PA on Music Theory Print

Pachanga

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

Music#

Charanga is a type of traditional ensemble that plays Cuban dance music (mostly Danzón, Danzonete, and Cha cha chá) using violin, flute, horns, drums. José Fajardo brought the song “La Pachanga” to New York in the Cuban charanga style. The orquesta, or band, was referred to as charanga, while the accompanying dance was named the pachanga. The similar sound of the words charanga and pachanga has led to the fact that these two notions are often confused. In fact, Charanga has a lot of different meanings; it can refer to having a party, a musical ensemble, or the rhythm itself. Eduardo Davidson’s tune, “La Pachanga”, with rights managed by Peer International (BMI), achieved international recognition in 1961 when it was licensed in three versions sung by Genie Pace on Capitol, by Audrey Arno in a German version on European Decca, and by Hugo and Luigi and their children’s chorus. Billboard commented “A bright new dance craze from the Latins has resulted in these three good recordings, all with interesting and varying treatments.”

Paean

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

Etymology#

The basis of the word παιάν is ."

Ancient Greek paean#

In Homer, Paeon was the Greek physician of the gods. In Iliad V he heals the wounded Ares and Hades with his herbal lore. In time Paeon (or Paean) became an epithet (“byname”) of Apollo as a god capable of bringing disease and propitiated as a god of healing. Hesiod identifies Paeon as a separate god, and in later poetry Paeon is invoked independently as a health god. Later, Paean becomes a byname of Asclepius, another healer-god. The earliest appearances of a paean or hymn of thanksgiving also appear in the Iliad. After the prayer to avert evil from the Achaeans, a paean is sung. In an almost identical line (X.391) that suggests a formulaic expression, Achilles tells the Myrmidons to sing the paean after the death of Hector. Previously, L. R. Farnell had referred to the ancient association between the healing craft and the singing of spells, but found it impossible to decide which was the original sense. At all events the meaning of “healer” gradually gave place to that of “hymn”, from the phrase "" or “”. Such songs were originally addressed to Apollo, and afterwards to other gods, like Dionysus, Helios, and Asclepius. About the 4th century the paean became merely a formula of adulation; its object was either to implore protection against disease and misfortune, or to offer thanks after such protection had been rendered. Its connection with Apollo as the slayer of the Python led to its association with battle and victory; hence it became the custom for a paean to be sung by an army on the march and before entering into battle, when a fleet left the harbour, and also after a victory had been won. The Greek poet Aeschylus who took part in the Battle of Salamis, commented on the power of the paean over enemies (in this case the Persians): All the barbarians felt fear because they had been deprived of what they expected. The Greeks were singing the stately paean at that time not for flight, but because they were hastening into battle and were stout of heart. A paean was sung before the resumption of the naval battle between the Corcyraeans and Corinthians in a war leading up to the Peloponnesian War, implying that it might have been a common practice. In addition, the paean is said to have been sung just before the start of various battles (including the Battle of Cunaxa) in Xenophon’s “Anabasis” (or “Persian Expedition”).

Pagan metal

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

Characteristics#

Pagan metal is “more of an idea than a genre” and consequently bands tend to be “wildly different” from one another. Heri Joensen expressed a similar description of pagan metal as bands that sing about “pre-Christian, European traditions, be they historical or mythological” and notes that it is “musically extremely diverse because it is more about the lyrics than the music”. Some bands are known to be “sprightly and spirited” while others are “bleak and doomy”. Vocal styles range from “melodic chanting to unearthly growling” and while some acts sing in their native language, others sing in English.

Pagan rock

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

History#

The earliest examples of pagan elements in rock music come from the 1960s and 1970s, with bands like The Beatles, Led Zeppelin, and Black Sabbath using pagan themes such as Norse mythology, occultism, and witchcraft to some degree in their lyrics. However, pagan rock as a distinct genre emerged in the United Kingdom in the 1980s from gothic rock and similar post-punk genres such as darkwave. Gothic rock had become popular among younger pagans as an alternative to the singer-songwriter style which had dominated neopagan music since the 1960s. One of the first bands to be labeled as pagan rock by the press and by their own members was Inkubus Sukkubus, founded in 1989. Inkubus Sukkubus have Wiccan members and their songs use pagan imagery and themes. After Inkubus Sukkubus had achieved a following with their debut album Belladonna & Aconite in 1993, many gothic rock and darkwave bands emerged with neopagan members and pagan lyrical themes. By the mid-2000s, pagan rock had become fully integrated into the mainstream of neopagan institutions, with festivals such as Wave-Gotik-Treffen openly welcoming pagan audiences and bands.

Pagode

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

External links#

Samba Pagode history
Samba & Pagode band/history
Samba & Pagode Semba/history

Pagode baiano

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

History#

The genre gained momentum around 1994, influenced by Bahia and Rio de Janeiro pagode. The genre’s first success was Dança do Tchaco, by . At that time, the group was also emerging, releasing an independently recorded CD that sold well. From 1995 onwards, with the phenomenon of É o Tchan!, the genre gained national prominence. Other groups emerged, such as , , , , and Gang do Samba. In the late 1990s, despite the name pagode “baiano” (from Bahia), groups focused on the style emerged in other parts of the country, such as from Rio de Janeiro and from São Paulo, which were also very successful. In the 2000s, other notable groups emerged, such as , Parangolé, Pagod’art, , Guig Guetho, Oz Bambaz, Saiddy Bamba, Fantasmão, Swing do P, Black Style and A Bronkka, Leo Santana.

Paisley Underground

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

Etymology#

The term “Paisley Underground” originated in late 1982, and took root with a comment made by Michael Quercio of the band the Three O’Clock, during an interview with the LA Weekly alternative newspaper. The phrase later came to be “hated by the bands it described,” though Steve Wynn acknowledged that it was both harmless and helpful to have a “banner” over the movement.

