead guitar), Alick Macheso (Bass), Silas Chakanyuka (Drums) and Zakaria Zakaria (Rhythm & Sub-Rhythm guitar). A great number of these artistes have gone on to forge successful careers with their own bands whilst Nicholas Zacharia has remained as the leader of the band and was active until 2025, when he died. James Chimombe, whose romantic ballads and the influential sungura guitar melody (consisting of lead, rhythm and bass), made him a favorite in the late 80s. Other notable artists include Zexie Manatsa, Tinei Chikupo, Paul Matavire, Zvishavane Sounds and Jonah Moyo’s Devera Ngwena, among others. The 90s decade was dominated by musicians such as Leonard Dembo, the effervescent Khiama Boys, veteran Simon Chimbetu and then upcoming artistes Alick Macheso, Tongai Moyo and Somandla Ndebele. One of the stars of the decade was Leonard Zhakata, whose musical project was a spinoff of the double play Maungwe Brothers, an act fronted by Zhakata and his cousin Thomas Makion. Other popular acts included Pengaudzoke, the Wrist Brothers, Zimbabwe Chachacha Kings, Aaron Chinamira, King Pharao, Hosiah Chipanga, Stabien Mawire and Paul Mpofu, to mention a few. The decade 2000 till present has been characterised by a wrangle for the crown for the kingship of Sungura between the two most prominent Sungura musicians of the decade, Alick Macheso and Tongai Moyo. Having dominated sales, tour and concert attendances, the heckling and counter-heckling by the artists at shows and in some recorded material is strong proof of their feud akin to the BIG vs Tupac in American ’90s hip hop. Other artists to come through this decade include Joseph Garakara, Suluman Chimbetu (son of Simon), Allan Chimbetu (Simon’s brother), Tryson Chimbetu (Naison’s son), Cephas Mashakada, Gift Amuli, Howard and Tatenda Pinjisi, First Farai as well as Josphat and Daiton Somanje, the Pengaudzoke frontmen who were pursuing solo careers. Alick Macheso has largely dominated the scene, creating popular dance choreographies such as ‘Borrowdale’, Razor Wire, zoraaa butter, femba bute and kedebu, which mimic everyday routines in Zimbabwean life. A new generation of Sungura artists is emerging, largely influenced by Macheso’s distinct style of a leading bass guitar. This generation includes artists like Mark Ngwazi, Tendai Ngwazi, Peter Moyo (son of Tongai), Simon Mutambi, Romeo Gasa, Sugar Sugar, Jacob Moyana and Francis ‘Slomo’ Dhaka among others. The genre is increasingly getting international recognition with some non-natives trying it out. Notable among these are Eirik Hoff Walmsiness ‘Eriki’ from Norway and Indian Dhyaan Kumar. System Tazvida, Simon Chimbetu, James Chimombe, Tongai Moyo, Paul Matavire, John Chibadura, Leonard Dembo, and Thomas Makion have all died. It’s also worth noting that a new wave of Sungura, dubbed Trap Sungura, has emerged in Zimbabwe, fueled by Tanto Wavie.

