NA on Music Theory Print

Nā mele paleoleo

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

Early protest era (MC Frumpy and DJ ELITE)#

Nā mele paleoleo first emerged in the late 1980s with Honolulu-based hip hop artists Charlotte “MC Frumpy” Kaluna and her hānai-brother Joseph “DJ ELITE” Netherland. Frumpy and ELITE were later joined by Frumpy’s protege Jason “BUZ 1” Tavares, described in a PBS Hawaiʻi profile as an underground freestyle lyricist active with groups such as Hi-State Family, VM, and Moʻilla Pillaz. Tavares’s high-energy lyricism and performances complemented the protest orientation of Frumpy and ELITE. Their work drew on the confrontational edge of conscious hip hop acts such as Public Enemy, Boogie Down Productions (particularly KRS-One), Queen Latifah, and early Ice Cube solo releases. They were also shaped by early 1990s punk and alternative groups including Bikini Kill and Rage Against the Machine. Through this fusion, MC Frumpy, DJ ELITE, and proteges such as BUZ 1 helped establish a hip hop scene rooted in activism and protest culture. Their performances were confrontational and agitational. The genre functioned as a tool of resistance in public demonstrations rather than a recorded, commercial style at this stage.

Naamyam

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

External links#

Cantonese Narrative Song Naamyam: Hong Kong Cultural Treasure

Nagauta

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

History#

It is uncertain when the was first integrated into kabuki, but it was sometime during the 17th century; Malm argues that it was probably before 1650. Many of the “classic” repertoire was composed in the 19th century, which is the time of the best-known composers as well. Many pieces are based on Noh theater, partly due to the number of kabuki plays derived from Noh theater pieces, and many were revived during the 19th century. There is evidence of the influence of Japanese folk music on too. During the 19th century, (concert ) developed as a style of composed for non-kabuki, non-dance performances in which a performer’s skill was emphasized. Two classic compositions of are (1818) and (1845). In the 20th century, a number of composers have integrated Western elements into styles, including playing the at a faster tempo, in violin cadenza style, or by using larger ensembles to increase the volume. is the basis of the Nagauta Symphony, a symphony in one movement composed in 1934 by composer Kosaku Yamada.

Nagoya kei

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

History#

Early notable Nagoya kei acts include Silver~~Rose (formed 1989), Kuroyume, and Merry Go Round (both formed 1991). According to Fanatic Crisis guitarist Shun, Silver~~Rose and Kuroyume were the “big two” of the early scene. Keito Ozaki of Japanese pop culture website Real Sound wrote that many Nagoya kei bands eventually diverge into different directions; Kuroyume turned to punk rock and hardcore punk, Laputa turned to a digital sound, Fanatic Crisis went pop, and Merry Go Round went in a “maniacal, ero guro and underground direction.” However, Ozaki wrote that Lynch. has more than a few traits in common with Nagoya kei. Particularly noting how, due to the popularity of Dir En Grey, many contemporary bands have heavier sounds with low-tuned guitars, including those in Nagoya. Despite not being from Nagoya, Arlequin (formed 2013) were influenced by its bands and have labeled themselves the “next generation of Nagoya kei.”

Nanguan music

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

Repertoire#

Nanguan repertory () falls into three overlapping styles, called , and (, and in Mandarin), differentiated by the contexts in which they occur, by their function, the value accorded them by musicians and by their formal and timbral natures. * () or () literally means “finger set”, is the longest repertoire: it is normally half to one hour in length, of two to five sections usually, each section being known as a or (“piece”). There are currently 48 sets of , consisting of the original 36 sets (inner sets) and the 12 sets (outer sets) added later. It runs through long pieces with a strong timbre, contains a lot of high and long notes, and has no resting sections. Each is associated with a lyric that alludes to a story. The content of the lyrics mainly comes from historical stories, mostly describing the joys and sorrows of love between men and women. Although, this may denote origins in song or opera, today is an important and respected instrumental repertory. However, the song text significantly eases the memorising of the piece. * () or () literally means “notation”, more formally as (“refined notation”), are purely instrumental and typically performed by a 5-instrument ensemble. The content tends to describe the scenery and objects, and express feelings through objects. is considered to be a representative of the elegance and solemnity of Nanguan. * () or () “verse”, is a vocal repertory: two thousand pieces exist in manuscript. The singer is the main character during performance. The tune of each comes from the tune of the Nanguan tune system (). It is lighter and less conservative in repertory and performance than . Most popular pieces today are in a fast common metre and last around five minutes.