Southern California#

Pat Thomas has described the Paisley Underground sound as a “marriage of classic rock and punk.” The 1970s Memphis-based cult band Big Star, whose “September Gurls” was covered by the Bangles, was also influential, as were Britain’s Soft Boys. John Hoffs, best friend of David Roback and brother of Susanna Hoffs was an idea contributor to starting a unique new sound, a Paisley Underground all girl band. Paisley Underground bands frequently shared bills, socialized, and collaborated on side projects. For example: * Rainy Day was formed by members of Rain Parade, the Bangles, the Dream Syndicate and the Three O’Clock, who joined to release an eponymous album of cover versions of songs by the Velvet Underground, Buffalo Springfield, Bob Dylan, the Beach Boys, Big Star, Jimi Hendrix, and the Who. * Danny & Dusty, a duo formed by Steve Wynn of the Dream Syndicate and Dan Stuart of Green on Red, made the album The Lost Weekend in 1985, backed by members of both bands along with most of the Long Ryders. * Clay Allison was an offshoot band composed of David Roback and Will Glenn of Rain Parade, Kendra Smith of Dream Syndicate, Sylvia Juncosa of the Leaving Trains, and Keith Mitchell of Monitor. * Opal was adopted as a new name for Clay Allison in 1984, prior to the release of their Fell from the Sun EP. In 1986, the Rain Parade were the first of the Paisley Underground bands to break up, followed by the Long Ryders in 1987, the Three O’Clock in 1988, the Dream Syndicate and the Bangles in 1989, and Green on Red in 1992.

Pakistani folk music

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

Major folk singers#

Malika Pukhraj (1912 - 2004) (sang in Kashmiri Dogari Pahari language)
Tufail Niazi (1916 - 1990) (sang in Punjabi language)
Alam Lohar (1928 - 1979) (sang in Punjabi language, especially famous for popularizing Jugni folk songs)
Arif Lohar (he is maintaining his father Alam Lohar’s tradition as well as updating it by using more modern musical instruments)
Pathanay Khan (1926 - 2000) (sang in Saraiki language)
Muhammad Juman (1935 - 1990) (sang in Sindhi and Saraiki languages)
Reshma (1947 - 2013) (sang in Punjabi and Saraiki languages)
Inayat Hussain Bhatti (1928 - 1999) (sang in Punjabi as well as Saraiki languages)
Allan Faqir (1932 - 2000) (sang in Sindhi language)
Jamal-ud-Din Faqir (1952 - 2016)
Faiz Mohammad Baloch (1901 - 1982) (sang in Balochi language)
Farida Khanum (born 1929) (sings in Punjabi language)
Abida Parveen (born 1954) (sings in Sindhi & Punjabi language)
Attaullah Khan Esakhelvi (born 1951) (sings in Saraiki language)
Suraiya Multanikar (born 1940) (sings in Saraiki language)
Saieen Zahoor (born 1945) (sings in Punjabi language)
Iqbal Bahu (1944 - 2012) (sings in Punjabi language)
Ghulam Ali (born 1940) (sings in Punjabi language)
Shaukat Ali (1944 - 2021) (sang in Punjabi language)
Surriya Khanum (sings in Punjabi and Saraiki languages)
Hamid Ali Bela (died 2001) (sang in Punjabi language)
Sadiq Fakir (1967 - 2015)
Sanam Marvi (sings in Punjabi, Sindhi and Saraiki languages)
Rahim Shah (born 1975) (sings in Pashto language)
Nazia Iqbal (sings in Pashto language)
Gul Panra (sings in Pashto Language)
Shazia Manzoor (sings in Punjabi language)
Naseebo Lal (sings in Punjabi language)
Shazia Khushk
Zarsanga (sings in Pashto language)
Mai Dhai (sings in Sindhi language)
Akhtar Chanal Zahri (sings in Balochi language)
Ali Zafar (partially)
Malkoo (sings in Punjabi language)
Zeek Afridi (sings in Pashto language)
Hamayoon Khan (sings in Pashto language)

Kafi#

The Sindhi kafi is an indigenous musical form of Sindh and Punjab, Pakistan. The word kafi, is of Arabic origin, used in the sense of “final” or “enough” in the expression “Allah Kafi”, which means, “God Almighty is Supreme”. Thus the kafi is a devotional form of music composed in a particular form derived from a mixture of classical, semi-classical, and light music forms (specifically, the khayal, tappa, thumri, and geet). The mystic poetry of the Sufi saints is usually sung in this mode. There is a Punjabi variant of kafi singing. Like Sindhi kafi, the mood and the theme of Punjabi Kafi may also be termed as secular and humanistic. In their Kafis, Shah Hussain (16th century) and Bulleh Shah (18th century) have adopted a strategy to communicate their thoughts, serving the humanity in a powerful and effective way. The satirical tone of these kafis, sometimes, depicts true picture of political situations and social conditions of their own days. The Sindhi kafi is short, simple, and lucid in composition and tone. Shah Abdul Latif Bhitai, a renowned Sufi saint and mystic poet of Sindh (d. 1752), contributed considerably to the development of the Sindhi kafi, writing many verses and composing tunes which he named “The Sur of Shah Latif”. His tunes are still popular. The late Zahida Parveen was a master of kafi singing. Her daughter, Shahida Parveen, possesses her mother’s command of the form and her devotional urge. Yet today’s trends, and perhaps necessity, have led her away from kafis and towards the geet, the ghazal, semi-classical and folk forms. Abida Parveen is another renowned kafi singer of Sindh, but she, too, sings in many other genres.

Pakistani hip-hop

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

History#

The contemporary hip-hop and rap movement in Pakistan emerged from globalization of American hip hop in the early 1990s. Some Pakistani artists began experimenting with rap and hip hop as early as 1993. In particular, the rise in popularity of Eminem in the late 1990s and 50 Cent in the early 2000s influenced many of today’s hip hop artists in Pakistan such as Party Wrecker (Mustafa Khan) of the Pashto rap group Fortitude, as well as Qzer (Qasim Naqvi) and DirtJaw. The song “Pani da Bulbula” by classical singer Yaqoob Atif Bulbula, released in 1979 is commonly acknowledged as the first song in Pakistan to feature desi Punjabi rap. The singer Fakhar-e-Alam later released first ever commercial Pakistani rap album Rap Up in 1993 featuring single “Bhangra Pao”, a fusion of bhangra and rap music which became a major headliner on Pakistani music charts. The hit 1995 song “Billo De Ghar” by Abrar-ul-Haq also featured rapping. Hip hop and rap culture in Pakistan during the 1990s and early 2000s were mainly centered around those with a good grasp of English (a socioeconomically privileged group). Pakistani hip hop and rap artists at this time were mainly underground English acts and were dismissed by the media and mainstream as “Eminem ki aolad” (Eminem’s children) and “yo-bache” (yo-kids).