Music podcast

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

History#

Music podcasts date back to the dawn of podcasting when former MTV VJ Adam Curry and tech columnist and former TechTV Host John C. Dvorak coined the term podcast. Among the first music podcasts was AudioFile Airwav, a digital audio counterpart to the TechTV music series AudioFile which featured interviews with popular musicians, digital music trends and music related gear reviews. Created and hosted by Kris Kosach, AudioFile Airwav was initially available only through techtv.com and syndicated on TechTV Radio until it was uploaded by James Kim to the iTunes Music Store in 2005. It remained there until the company was sold to Comcast. Another early music podcast, called Coverville, was started in 2004. Accident Hash and Irish & Celtic Music Podcast and began podcasts the following year. Positive Feedback Magazine began hosting one of the earliest music podcast in the Fall of 2005. The show, hosted by Austin Jackson, was called the Boston Audio HiFi Industry Podcast. In each episode, Austin Jackson would take user-submitted questions and spend thirty minutes interviewing musicians and other figures in the music industry. Spotify was one of the earliest platforms to produce music podcasts and has launched the most music podcasts when compared with other platforms. Spotify launched their first Spotify original music podcast, entitled Clarify, in the Fall of 2016. They announced on February 23, 2017, that they would be launching three additional Spotify original music podcasts. The first was entitled Showstopper, which discussed memorable music moments on TV. The next was Unpacked, a podcast focused on interviewing music festival goers across the United States. The third podcast, originally called The Chris Lighty Story but later renamed to Mogul, was about the life and career of the late music executive Chris Lighty. In 2018, Spotify signed exclusive deals with two more music podcasts—The Joe Budden Podcast and Dissect. However, Joe Budden took his podcast off of Spotify two years later when he decided that the company was too difficult to work with and was “pillaging his audience.” In 2020, Spotify celebrated Latinx Heritage Month by promoting latinx music and podcasts, which included the music podcasts entitled Sound Stories: Reggaeton, Made in Medellín, and California Love. The platform also hosted the Spotify exclusive music podcast entitled Transmissions: The Definitive Story of Joy Division & New Order and The Ringer Music Show. Spotify launched the platform exclusive country music podcast entitled Country Shine with Graham Bunn. In 2020, The platform released the Spotify exclusive Disney music podcast entitled Soul Stories on Christmas Day. In 2021, the platform partnered with Dreamville to launch the Spotify original music podcast entitled The Messenger. The podcast was based on Bobi Wine’s life. Other music podcasts that are Spotify exclusives include Wind of Change and Lost Notes. Many other music services, radio stations, and news organizations have produced or funded music podcasts, which are sometimes exclusive to their own platforms. For instance, Sony Music released the music podcast My 90s Playlist, Universal Music Group and Wondery launched Jacked: Rise of the New Jack Sound, iHeartRadio released Speed of Sound, and NPR launched Louder Than A Riot. In June 2020, iTunes started hosting the music podcast entitled The Zane Lowe Interview Series hosted by Zane Lowe. The Talkhouse podcast is also on iTunes. One of the top music podcasts on iTunes was Cocaine & Rhinestones in 2018. Google launched its first music podcast, entitled City Soundtracks, around the same time Spotify released Showstopper. as well as They Might Be Giants.

Music theatre

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

Música cebolla

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

Música criolla

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

Vals criollo#

The vals criollo is a unique musical form characterized by time, originating in the coast of Peru. The vals criollo is a variation of the European Waltz brought by Spaniards to Peru, played with Spanish instruments by criollos and mestizos of all races since the Peruvian Colonial Period. It was around the 1930s when city neighborhoods or barrios started developing their own styles. It was not heavily promoted by the media until the 50s when several Peruvian groups and singers started touring heavily. Other singers, songwriters and ethnomusicologists were compiling old interpretations and began recording songs that were never recorded before. This type of music includes elaborate Spanish guitar work accompanied in recent years by cajón and castanets with lyrics that talk about love, social dilemmas and nostalgia. This form is known outside of Peru as vals peruano (Peruvian waltz). Popular vals artists include singers like Arturo “Zambo” Cavero, Jesús Vásquez, groups like Los Morochucos, Los Troveros Criollos, Los Embajadores Criollos, Fiesta Criolla and composers like Felipe Pinglo Alva, Chabuca Granda and Augusto Polo Campos.

Música popular (Colombia)