Nanjing baiju

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

History#

Baiju has a history of over 600 years, although its earliest performers and tunes are untraceable now. Baiju originated between the end of the Ming dynasty and the beginning of the Qing dynasty, like other folk arts in China which were ignored by the ruling class and literary men. The earliest known of baiju is mentioned in a book by Li Dou (; a Qing dynasty drama writer), A Record of Yangzhou Gaily-Painted Pleasure-Boats (). The book mentions a labelled tune of Yangzhou (), named the “Nanjing Tune” (), which was becoming more and more popular. This “Nanjing Tune” was one tune label in baiju then, and it is still a basic tune label in baiju today. Baiju was transmitted only by the laboring people. It started from workers in brocade workshops. As a derivative of cloud-pattern brocade, the entertainment during breaks in work at the cloud-pattern brocade loom rooms marked the beginning of the baiju art. The brocade workers lived a painful life. It is a complex and monotonous job to weave cloud-pattern brocades, and a journeyman must spend years to finish one. Due to Nanjing’s climate, cold in winter and hot in summer, the workers labored in harsh conditions for low pay. To divert themselves from the monotony of their jobs, workers started singing popular ditties, which developed into baiju. At that time, these workers sang about history, folktales and social news, to the tunes of Ming and Qing dynasty folk songs. They sang tunes which were sung in the loom rooms before asking for monetary reward, and the same tunes they sang there were called “hongju”. Therefore, researchers consider these two labelled tunes as the same art form.

Nanxi (theatre)

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

History#

After the invention of Nanxi in Wenzhou in the 12th century, Nanxi soon after started to spread its influence all across China as the first-ever mature form of Chinese opera. Nanxi gradually transcended into its later form chuanqi, and remained its influence and became one of the major forms of drama in Ming Dynasty. At the time in Ming Dynasty, the original form of Nanxi sung in Wenzhounese lost its influence because of its universality and evolved into 4 different forms that were sung in four different tones(melodies). However, some scholars today argue that Nanxi in Ming Dynasty were sung in five different tones (melodies). The original Nanxi gave births to four different forms of itself in Ming Dynasty: Haiyan Tone (), Yuyao Tone (), Kunshan Tone (), and Yiyang Tone (). Among the four forms, the most popular one today is known as the Kun Opera that evolved from the Kunshan Tone of Nanxi in Ming Dynasty. Kun Opera is listed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO since 2001.

Narcocorrido

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

History#

This genre of music is the evolution of traditional corrido ballads of the Mexican-US border region, which stemmed from the 16th-century Spanish genre of romance. In the late 1980s and early 90s, Chalino Sánchez contributed to narcocorridos. Known throughout Mexico as “El Pelavacas” (Cow Skin Peeler) and “Mi Compa” (My Friend), Chalino was a Mexican immigrant living in Los Angeles. He began distributing his music for a sale price. His lyrics dealt with love, betrayal and the reality of life in Mexico. Soon he was selling mass copies. Chalino Sánchez was murdered in 1992 after a concert in Culiacán. In death, he became a legend and one of the most influential Mexican musicians to emerge from California, he is known throughout the United States and Mexico as El Rey del Corrido (The King of the Corrido). Various companies, governmental agencies, and individuals have sought to ban narcocorridos. These attempts include a voluntary radio station black-out in Baja California. Representative Casio Carlos Narváez explained that radio executives did not want to make “people who break the laws of our country into heroes and examples”. Former President of Mexico Vicente Fox also proposed banning narcocorridos. On the other hand, former Mexican foreign secretary Jorge Castaneda has argued that “corridos are attempts by Mexican society to come to terms with the world around them…You cannot blame narcocorridos for drug violence. Drug violence is to blame for narcocorridos”.

Nasheed

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

Scholars on instruments#

The founders of all four of the major madhabs – Islamic schools of thought – and many other prominent scholars, have debated the legitimacy and use of musical instruments. For instance, according to the Hanafi school of thought, associated with the scholar Abu Hanifa, if a person is known to play musical instruments to divert people from God, their testimony is not to be accepted. According to the widely acknowledged book of authentic hadiths Sahih al-Bukhari of Sunni scholarship, Muhammad taught that musical instruments are sinful: Abu ‘Amir or Abu Malik Al-Ash’ari a companion of Muhammad said that he heard Muhammad saying: “From among my followers there will be some people who will consider illegal sexual intercourse, the wearing of silk, the drinking of alcoholic drinks and the use of musical instruments, as lawful. And there will be some people who will stay near the side of a mountain and in the evening their shepherd will come to them with their sheep and ask them for something, but they will say to him, ‘Return to us tomorrow.’ Allah will destroy them during the night and will let the mountain fall on them, and He will transform the rest of them into monkeys and pigs and they will remain so till the Day of Resurrection.” There is also evidence for music being permitted in the same book. Aisha said: Abu Bakr came to my house while two small Ansari girls were singing beside me the stories of the Ansar concerning the Day of Buath. And they were not singers. Abu Bakr said protestingly, “Musical instruments of Satan in the house of Allah’s Messenger!” It happened on the Id day and Allah's Messenger said, "O Abu Bakr! There is an Id for every nation and this is our `Id." A few historical Islamic scholars such as Al-Ghazali have also said that musical instruments may be used as long as the songs are not promoting that which is Haraam.