Pakistani popular music

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

1960–1980: Rise and fall of playback singing#

After the independence of Pakistan in 1947, the most popular form of entertainment in the newly created Pakistan was the medium of film. Cinemas sprouted up in various corners of the nation, especially in Lahore, Karachi and Dacca in East Pakistan and playback singing became popular. People that tended to move into the genre had to be trained in classical music, usually trained by ustads who mastered its various forms and styles. In 1966, a talented young playback singer Ahmed Rushdi (now considered as one of the greatest singers of South Asia) sang the first South Asian pop song “Ko-Ko-Korina” for the film Armaan. Composed by Sohail Rana, the song was a blend of 60s bubblegum pop, rock and roll twist music and Pakistani film music. This genre would later be termed as ‘filmi pop’. Following Rushdi’s success, Christian bands specialising in jazz started performing at various night clubs and hotel lobbies The 1980s saw a nose-dive in the progress of cinema in Pakistan as the nation was left in a state of turmoil over the changes in the government administration. The number of cinemas decreased rapidly and people preferred watching television over going to a cinema.

Pakistani rock

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

New wave of music (1980–1989)#

Rock music in Pakistan began in the 1980s with the arrival of cassettes by Western rock music groups such as Pink Floyd, Led Zeppelin, Deep Purple and Van Halen. The genre began rooted in the ultraconservative regime of President Zia-ul-Haq who had denounced the Western culture and put forwarded the program of Islamized transformation of the country. In mid-1985, Western-influenced rock music began to be noticed by the public, and underground concerts were held all over the country. The quick success of the music jolted the country in a time when the traditionalist President General Zia-ul-Haq was reigning. These political and economic tensions and pretensions, heavy metal, rock music power plays, and the economic prosperity also propelled the gradual expansion of the country’s urban-middle and lower-middle classes. The rock music bands and trios came to be perceived by many Pakistani fans and country’s cultural observers as a “promising new era of cultural revival”. In the 1980s, rock bands including the Strings, The Barbarians, The Final Cut, Jupiters, Junoon, and Vital Signs gained a lot of public appraisal and popularity. The public opinion was generally positive and welcomed the bands for their uniqueness.

Palenquero music

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

History#

San Basilio Palenque, not far from Colombia’s prime tourist destination of Cartagena, is the only surviving example of places that once existed throughout the country—communities founded by escaped slaves. It is also the home of what has been described as the only surviving Spanish-based creole language, which had declined in use but seems to be becoming strong again. The community has preserved many African traditions, including language, music, dance, and religious practices, making it a living testament to African heritage in the Americas. Among the most important of these traditions are the drumming practices. The drums are used in religious ceremonies and rituals, often associated with African spiritual practices. The rhythms and music are believed to have spiritual significance and are used to connect with ancestors and deities. Palenquero music originated from the maroons called, Benkos Bioho, which were a resistance in Africa at the time. The music had served as a way for slaves to unite, while also keeping a strong connection to their roots. Many of Palenquero rhythms originate from the region of Angola using languages such as Kinkogo at the time. During this era, music was a way of keeping people connected and preserving culture. During the 1900s, musical exchanges were happening all over world, for example Cuba and Africa. This allowed for the introduction and adopotion of rhythms with the marimbula, which is a type of piano. This allowed for the mixture of African beats to mix with the Cuban style beats known as “Sexteto.”

Palestinian hip-hop

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

Themes#

Many Palestinian hip hop artists address themes that directly affect Palestinians in the occupied territories, living in Israel and those in exile. These artists use hip hop to address issues including patriarchy, drugs, violence, corruption and police brutality. Unlike the ideals of American rap, Palestinian rappers focus on exposing the lived conditions of the Palestinian people, especially the denial of Palestinian self-determination in their homeland. Palestinian nationalism is at the center of all Palestinian hip hop, regardless of the artists.

Palingsound

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

Origin#

The Cats (1964 -1985) are universally recognized as the originators of palingsound. The Cats were the first Volendamic band to record an album. Their music started off as beat music and over the years evolved to be more focused on melody and harmony. After the lead singer was replaced by Piet Veerman in 1968, the dramatic elements of his voice became sound-determining. With their lyrical, melodical and somewhat melancholic music, The Cats laid the groundworks for what would become known as palingsound. Further elements that would become influential for palingsound from this period in the music of The Cats would be the added arrangements of jazz musician Wim Jongbloed and the continental European mixing techniques of producer Klaas Leyen.

Palm Desert Scene

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

History#

The scene evolved from various Palm Desert bands’ (especially Yawning Man’s) marijuana-driven instrumental jam sessions in the desert. These shows consisted of small crowds of people partying in the desert, beer drinking, drugs, and the use of gasoline-powered generators to provide electricity for the musical equipment. Kyuss and Queens of the Stone Age member Josh Homme commented that playing in the desert “was the shaping factor for Kyuss “, noting that “there’s no clubs here, so you can only play for free. If people don’t like you, they’ll tell you. You can’t suck.”

Palm-wine music

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

Etymology#

Palm-wine music was named after a drink, palm wine, made from the naturally fermented sap of the oil palm, which was drunk at gatherings where early African guitarists played.

History#

Palm-wine music was born in the working-class coastal areas, particularly among dockworkers, sailors, and fishermen. This area was a major hub of the triangle trade, which brought in new European instruments. Music was performed in informal outdoor drinking clubs where palm wine was available, giving it its name. The genre was created by interactions between native West Africa, mainly on the shores of the Gulf of Guinea. Makeshift guitar performance styles spread from coastal to inland areas, where they shaped early forms of urban music. Palm-wine music has been described as one of the first forms of popular music in West Africa. Portable instruments and local string and percussion merged to create this style. It was out of this genre that the traditional two-finger plucking of a guitar came when musicians played it similarly to how they played the local lute or harp. This style was typically played in a syncopated 4/4 metre.