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

History#

The genre started to develop between the 1930s and 1940s in the Paisa Region (comprising the modern-day departments of Antioquia, Caldas, Quindío and Risaralda), based on Mexican folk music genres such as corrido, huapango and ranchera, as well as on bolero, tango, pasillo and others, which were very popular among campesinos around that time. The genre started to gain popularity between the late 1940s and the 1950s, when artists such as Óscar Agudelo or Luis Ángel Ramírez started to take off. During that time, the genre was regarded as proper to Colombia’s lower class. During the late 20th century, the most well known genre’s artists such as Darío Gómez, El Charrito Negro, Luis Alberto Posada, etc. were being listened all throughout the country’s bars. However, the genre started to stall in the early 2000s, given the low number of well-known artists and the aging of the existing ones. The genre saw a comeback between the late 2000s and the early 2010s, when new artists such as Pipe Bueno, Jhon Álex Castaño or Yeison Jiménez started to appear. It is not exactly known why this increase in popularity occurred. When interviewed by El Colombiano, senior manager of record label Codiscos Álvaro Picón said that Pipe Bueno played a huge roll in the process of the genre’s repopularization. He also said that the popularity momentum created by Bueno was then kept by the introduction other new artists who brought the genre to listeners outside of its traditional bar niche. The softening of the lyrics of the genre’s songs was also cited as a factor by Picón. He lastly said that additionally, a decline in the popularity of romantic vallenato coinciding with the revival of música popular boosted even more the rise in popularity of the last one.

Música popular brasileira

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

History#

MPB, loosely understood as a “style”, debuted in the mid-1960s, with the acronym being applied to types of non-electric music that emerged following the beginning, rise and evolution of bossa nova. MPB artists and audiences were largely connected to the intellectual and student population, causing later MPB to be known as “university music.” Over time, the definition of MPB expanded to include a wider variety of music that was popular in Brazil, including rock music, which was not initially under the umbrella due to its foreign origins.

Musical improvisation

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

Medieval period#

Although melodic improvisation was an important factor in European music from the earliest times, the first detailed information on improvisation technique appears in ninth-century treatises instructing singers on how to add another melody to a pre-existent liturgical chant, in a style called organum. Throughout the Middle Ages and Renaissance, improvised counterpoint over a cantus firmus (a practice found both in church music and in popular dance music) constituted a part of every musician’s education, and is regarded as the most important kind of unwritten music before the Baroque period.

Musical theatre

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

Book musicals#

Since the 20th century, the “book musical” has been defined as a musical play where songs and dances are fully integrated into a well-made story with serious dramatic goals and which is able to evoke genuine emotions other than laughter. The three main components of a book musical are its music, lyrics and book. The book or script of a musical refers to the story, character development and dramatic structure, including the spoken dialogue and stage directions, but it can also refer to the dialogue and lyrics together, which are sometimes referred to as the libretto (Italian for “small book”). The music and lyrics together form the score of a musical and include songs, incidental music and musical scenes, which are “theatrical sequence s set to music, often combining song with spoken dialogue.” The interpretation of a musical is the responsibility of its creative team, which includes a director, a musical director, usually a choreographer and sometimes an orchestrator. A musical’s production is also creatively characterized by technical aspects, such as set design, costumes, stage properties (props), lighting and sound. The creative team, designs and interpretations generally change from the original production to succeeding productions. Some production elements, however, may be retained from the original production, for example, Bob Fosse’s choreography in Chicago. There is no fixed length for a musical. While it can range from a short one-act entertainment to several acts and several hours in length (or even a multi-evening presentation), most musicals range from one and a half to three hours. Musicals are usually presented in two acts, with one short intermission, and the first act is frequently longer than the second. The first act generally introduces nearly all of the characters and most of the music and often ends with the introduction of a dramatic conflict or plot complication while the second act may introduce a few new songs but usually contains reprises of important musical themes and resolves the conflict or complication. A book musical is usually built around four to six main theme tunes that are reprised later in the show, although it sometimes consists of a series of songs not directly musically related. Spoken dialogue is generally interspersed between musical numbers, although “sung dialogue” or recitative may be used, especially in so-called “sung-through” musicals such as Jesus Christ Superstar, Falsettos, Les Misérables, Evita and Hamilton. Several shorter musicals on Broadway and in the West End in the 21st century have been presented in one act. Moments of greatest dramatic intensity in a book musical are often performed in song. Proverbially, “when the emotion becomes too strong for speech, you sing; when it becomes too strong for song, you dance.” In a book musical, a song is ideally crafted to suit the character (or characters) and their situation within the story; although there have been times in the history of the musical (e.g. from the 1890s to the 1920s) when this integration between music and story has been tenuous. As The New York Times critic Ben Brantley described the ideal of song in theatre when reviewing the 2008 revival of Gypsy: “There is no separation at all between song and character, which is what happens in those uncommon moments when musicals reach upward to achieve their ideal reasons to be.” Typically, many fewer words are sung in a five-minute song than are spoken in a five-minute block of dialogue. Therefore, there is less time to develop drama in a musical than in a straight play of equivalent length, since a musical usually devotes more time to music than to dialogue. Within the compressed nature of a musical, the writers must develop the characters and the plot. The material presented in a musical may be original, or it may be adapted from novels (Wicked and Man of La Mancha), plays (Hello, Dolly! and Carousel), classic legends (Camelot), historical events (Evita and Hamilton) or films (The Producers and Billy Elliot). On the other hand, many successful musical theatre works have been adapted for musical films, such as West Side Story, My Fair Lady, The Sound of Music, Oliver! and Chicago.