Nashville sound

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

Characteristics#

According to Dave Lifton of Ultimate Classic Rock, the Nashville sound “had more in common with mainstream 50s vocal pop than Western swing or rockabilly.” Upon being asked what the Nashville sound was, Chet Atkins put his hand into his pocket, shook his loose change, and said “That’s what it is. It’s the sound of money.”

Origins#

The Nashville sound was pioneered by staff at RCA Victor, Columbia Records and Decca Records in Nashville, Tennessee. RCA Victor manager, producer and musician Chet Atkins, and producers Steve Sholes, Owen Bradley and Bob Ferguson, and recording engineer Bill Porter invented the form by replacing elements of the popular honky tonk style (fiddles, steel guitar, nasal lead vocals) with “smooth” elements from 1950s pop music (string sections, background vocals, crooning lead vocals), and using “slick” production, and pop music structures. The producers relied on a small group of studio musicians known as the Nashville A-Team, whose quick adaptability and creative input made them vital to the hit-making process. The Anita Kerr Quartet was the main vocal backing group in the early 1960s. The term “Nashville sound” was first mentioned in an article about Jim Reeves in 1958 in the Music Reporter and again in 1960 in a Time article about Reeves. Other observers have identified several recordings that helped establish the early Nashville sound. The country historian Rich Kienzle identified that “Gone”, a Ferlin Husky hit recorded in November 1956, as a possible precursor. The writer Colin Escott argued that Reeves’ “Four Walls”, recorded February 1957, as the “first ‘Nashville sound’ record”, and Chet Atkins, the RCA Victor producer and guitarist most often credited with being the sound’s primary artistic creator, pointed to his production of Don Gibson’s “Oh Lonesome Me” later the same year. In an essay published in Heartaches by the Number: Country Music’s 500 Greatest Singles, David Cantwell argues that Elvis Presley’s rock and roll recording of “Don’t Be Cruel” in July 1956 was the record that sparked the beginning of the era now called the Nashville sound. In 1960, Time reported that Nashville had “nosed out Hollywood as the nation’s second biggest (after New York) record-producing center.”

National anthem

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

History#

In the early modern period, some European monarchies adopted royal anthems, with several having survived into current use. “God Save the King/Queen”, first performed in 1619, remains the royal anthem of the United Kingdom and the Commonwealth realms. was adopted as the royal anthem of the Spanish monarchy in 1770 and as the national anthem of Spain in 1939. Denmark has retained its royal anthem, (1780) alongside its national anthem (, adopted in 1835). In 1795, the French First Republic adopted as its national anthem by decree, making France the first country in history to have an official national anthem. Some anthems are older in origin but were not officially adopted until the 19th or 20th century. For example, the lyrics of the Japanese national anthem, Kimigayo, were taken from a Heian period (794–1185) poem, but were not set to music until 1880. The national anthem of the Netherlands, the Wilhelmus, contains a melody and lyrics dating back to the 16th century, but it was not officially adopted as the country’s national anthem until 1932. During the early 19th century, it became common for newly formed nations to define national anthems, notably as a result of the Latin American wars of independence, for Argentina (1813), Peru (1821), Brazil (1831), but also in Europe for Belgium (1830). Consequently, adoption of national anthems prior to the 1930s was mostly by newly formed or newly independent states, such as the First Portuguese Republic (, 1911), the Kingdom of Greece (“Hymn to Liberty”, 1865), the First Philippine Republic (, 1898), Lithuania (, 1919), Weimar Germany (, 1922), Ireland (, 1926) and Greater Lebanon (“Lebanese National Anthem”, 1927). "" was written by Goffredo Mameli and set to music by Michele Novaro in 1847, currently used as the national anthem of Italy. The song was very popular during Italian unification and the following decades. However, after the Kingdom of Italy’s 1861 proclamation, the republican and Jacobin connotations of “Il Canto degli Italiani” were difficult to reconcile with the new state’s monarchic constitution. The kingdom chose instead “Marcia Reale” (Royal March), the House of Savoy’s official anthem, composed by order of King Charles Albert of Sardinia in 1831. After World War II, Italy became a republic. On 12 October 1946, it chose “Il Canto degli Italiani” as a provisional national anthem. The song would retain this role as de facto anthem of the Italian Republic, and after several unsuccessful attempts, gained de jure status on 4 December 2017. The Olympic Charter of 1920 introduced the ritual of playing the national anthems of the gold medal winners. From this time, the playing of national anthems became increasingly popular at international sporting events, creating an incentive for such nations that did not yet have an officially defined national anthem to introduce one. The United States introduced the patriotic song The Star-Spangled Banner as a national anthem in 1931. Following this, several nations moved to adopt as official national anthem patriotic songs that had already been in de facto use at official functions, such as Mexico (, composed 1854, adopted 1943) and Switzerland (“Swiss Psalm”, composed 1841, de facto use from 1961, adopted 1981). By the period of decolonisation in the 1960s, it had become common practice for newly independent nations to adopt an official national anthem. Some of these anthems were specifically commissioned, such as the anthem of Kenya, , produced by a dedicated “Kenyan Anthem Commission” in 1963. A number of nations remain without an official national anthem adopted de jure. In these cases, there are established de facto anthems played at sporting events or diplomatic receptions. These include the United Kingdom (God Save the King) and Sweden (; the country also has a royal anthem, ). Countries that have moved to officially adopt de jure their long-standing de facto anthems since the 1990s include: Luxembourg (, adopted 1993), South Africa (National anthem of South Africa, adopted 1997) and Israel (, composed 1888, de facto use from 1948, adopted 2004).