Palo de Mayo

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

History#

Palo de Mayo, or Maypole, is a celebration welcoming rain, production, and new life that includes a maypole, which is a tall wooden pole, decorated with several long, colored ribbons suspended from the top. There is no definite answer as to how it got to Nicaragua. Historians continue to debate its origins. Bluefields people pretty much all agree, “May Pole is not what it used to be.” An elegant polka in which smartly dressed women held hands and two-slapped around a fruit laden tree. It was probably brought to Nicaragua in the early 1830s by British settlers and the ribbon pole dance common to England was modified, according to speculations, incorporating elements of Shango, a West African religion, featuring spirit possession. Certainly already in 1874, Moravian missionary J.E. Lundberg wrote: “It is now generally conducted at night, by moonlight, amidst a heathenish noise and it has become connected with great impropriety of conduct.” Professor Hugo Sujo says the rituals varied. Children would adorn branches with mangoes, pineapples and breadfruit; dance in a circle and then plunder the tree. Many historians point out that there are many differences in the celebration and that it came from the Nicaraguan Creoles that inhabited Nicaragua’s Caribbean coast, other historians believe it came indirectly from Jamaica. Wherever it came from it has long been a part of Nicaragua’s Afro-Caribbean culture. In Belize, plaiting of the maypole along with coconut tree climbing and greasy pole competitions. This is because most of the Creole population of the RAAS region in Nicaragua, moved to British Honduras (later to become Belize) after British secession of the region in 1787. The Sandinisitas promoted the event as a tourist attraction supporting local bands and dance groups, under Miss Lizzie’s leadership. Miss Lizzie involved 70-year-old women to dance the old style, to teach the youth the real thing. But by 1993 she’d lost ground to the new style of May Pole which was seen by older traditional dancers as “a dirty display of dirty dancing”

Palo music

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

Instruments#

Palo music is played on long drums termed palos. The word palos means sticks, and therefore all Dominican palos drums are instruments made from hollowed out logs. The head of the drum is made of cowhide and it is attached to the log portion with hoops and pegs in the Eastern region, or with nails in the Southwest. There is a master drum (palo mayor) which is the large, wide drum played with slimmer drums (alcahuetes) alongside: two in the East or three elsewhere. Palos are usually played with guiras, which are metal scrapers. They may also be played with maracas, or a little stick used to hit the master drum, called the catá. The Dominican region in which the palos are played determines the form, the number of the instruments, and how they are played.

Pambiche

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

Recordings#

Dominican accordionist El Prodigio released an album entitled Pambiche Meets Jazz in which he combined traditional merengue rhythms (most of the songs featuring pambiche) with American music styles such as jazz, rock and blues. Both pambiche and merengue are included in Jean Françaix’s suite “Cinq Danses Exotiques”. The Dominican songwriter Juan Luis Guerra has recorded several Pambiches, including the traditional merengue Juana Mecho (Soplando, 1984) and his recent releases Pambiche de novia (Privé, 2020). Other pambiches are the traditional Juan Gomero, Rafael Solano’s Dominicanita, Vicente Garcia’s Palm Beach, and Luys Bien’s Déjame Nacer.

Pansori

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

Name#

Pansori is a form of musical entertainment that has persisted in Korea from the 17th century to the present day. A related term, “pannoreum,” refers to plays such as Sandae-do Gamgeuk () and geundu (), as well as tightrope walking. The pansori of the Joseon Dynasty included sijo poetry () accompanied by music. Therefore, it is not appropriate to refer to pansori as Changgeuk () or Changgeukjo (). Changgeuk is based on the name of Pansori dramatized after Wongaksa Temple (), but it is not suitable for pure Pansori. Therefore, Changgeukjo is appropriate for the musical term of the song sung in Changgeuk, but it is not appropriate for the form of pansori. “Pansori” as a musical term originated independently from the term “pannol” (pannoreum). Likewise, the literary form of this form of pansori is also called pansori. It is therefore necessary to distinguish between pansori as a musical term and pansori as a literary term, but it is still appropriate to use the term “pansori” to refer to sijo. https://terms.naver.com/entry.naver?docId=869187&cid=60544&categoryId=60544#TABLE_OF_CONTENT2

Pantomime

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

Ancient Rome#

The word pantomime was adopted from the Latin word pantomimus, which in turn derives from the Greek word παντόμιμος (pantomimos), consisting of παντο- (panto-) meaning “all”, and μῖμος (mimos), meaning a dancer who acted all the roles or all the story. The Roman pantomime drew upon the Greek tragedy and other Greek genres from its inception, although the art was instituted in Ancient Rome and little is known of it in pre-Roman Greece. The English word came to be applied to the performance itself. According to a lost oration by Aelius Aristides, the pantomime was known for its erotic content and the effeminacy of its dancing; Aristides’s work was responded to by Libanius, in his oration “On Behalf of the Dancers”, written probably around 361 AD. Roman pantomime was a production, usually based upon myth or legend, for a solo male dancer—clad in a long silk tunic and a short mantle (pallium) that was often used as a “prop”—accompanied by a sung libretto (called the fabula saltica or “dance-story”) rendered by a singer or chorus (though Lucian states that originally the pantomime himself was the singer). Music was supplied by flute and the pulse of an iron-shod shoe called a scabellum. Performances might be in a private household, with minimal personnel, or else lavish theatrical productions involving a large orchestra and chorus and sometimes an ancillary actor. The dancer danced all the roles, relying on masks, stock poses and gestures and a hand-language (cheironomy) so complex and expressive that the pantomime’s hands were commonly compared to an eloquent mouth. Pantomime differed from mime by its more artistic nature and relative lack of farce and coarse humour, Yet, because of the limits imposed upon Roman citizens’ dance, the populism of its song-texts and other factors, the art was as much despised as adored, Because of the low status and the disappearance of its libretti, the Roman pantomime received little modern scholarly attention until the late 20th century, despite its great influence upon Roman culture as perceived in Roman art, in statues of famous dancers, graffiti, objects and literature. After the renaissance of classical culture, Roman pantomime was a decisive influence upon modern European concert dance, helping to transform ballet from a mere entertainment, a display of technical virtuosity, into the dramatic ballet d’action. It became an antecedent which, through writers and ballet-masters of the 17th and 18th centuries such as Claude-François Ménestrier (1631–1705), John Weaver (1673–1760), Jean-Georges Noverre (1727–1810) and Gasparo Angiolini (1731–1803), earned it respectability and attested to the capability of dance to render complex stories and express human emotion.

Paranda (music)

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

Parang

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

Performance#

In Trinidad, traditional parang music is largely performed around Christmastime, travel from house to house in the community, often joined by friends, neighbours, and family, using whatever instruments are at hand. Popular parang instruments include the Venezuelan cuatro (a small, four-string guitar) and maracas (locally known as chac-chacs). Other instruments often used are violin, guitar, claves (locally known as toc-toc), box bass (an indigenous instrument), tambourine, mandolin, bandol, caja (a percussive box instrument), and marimbola (an Afro-Venezuelan instrument). In exchange for the entertainment, parranderos are traditionally given food and drink: pasteles, pastelle, sorrel, rum and Ponche Crema (a form of alcoholic eggnog). While traditional house-to-house caroling tradition is still practised by some small groups and larger organized groups, modern parang music has also developed a season of staged performances called parang fiestas, held from October through to January each year, culminating in a national parang competition. Today, parang is especially vibrant in Trinidad and Tobago communities such as Paramin, Lopinot, and Arima.