Musique concrète

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

Beginnings#

In 1928, music critic André Cœuroy wrote in his book, Panorama of Contemporary Music, that “perhaps the time is not far off when a composer will be able to represent through recording, music specifically composed for the gramophone”. In the same period, the American composer Henry Cowell, in referring to the projects of Nikolai Lopatnikoff, believed that “there was a wide field open for the composition of music for phonographic discs”. This sentiment was echoed further in 1930 by Igor Stravinsky, when he stated in the revue that “there will be a greater interest in creating music in a way that will be peculiar to the gramophone record”. The following year, in 1931, Boris de Schloezer also expressed the opinion that one could write for the gramophone or for the wireless just as one can for the piano or the violin. Shortly after, German art theorist Rudolf Arnheim discussed the effects of microphonic recording in an essay entitled “Radio”, published in 1936. In it the idea of a creative role for the recording medium was introduced and Arnheim stated that: “The rediscovery of the musicality of sound in noise and in language, and the reunification of music, noise and language in order to obtain a unity of material: that is one of the chief artistic tasks of radio”. Possible antecedents to musique concrète have been noted; Walter Ruttmann’s film (Weekend) (1930), a work of “blind cinema” without visuals, introduced recordings of environmental sound, to represent the urban soundscape of Berlin, two decades before musique concrète was formalised. Ruttmann’s soundtrack has been retrospectively called musique concrète. According to Seth Kim-Cohen, the piece was the first to “organise ‘concrete’ sounds into a formal, artistic composition.” Composer Irwin Bazelon referred to a sound collage in the film Dr. Jekyll and Mr. Hyde (1931), during the first transformation scene, as “pre-musique concrète”. Ottorino Respighi’s Pines of Rome (; 1924) calls for a phonograph recording of birdsong to be played during the third movement.