National Socialist black metal

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

Black metal#

Black metal is generally not political music and the vast majority of bands do not express political views. Black metal originated in the 1980s from the work of thrash metal bands such as Venom (whose 1982 album Black Metal coined the term), Mercyful Fate, Bathory, Slayer, Hellhammer, Celtic Frost, and Sodom. These bands did not form a scene of their own, nor did they have a common musical style. A lyrical focus that is anti-Christian, Satanist, neopagan, or a combination thereof, is often considered a prerequisite for the genre, and originally the term “black metal” was synonymous with “Satanic metal”. A stricter definition still requires Satanism for a band to be classified as black metal. Non-Satanic bands from the same surroundings originally used other terms for their own music, such as pagan metal or Viking metal. In the late-1980s and early-1990s, the early Norwegian black metal scene, developed by bands such as Mayhem, Thorns, Immortal, Darkthrone, Burzum, Emperor, Satyricon, and Ulver, established a more specific sonic template that came to define Norwegian black metal blast beats and double-bass drumming, a thin, shrieking vocal style , heavily distorted guitars played with tremolo picking and power chords,

Native American hip-hop

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

Notable artists#

Melle Mel, the first rapper to ever use the epithet MC, is Cherokee and Ernie Paniccioli, a photographer of hip hop culture who grew up in Brooklyn, is Cree. Funkdoobiest, Solé, and Litefoot (winner of the Native American Music Award), are also well-known Native American hip hop artists. Wu-Tang affiliate King Just is also Native American and the Ol’ Dirty Bastard also claimed to be of Native American descent. Flavor Unit member Apache has also been assumed to be Native American, though a reliable source has yet to be found. In the past, the majority of Native American hip hop was to be found in the underground scene, rarely gaining exposure beyond regional hits. However, artists such as Drezus, Frank Waln, Lil’ Cory, Supaman, DJ oTTo and Red Eagle are just a few newer artists that have gained substantial popularity in recent years. Some Indigenous artists worry that their blend of traditional music with their own may be seen as disrespectful to their ancestors. However, many elders and hip hop listeners are able to appreciate the mixture, as it can bring multiple generations together through music. Hatchet Warrior, the second album by Native American hip hop artist Anybody Killa, was released in 2003, and peaked at #4 on the Billboard Top Independent Albums chart, #42 on the Top R&B/Hip-Hop Albums chart, and #98 on the Billboard 200. The organization Beat Nation is a Canadian not-for-profit Indigenous hip hop collective with the goal of giving public space to Indigenous artists and their listeners. It is run through a website and exhibits which aim to share Beat Nation’s work and music, as well as give space for Indigenous hip hop culture to operate. Rapper Young Kidd from Winnipeg, Manitoba is of Jamaican and Aboriginal heritage, and two of the trio group, Winnipeg’s Most, are Aboriginal – Jon C and Brooklyn. Winnipeg’s Most have won several Aboriginal Peoples Choice Music Awards. Both Young Kidd and Winnipeg’s Most have achieved high levels of local success in Winnipeg. Florida rapper Denzel Curry, a pioneer of the Cloud Rap and SoundCloud Rap scene, is of Bahamian and Native American heritage.