Parlour music

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

History#

Many of the earliest parlour songs were transcriptions for voice and keyboard of other music. Thomas Moore’s Irish Melodies, for instance, were traditional (or “folk”) tunes supplied with new lyrics by Moore, and many arias from Italian operas, particularly those of Bellini and Donizetti, became parlour songs, with texts either translated or replaced by new lyrics. Many parlour songs of the time were derived from children’s folk tunes, and the history of the origin of these folk tunes are heavily debated today. Various other genres were also performed in the parlour, including patriotic selections, religious songs, and pieces written for the musical stage. Excerpts from blackface minstrel shows, arranged for voice and keyboard, were particularly popular. Also, a handful of the better-known art songs, such as Schubert’s “Serenade,” became part of the parlour repertory. Lyrics written for parlour songs often have sentimental themes, such as love songs or poetic meditations. Fantastical or exuberant themes were also common, as was commentary on incidents and events of the day, such as “Bryan Free Silver March”, “Homeless Tonight” or “Shootin’ Craps”. As the 19th century wore on, more and more songs were newly composed specifically for use by amateurs at home, and these pieces (written originally as parlour songs, rather than being adapted from other genres) began to develop a style all their own: similar in melodic and harmonic content to art songs of the day, but shorter and simpler in structure and making fewer technical demands on singer and accompanist. Stephen Foster’s “Ah! May the Red Rose Live Alway” and “Come with Thy Sweet Voice Again” are early and elegant examples of the genre. The high point of the parlour song came in the late 19th and early 20th centuries, during the Victorian era in North America and the British Isles. Songs of this genre became more complex and sophisticated in their melodic and harmonic vocabulary, and in addition to their continuing use in the parlour, they were also often sung in public recitals by professional singers. Characteristic and popular parlour songs include “Home, Sweet Home,” composed by Henry R. Bishop with lyrics by John Howard Payne, “The Old Arm Chair” by Henry Russell, “When the Swallows Homeward Fly” by Franz Abt, “Kathleen Mavourneen” composed by Frederick Nicholls Crouch with lyrics by Marion Crawford, “The Lost Chord” composed by Arthur Sullivan with lyrics by Adelaide A. Proctor, “Take Back the Heart” by Claribel (Mrs. Charlotte Barnard), “Oh Promise Me” by Reginald de Koven, “I Love You Truly” and “A Perfect Day” by Carrie Jacobs-Bond, and “The Rosary” by Ethelbert Nevin. “Just Awearyin’ for You” (see insets) exemplifies the parlor song. Note the sentimental lyrics by Frank Lebby Stanton, the plaintive but well matched tune by Carrie Jacobs-Bond, and the conscious artistry (including the operatic trilled “r"s) by singer Elizabeth Spencer. In addition to dissemination as individual pieces of sheet music, parlour songs were also collected into anthologies and sold in this format. The most notable collection was Heart Songs, first published in 1909 by Chapple Publishing Company of Boston and repeatedly revised and republished for the following several decades. The publisher claimed that this selection of songs “Dear to the American People” was selected from entries submitted by 25,000 people.

Parody mass

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

Etymology#

In the sense considered here, the term parody mass applies to masses where a polyphonic fragment from another work is used as the basis of a new composition. The term imitation mass has been suggested instead of parody mass, as being both more precise and closer to the original usage, since the term parody is based on a misreading of a late 16th-century text. In contradistinction, masses which incorporated only a single voice of the polyphonic source, treated not as a cantus firmus (‘Tenor Mass’) but elaborated and moving between different parts, are referred to by writers on musical theory as paraphrase masses. Other compositional techniques provided the basis for the cyclic mass, canon mass, and soggetto cavato. The modern English word ‘parody’ derives from ‘parody’, from , ‘burlesque song or poem’, from ‘beside, parallel to’ (in this case, “mock-”) + ‘song, or ode". See also A. , the first ode sung by the chorus after its entrance in the ancient Greek drama. In the case of masses, “parody” has almost nothing to do with humor or ridicule, as understood in the modern definition of the word; while in some cases bawdy secular songs were indeed used in composition of masses, equally often non-liturgical sacred music such as motets formed the basis for parody masses.

Parody music

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

Etymology#

The word “parody” derives from the post-classical Latin parodia, which came from the Greek παρῳδία ().

Renaissance#

The earliest musical application of this Greek term was only in 1587, on the title-page of a parody mass by the German composer Jakob Paix, as the equivalent of the previously usual Latin expressions missa ad imitationem or missa super …, which were used to acknowledge the source of borrowed musical material. Such preferences for Greek terms were a product of Renaissance humanism, which was strong in Germany by that time though the word’s use was infrequent and casual. It was only in modern times that the term “parody technique” came into general use as a historical musicological term, especially after the publication of Peter Wagner’s Geschichte der Messe in 1913. In Grove’s Dictionary of Music and Musicians, Michael Tilmouth and Richard Sherr write of the genre: Many of the most famous composers of the 16th century, including Victoria, Lassus and Palestrina, used a wide range of earlier music in their masses, drawing on existing secular as well as religious pieces.

Parranda

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

Planning and purpose#

Parrandas are often spontaneous events and traditionally occur anytime from the late evening to the wee hours of the morning, visiting targeted extended family members or friends in their homes and intentionally waking them up to the parranda music. They reportedly generate a sense of Puerto Ricanness, unity and camaraderie among both those bringing the music as well as the targeted families receiving it. Those participating, whether playing an instrument or singing, are called parranderos. Instruments used in addition to the voice include the culturally significant instruments of Cuatro, maracas, guiro, palitos, tambora, panderata, panderos (requinto, seguidor and tumbador), trumpet, tambora, and the guitar.