Musique mesurée

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

History#

Pieces written as musique mesurée were settings of the poetical form known as vers mesurés. Beginning in the late 1560s in Paris, under the direction of Jean-Antoine de Baïf, a group of poets known as the Pléiade attempted to recreate the metrical effect of ancient Greek and Latin poetry in French, using the quantitative principles of those languages. The attempt was more than an academic one: Baïf and his associates, horrified by the barbarity of the age, including the bloody religious wars which raged throughout the last decades of the century, sought to improve mankind by bringing back the ancient diction, which was believed to have had a positive ethical effect on its hearers. For this attempt they had the approval of the current king of France, Charles IX, and they met in secret to plan their musical revolution. Baïf, with the royal patent, founded the Académie de Poésie et de Musique in 1570, along with his intimate musical associate Joachim Thibault de Courville. Poet Pierre de Ronsard was also involved in the group. As originally planned, the members of the Académie would be in a hierarchy of two grades: first, the composers and singers, known as the professionnels, and after that, the gentleman listeners, known as the auditeurs, who were also to provide financial backing for the enterprise. Aside from this small group of aristocrats, no one else was invited. The concerts took place at Baïf’s house in Paris: Charles IX himself, who provided much of the patronage, was often present. Some of the house rules have been recorded. There was to be no talking, or disturbances of any kind, during the singing, and anyone who came in late had to wait until the end of a piece to be seated – rather like modern concert-hall etiquette. Musicians were to rehearse every day, and no music was to be copied or taken away from the area of performance. The music was so closely guarded, at least during the early years of the Académie, that no music of the originating composer – Courville – is known to have survived. The Académie was short-lived, and probably did not survive after 1573, the year of the death of Charles IX. Another similar group, the Académie du Palais, which met at the Louvre after 1573 with the backing of the new king, Henri III, seemed to carry on some of the work of the previous group, but its aim seems to have been more to debate philosophical issues than to reform humanity through reviving Ancient Greek and Latin poetry and music. The activities, if any, of the original Académie after this time are poorly-documented: while the musicians continued to meet, it is not known if they met in a formal setting, as they had prior to the death of Charles IX. This was during a period of increasing religious turmoil, ending in the fighting in Paris in 1589, and the assassination of the king; associations of humanists such as the Académie, which included both Catholics and Protestants, became increasingly difficult (Baïf, a Catholic, even wrote a sonnet in 1572 praising the St. Bartholomew’s Day Massacre; Claude Le Jeune, a Protestant, was nearly murdered during the siege of Paris in 1589). Even though the original Académie had faded away within a few years of its founding, several prominent composers found the concept of musique mesurée to be so attractive as to make it their primary compositional method. The most famous of these was Claude Le Jeune, followed by Jacques Mauduit, Eustache Du Caurroy, Nicolas de La Grotte, and Guillaume Costeley.

Muwashshah

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

History#

While the qasida and the maqama were adapted from the Mashriq, strophic poetry is the only form of Andalusi literature known to have its origins in the Iberian Peninsula. Andalusi strophic poetry exists in two forms: the muwaššaḥ: a more complex version in Standard Arabic with the exception of the concluding couplet, or the kharja, and zajal: a simpler form entirely in vernacular Arabic. Ibn Sanāʾ al-Mulk (d. 1211), author of Dār aṭ-ṭirāz fī ʿamal al-muwashshaḥāt (), wrote the most detailed surviving musical description of the muwashshaḥ. He wrote that some of the muwashshaḥāt had lyrics that fit their melodies (sometimes through melisma), while others had improvised nonsense syllables to fill out the melodic line—a practice that survives to the present with relevant sections labeled as shughl ( ‘work’) in songbooks.

Muzică populară

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

Meaning of the term#

The Romanian term “muzică populară” has been used with different meanings. In the 1930s, for example, in the writings of Constantin Brăiloiu, it refers to Romanian folk music as the music of Romanian peasants. Later the term acquired a new meaning: since the 1950s it has been used in opposition to “proper” folk music to exclusively describe the more commercially produced music reminiscent of folk music.

Muziki wa dansi

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

History#

In the first decades of the 20th century, soukous bands from Belgian Congo and French Congo were getting very popular across Eastern Africa. This craze brought along dance clubs, especially in major cities like Nairobi and Dar es Salaam, where bands would play live 7 days a week. While some of these bands were actually from Zaire, local bands emerged in Kenya, Tanzania and elsewhere and began to develop their own blend of soukous. In Dar, some of the bands that pioneered the “tanzanian rumba” were Dar es Salaam Jazz Band (founded in 1932), Morogoro Jazz and Tabora Jazz. These early bands were typically big bands based on brass and drums. As a consequence of this, the most talented musicians would typically switch back and forth between bands to the best offerer, until they had gathered enough money to start their own band. Composers like Muhiddin Maalin and Hassani Bitchuka wrote hit songs for virtually all the major bands of their times. Conversely, a band was more of a “brand” than any specific ensemble of musicians; some bands kept playing for up to 50 years, while their members came and went. Dansi music flourished through the 1960s, 1970s and 1980s, with bands such as Orchestra Safari Sound, Orchestra Maquis Original, International Orchestra Safari Sound and DDC Mlimani Park Orchestra battling to get the audience’s favours. Competition was in fact a relevant concept in the development of dansi. Music festivals were usually in the form of contests, and each band typically had its own fan base, much in the venue of sporting teams.