Navajo music

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

Traditional#

Traditional Navajo music is always vocal, with most instruments (which include drums, rattles, rasp, flute, whistle, and bullroarer) used to accompany singing of specific types of song. As of 1982 there were over 1,000 ceremonial practitioners qualified to perform one or more of thirty ceremonials and countless shorter prayer rituals, otherwise known as ‘Medicine People’, which restore which holds the semantic field of ‘harmonious condition’ and ‘beauty’, good health, serenity, and balance. These songs are the most sacred holy songs, the “complex and comprehensive” spiritual literature of the Navajo, may be considered classical music, while all other songs, including personal, patriotic, daily work, recreation, jokes, and less sacred ceremonial songs, may be considered popular music. The “popular” side is characterized by public performance while the holy songs are preserved of their sacredness by reserving it only for ceremonies (and thus not featured on the recording listed at bottom). The longest ceremonies may last up to ten days and nights while performing rituals that restore the balance between good and evil, or positive and negative forces. The , aided by sandpaintings or masked , as well as numerous other sacred tools used for healing, chant the sacred songs to call upon the Navajo gods and natural forces to restore the person to harmony and balance within the context of the world forces. In ceremonies involving sandpaintings, the person to be supernaturally assisted, the patient, becomes the protagonist, identifying with the gods of the Diné creation stories, and at one point becomes part of the story cycle by sitting on a sandpainting with iconography pertaining to the specific story and deities. The lyrics, which may last over an hour and are usually sung in groups, contain narrative epics including the beginning of the world, phenomenology, morality, and other lessons. Longer songs are divided into two or four balanced parts and feature an alternation of chantlike verses and buoyant melodically active choruses concluded by a refrain in the style and including lyrics of the chorus. Lyrics, songs, groups, and topics include cyclic: Changing Woman, an immortal figure in the Navajo traditions, is born in the spring, grows to adolescence in the summer, becomes an adult in the autumn, and then an old lady in the winter, repeating the life cycles over and over. Her sons, the Hero Twins, Monster Slayer and Born-for-the-Water, are also sung about, for they rid the world of giants and evil monsters. Stories such as these are spoken of during these sacred ceremonies. The “popular” music resembles the highly active melodic motion of the choruses, featuring wide intervallic leaps and melodic range usually an octave to octave and a half. Structurally, the songs are created from the complex repetition, division, and combinations of most often no more than four or five phrases, with short songs often immediately following each other for continuity as needed in work songs. Their lyrics are mostly vocables, with certain vocables specific to genres, but may contain short humorous or satirical texts.

Nazi punk

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

Bibliography#

Blush, Steven, American Hardcore: A Tribal History
Condemned Magazine issue #2.
Morrison, Eddy, Memoirs of a Street Soldier: A Life in White Nationalism
National Front, The Punk Front: 1978–79
Reynolds, Simon, Rip It Up and Start Again: Postpunk 1978–1984
Sabin, Roger, Punk Rock: So What?

Nazrul Geeti

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

Background#

Nazrul showed signs of keen poetic and musical talent at a young age and started writing songs when he was a member of a Leto group (folk musical group). Following Kazi Bazle Karim, his uncle and a leader of a Leto group, he became an expert in composing songs and setting them to tunes. Joining the Leto group enhanced his musical career and significantly impacted the shaping of his future musical life. At a very young age he was excelled in composing songs in different languages, apart from the Bengali language. He met Satish Kanjilal, a teacher of Searsol School who had an interest in classical music and some mastery over it. Observing Nazrul’s irresistible inclination to music, Mr. Kanjilal imparted him some lessons on classical music. Later Nazrul widened his knowledge on music when he was serving as a Havilder in Karachi Barrack under Bengal Regiment. He learned a great deal of Persian language, literature, and music with the help of a religious teacher from Punjab attached with the regiment.

NA on Music Theory Print

Nā mele paleoleo

Early protest era (MC Frumpy and DJ ELITE)#

Naamyam

See also#

External links#

Nagauta

History#

Nagoya kei

History#

Nanguan music

Repertoire#

Nanjing baiju

History#

Nanxi (theatre)

History#

Narcocorrido

History#

Nasheed

Scholars on instruments#

Nashville sound

Characteristics#

Origins#

National anthem

History#

National Socialist black metal

Black metal#

Native American hip-hop

Notable artists#

Navajo music

Traditional#

Nazi punk

See also#

Bibliography#

Nazrul Geeti

Background#