Part song

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

In Britain#

The part song was created in Great Britain, growing out of the madrigal tradition (though initially with more emphasis on homophonic harmony and less on polyphonic part writing) and the 18th century Glee. Paul Hillier describes the Glee as “a uniquely English creation…the convivial music of all-male musical societies”. The classic Glee is “essentially a work for unaccompanied men’s voices, in not less than three parts…simpler than the madrigal in texture, less sophisticated in design, and generally based on the simplest kind of diatonic harmony”. The part song was soon established as more suitable for mixed-voice choirs, its development marked by increasing complexity of form and contrapuntal content. Part songs were quickly seen as a commercial opportunity by music publishers. From the early 1840s Novello and Co’s Musical Times and Singing Class Circular included a simple piece of choral music (alternating secular and sacred) inside every issue, which choral society members subscribed to collectively for the sake of the music. Early British composers of part songs include R. J. S. Stevens, John Liptrot Hatton, Henry Smart and George Alexander Macfarren, the latter renowned for his Shakespearean settings. Around the turn of the 20th century in the heyday of the part song, Hubert Parry, Charles Villiers Stanford and Edward Elgar were the principal exponents, often bringing a high-minded seriousness to their settings of great English poetry both contemporary and from earlier epochs. More recent major contributors to the genre include Ralph Vaughan Williams, Granville Bantock, Arnold Bax, Peter Warlock, Gustav Holst and Benjamin Britten (his Five Flower Songs of 1950). Interest declined rapidly from the 1950s as more specialist choirs began to champion the madrigal tradition. Composers have also successfully used the part song medium to make contemporary arrangements of traditional folk songs, including those of Scotland, England, Wales and Ireland. Part songs can sometimes be sacred as well as secular. The unaccompanied liturgical anthem can be closely related in form and texture. Sullivan’s Five Sacred Partsongs were published in 1871.

Parthian music

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

Background#

Due to a paucity of surviving records, it is impossible to create a thorough outline of the earliest music in Persia. Music has existed in Persia since at least BCE of the Elam period, from when the earliest artistic depictions of arched harps are dated; it is possible that these instruments existed long before their visual depictions. Later surviving instruments include bull lyres from , small Oxus trumpets from , and much later, lutes from BCE, which seem to have been popular with the upper class. Rock reliefs of Kul-e Farah from 1st-century BCE, include sophisticated Persian court ensembles, in which the arched harp is central. By the Achaemenid Empire (550–330 BCE), still relatively few records survive. Some speculation and anecdotal evidence suggests the presence of female choirs, as well as the emergence of the gōsān poet-musician minstrel tradition, which would be central in Parthian music. The Parthian Empire was a major political and cultural power of ancient Iran, existing from BCE to 224 CE. At its height, its territory covered modern-day Syria to India, and the Caspian Sea to the Persian Gulf. It is often remembered for its rivalry with the Roman Empire, but compared to its Western opponent, relatively little information is known. Native Parthian textual sources are very minimal, and the primary official records which still exist are Parthian coinage. The few known Parthian texts are usually from the more Western regions, generally written in cuneiform using the Aramaic or Greek language, and less often in Latin, Parthian or Hebrew. Much information about the Parthian Empire comes from foreign commentators, particularly Greeks and Romans—though there are accounts of Parthian history before 141 BCE, though this is extremely limited. These accounts are often inaccurate and heavily biased, which has led to a long held view of the Parthians as “uncultivated and as barbarians”. Such a perspective has long prevented the serious study of Parthian culture; the historian Leonardo Gregoratti noted that “The Parthian Empire, a state lasting for five-long centuries, has recently emerged slowly from the shadow of history to regain its cultural and historical identity”. Evidence for Parthian music is somewhat limited, but via the visual arts, archeological evidence, as well as both Parthian and foreign texts, numerous trends of the period can be observed.

Partido alto

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

Characteristics#

Regarding structure, Partido Alto differentiates itself from common samba in that it is usually divided in two main parts. One is the usually static refrain (refrão), which is sung by a choral, which often means everyone present in a samba performance. The other part is called the verses and is often soloed by one or more participants. There can frequently be two or more versers (versadores), and that usually means that they will be competing in some way, be it humorous or not. Partido Alto’s harmony is traditionally in a major key, which is often understood as a more joyous type of harmony, matching the genre’s somewhat euphoric nature. Percussivelly, it presents a peculiar pandeiro beat, with strong use of a violent, dry snap created by hitting the center of the head with the palm of the hand; thus nylon-skinned pandeiros are more common here than in others genres, although Partido Alto uses organic-skins just as much. The name of the genre can, among other meanings, be understood as a reference to this percussive property; one of the possible literal translations would be “broken high”, which could be thought of as “highly broken”.

Partita

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

Keyboard partitas#

Girolamo Frescobaldi (1583–1643) wrote keyboard partitas as variations that were based on popular dance melodies of the early Baroque period such the Romannesca, La Monachina, Ruggiero, and La Follio. Johann Kuhnau (1660–1722) wrote 14 suites that were called Partien (French partie, meaning ‘part’). His ClavierÜbung I contained seven suites in the major keys C, D, E, F, G, A, and B-flat. His ClavierÜbung II contained seven suites in the minor keys C, D, E, F, G, A, and B. Each suite (partita) had an opening prelude. Kuhnau also wrote the partita (Italian) Sechs musicalische Partien in 1697. The most prolific composer of partitas for harpsichord was Christoph Graupner (1683–1760), whose works in the form number 57. The first set was published in 1718 and dedicated to his patron Ernest Louis, Landgrave of Hesse-Darmstadt. The last of his partitas exist in manuscripts dated 1750. They are difficult and virtuosic pieces which exhibit an astonishing variety of musical styles. Finished in 2016, Shoah for Solo Violin and Sacred Temple by Jorge Grundman (b. 1961) is the longest partita composed, lasting an hour and a half.

Partyschlager

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

History#

The term party music had already been used for popular music earlier, for example by a label called Party-Musik founded by Electrola in 1966. Tony Marshall is considered one of the first representatives of party mood music in the 1970s, and the group Die 3 Besoffskis was considered a forerunner of Ballermann music. Their biggest hit, “Puff von Barcelona” (1975), was covered by Mickie Krause in 1999. The style became known with pieces such as “König von Mallorca” (1999) by Jürgen Drews and “10 Nackte Friseusen” (1999) by Mickie Krause. Since the 1990s, schlager songs have also been released as party remixes, such as “Wahnsinn” (1983) by Wolfgang Petry and Die Lollies (1998), “Marmor, Stein und Eisen bricht” by Drafi Deutscher (1965), or “Ein Stern (…der deinen Namen trägt)” by Nik P. (1998) and DJ Ötzi (2007). The song “Layla” by DJ Robin and Schürze became the official summer hit of 2022 and sparked a sexism debate. The song also brought the style of pop music to attention outside of the party scene. In 2023, several partyschlager songs made it into the charts.

Pashto music

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

Tappa#

Tappa () is the oldest and most popular genre of the Pashto poetry. The Tappa is a composition of two unequal meters, in which the first line is shorter than the succeeding one, yet it reflects all human feelings and aspirations elegantly. Be it laborers, peasants, or women, all sentiments find expression in the Tappa. It is also common among the Pashtuns that a boy of school age would sing it, the elders in their hujrahs, or the women in their home and Godar alike. It is the only song sung in the time of grief and on the occasion of marriage. In music it is sung with the traditional Afghan musical instruments rubab and mangai. Tappa has up to 16 different models of harmony and is sung with full orchestra. In hujrah it is sung with rubab and sitar.

Pasillo

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

History#

Invented in the 19th century, pasillo became closely associated with the Colombian War of Independence, the Ecuadorian War of Independence, and Ecuadorian nationalism. Pasillo gained popularity from the recordings of the duet “Ecuador”, once performed by Enrique Ibañez Mora and Nicasio Safadi. It reached its international apex during the career of Julio Jaramillo. Younger generations of Ecuadorians still enjoy pasillos, including new styles sung by Juan Fernando Velasco and Margarita Lazo. Some Ecuadorian pasillos include “Pasional”, “Invernal”, “Ángel de Luz”, “El aguacate”, and many others. Pasillo has been a very popular style of music in Colombia since the 19th century. Famous Colombian pasillos include “Espumas”, “Pueblito viejo”, “Pescador lucero y río”, and “Oropel”. Colombian artists, such as Silva y Villalba and Garzon y Collazos, have helped popularize pasillo around the world.

Pasodoble

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

Structure#

All pasodobles have binary rhythm. Its musical structure consists of an introduction based on the dominant chord of the piece, followed by a first fragment based on the main tone and a second part, called “the trío”, based on the sub-dominant note, based yet again on the dominant chord. Each change is preceded by a brieph. The last segment of the pasodoble is usually “the trío” strongly played. The different types of pasodoble – popular, taurino, militar – can vary in rhythm, with the taurino being the slowest and the popular being faster and often incorporating voice. Pasodoble as we know it started in Spain but is now played in a wide variety of Hispanic nations. Each region has developed its own subgenre and personal style of pasodoble, adjusting some formal aspects of the structure to fit their local musical tradition. In modern Spain, the most prolific composition of pasodobles takes place on the Valencian coast, associated with the festivals of Moors and Christians and the Fallas. The dance form is very free regarding figures. The dancers must remain one in front of the other, and keep their bodies parallel to each other at all times, leaning slightly to the left. They must give one step per tempo . The left hand of the male and the right hand of the woman must remain united almost permanently. Besides this, almost all motions and figures are accepted, which allows space for dramatization. The dance can be similar to the one-step, except for the speed and number of steps given.

Passacaglia

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

Origin#

The term passacaglia (; ; Italian: passacaglia, passacaglio, passagallo, passacagli, passacaglie) derives from the Spanish pasar (cross, pass) and calle (street). It originated in early 17th-century Spain as a strummed interlude between instrumentally accompanied dances or songs. Despite the form’s Spanish roots (confirmed by references in Spanish literature of the period), the first written examples of passacaglias are found in an Italian source dated 1606. These pieces, as well as others from Italian sources from the beginning of the century, are simple, brief sequences of chords outlining a cadential formula. The passacaglia was redefined in the late 1620s by Italian composer Girolamo Frescobaldi, who transformed it into a series of continuous variations over a bass (which itself may be varied). Later composers adopted this model, and by the nineteenth century the word came to mean a series of variations over an ostinato pattern, usually of a serious character. A similar form, the chaconne, was also first developed by Frescobaldi. The two genres are closely related, and since “composers often used the terms chaconne and passacaglia indiscriminately … modern attempts to arrive at a clear distinction are arbitrary and historically unfounded”. In early scholarship, attempts to formally differentiate between the historical chaconne and passacaglia were made, but researchers often came to opposite conclusions. For example, Percy Goetschius held that the chaconne is usually based on a harmonic sequence with a recurring soprano melody, and the passacaglia was formed over a ground bass pattern, whereas Clarence Lucas defined the two forms in precisely the opposite way. More recently, however, some progress has been made toward making a useful distinction for the usage of the seventeenth and early eighteenth centuries, when some composers (notably Frescobaldi and François Couperin) deliberately mixed the two genres in the same composition. The melodic pattern—usually four, six or eight (rarely seven) bars long—repeats without change through the duration of the piece, while the upper lines are varied freely, over the bass pattern serving as a harmonic anchor. The seventeenth-century chaconne, as found in Frescobaldi’s music, more often than not is in a major key, while the passacaglia is usually in a minor key. In eighteenth-century French practice, the passacaglia leans more strongly to the melodic basso ostinato, while the chaconne, “in a reversal of the seventeenth-century Italian practice, in various respects undergoes a freer treatment”.

Passion (music)

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

History#

The reading of the Passion from one of the Gospels during Holy Week dates back at least to the 4th century and is described by Egeria. In the 5th century Pope Leo the Great specified that the gospel of Matthew be used on Palm Sunday and the following Wednesday and that of John on Good Friday; by the 10th century Luke replaced Matthew on Wednesday and Mark was added on Tuesday. The passion began to be intoned (rather than just spoken) in the Middle Ages, at least as early at the 8th century. 9th-century manuscripts have “litterae significativae” indicating interpretive chant, and later manuscript begin to specify exact notes to be sung. By the 13th century different singers were used for different characters in the narrative, a practice which became fairly universal by the 15th century, when polyphonic settings of the turba passages began to appear also (Turba, while literally meaning “crowd,” is used in this case to mean any passage in which more than one speaker speaks simultaneously). The formula of the present Graduale Romanum was the most widespread, with Christ singing in the lowest register and Synagogus (denoting not only the high priest but all characters besides Christ) singing higher than the evangelist/narrator. In Spain a Toledan tone with the evangelist’s part recto tono (on a monotone) was used in Castile and a Saragossan tone with a bass evangelist and a florid tenor Christus was used in much of Aragon, where the Roman tone also had a foothold in Valencia. In the later 15th century a number of new styles began to emerge: *‘Responsorial Passions in which the narration is chanted but the turba parts and sometimes Christ’s words are set polyphonically. * Through-composed Passions, also called motet Passions, in which all text is set polyphonically. The earliest extant example of this type is sometimes attributed to Jacob Obrecht . * Summa Passionis settings, drawing on all four Gospels. These were never incorporated into the liturgy of the church use but circulated widely nonetheless. The Seven Last Words (a text later set by Haydn and Théodore Dubois) are included in this category.

Patter song

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

Etymology#

The word “patter” derives from the Pater Noster, or Lord’s Prayer,

Origins#

A form of rapid patter occurred in the parabasis in ancient Greek comedies. The 16th-century French composer F. de Lys published a song “Secouhez moy” set in what the Grove Dictionary of Music and Musicians calls “a syllabic, patter-song manner”. Rapid patter numbers are heard in Italian opera of the baroque era, specifically opera buffa. Alessandro Scarlatti’s 1702 opera Tiberio imperatore d’Oriente contains an early instance in the duet “Non ti voglio”. In the view of Grove, syllabic patter songs were among the components of the new comic idiom, developed in the early decades of the 18th century by composers including Pergolesi, Leo, Sarro, Hasse and Orlandini, and they became a basic part of the pre‐classical operatic style. Patter was used sparingly until the second half of the 18th century, but then became an increasingly familiar feature of comic operas. * the “Tutti mi chiedono” section of Figaro’s “Largo al factotum” in Act 1 of Rossini’s The Barber of Seville (1816) and the “Signorina, un’altra volta” section in Bartolo’s “A un dottor della mia sorte” in the same act; * the end (starting at “Mi risveglio a mezzogiorno”) of Don Magnifico’s “Sia qualunque delle figlie” in Act 2 of Rossini’s La Cenerentola (1817) and the whole of the short sextet “Quello brontola e borbotta” in the same act; and * the last section of each of Pasquale’s and Malatesta’s verses in their duet “Cheti, cheti, immantinente” in Act 2 of Donizetti’s Don Pasquale (1843), plus a reprise in which they sing their patter simultaneously. The musical scholar Gervase Hughes points to the patter number “Bin Akademiker” in Peter Cornelius’s The Barber of Bagdad (1858) as a prototype of the later Gilbert and Sullivan model.

Patua Sangeet

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

Classification#

There are three types of Patua Sangeet according to the difference of Patachitra and there mythological stories. This lyrical drama is written about the Krishnilila, Gouranglila, Ramlila, Shib-Parbotiilila etc. is called Lila kahini. Panch Kalyani type music is not based on any particular story or adaptation. There are many sense of various gods and goddesses. So it’s called Pancha Kalyani, the mixer of various stories. Gopalan or Cattlefarming story is another type of Patua Sangeet.

Pavane

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

Origin of term#

The word pavane is most probably derived from Italian danza padovana, meaning " dance typical of Padua" (similar to Bergamask, “dance from Bergamo”); pavan is an old Northern Italian form for the modern Italian adjective padovano (= from Padua). This origin is consistent with the equivalent form, Paduana. An alternative explanation is that it derives from the Spanish pavón meaning peacock. Although the dance is often associated with Spain, it is “almost certainly of Italian origin”.

Payada

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

History#

The work of Bartolomé Hidalgo (born in Montevideo in 1788) is considered a precedent of this form of art in the Río de la Plata. Hidalgo is regarded as the first gaucho poet. His birthdate, August 24, was established as the “Day of the Payador” in Uruguay. In Argentina, July 23 was established as the “Day of the Payador” in commemoration of the famous payada where Juan de Nava and Gabino Ezeiza contended. This payada was held in Paysandú in 1884, and Ezeiza was proclaimed the winner with the improvisation of his famous Saludo a Paysandú. A recording of this song is the only existing record of Ezeiza’s voice. The first registered payador was Simón Méndez (nicknamed Guasquita), a soldier who fought in the British invasions of the River Plate. Both in Argentina and Uruguay, the payada is considered part of the “gauchesca” culture. Santos Vega (to whom writer Rafael Obligado dedicated his most famous poem) is considered “the” payador par excellence, with successors such as Gabino Ezeiza, José Betinoti, Carlos Molina, Abel Soria, Julio Gallego, Gabino Sosa Benítez, Cayetano Daglio, among others. The payada has also been parodied by the comedy-musical group Les Luthiers in their Payada de la vaca. The work of Bartolomé Hidalgo, born in Montevideo in 1788, who is considered the first gaucho poet, can be found as an antecedent to the appearance of this art in the Río de la Plata. The date of his birth (August 24) was established by law as “Payador’s Day” in Uruguay. The payada can be traced back to the troubadour traditions of southern Spain, which settlers then brought the music tradition to Latin America. When it reached Argentina, its development was greatly influenced by Afro-Argentines in the late 19th century. During this time, Argentina’s government were trying to “whiten” the country by encouraging European migration and marginalizing the black community. Black payadores like Gabino Ezeiza used their music to fight against the discrimination and they sought recognitionfor Afro-Argentines’ deep historical contributions. Even though the government were able erase most of Afro-Argentine presence, there are still people in the Americas who practice the music traditions that originated from Afro-Argentines and African ancestry.

PA on Music Theory Print

Pachanga

Music#

Paean

Etymology#

Ancient Greek paean#

Pagan metal

Characteristics#

Pagan rock

History#

Pagode

See also#

External links#

Pagode baiano

History#

Paisley Underground

Etymology#

Southern California#

Pakistani folk music

Major folk singers#

Kafi#

Pakistani hip-hop

History#

Pakistani popular music

1960–1980: Rise and fall of playback singing#

Pakistani rock

New wave of music (1980–1989)#

Palenquero music

History#

Palestinian hip-hop

Themes#

Palingsound

Origin#

Palm Desert Scene

History#

Palm-wine music

Etymology#

History#

Palo de Mayo

History#

Palo music

Instruments#

Pambiche

Recordings#

Pansori

Name#

Pantomime

Ancient Rome#

Paranda (music)

Parang

Performance#

Parlour music

History#

Parody mass

Etymology#

Parody music

Etymology#

Renaissance#

Parranda

Planning and purpose#

Part song

In Britain#

Parthian music

Background#

Partido alto

Characteristics#

Partita

Keyboard partitas#

Partyschlager

History#

Pashto music

Tappa#

Pasillo

History#

Pasodoble

Structure#

Passacaglia

Origin#

Passion (music)

History#