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Peking opera

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

Etymology#

“Peking opera” is the English term for the art form; the term entered the Oxford English Dictionary in 1953. “Beijing opera” is a more recent equivalent. In China, the art form has been known by many names at different times and places. The earliest Chinese name, (), was a combination of the and melodies. As it increased in popularity, its name became or , which reflected its start in the capital city (). From 1927 to 1949, when Beijing was known as Beiping (), Peking opera was known as or to reflect this change. Finally, with the establishment of the People’s Republic of China in 1949, the name of the capital city was reverted to Beijing, and the formal name of this theatre in mainland China was established as . The Taiwanese name for this type of opera, , or “national opera”, reflects disputes over the true seat of the Chinese government.

Percussion concerto

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

Multi-percussion concertos#

Kalevi Aho
Sieidi (2010)
John Corigliano
Conjurer (2007)
Michael Daugherty
UFO (1999)
Dreamachine (2014)
Avner Dorman
Spices, Perfumes, Toxins! (2006)
Frozen in Time (2007)
Eternal Rhythm (2018)
In Flux (2024)
Tan Dun
Water Concerto (1998)
Paper Concerto (2003)
Earth Concerto (2009)
The Tears of Nature (2012)
Péter Eötvös
Speaking Drums (2012)
Helen Grime
Percussion Concerto (2018)
Jennifer Higdon
Percussion Concerto (2005)
Duo Duel for two percussionists and orchestra (2020)
Alan Hovhaness
Fantasy on Japanese Woodprints (1965)
André Jolivet
Concerto for Percussion (1958)
James MacMillan
Veni, Veni, Emmanuel (1992)
Percussion Concerto No. 2 (2014)
Darius Milhaud
Concerto for Percussion and Small Orchestra (1929-1930)
Concerto for Marimba, Vibraphone and Orchestra (1947)
Thea Musgrave
Wood, Metal and Skin (2004)
Einojuhani Rautavaara
Incantations (2008)
Ned Rorem
Mallet Concerto (2003)
Christopher Rouse
Der gerettete Alberich (1997)
Fazıl Say
Percussion Concerto
Joseph Schwantner
Percussion Concerto (1995)
Steven Stucky
Spirit Voices (2003)
Tōru Takemitsu
Cassiopeia (1971)
From me flows what you call Time for five percussionists and orchestra (1990)
Joan Tower
Strike Zones (2001)
Carl Vine
Percussion Concerto (1987)
Symphony No. 5 Percussion Symphony for four percussionists and orchestra (1995)
Chen Yi
Percussion Concerto (1998)

Perpetuum mobile

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

Types of perpetuum mobile composition#

As a distinct composition, perpetuum mobile can be defined as one in which part or most of the piece is intended to be repeated an often unspecified number of times, without the “motion” of the melody being halted when a repeat begins. Canons are often intended to be performed in a moto perpetuo fashion, and can thus be called canon perpetuus. In some cases the repeats of a “perpetuum mobile” piece are at a different pitch, a modulation or a chord progression occurs during the repeatable part. Some of the riddle canons of Bach’s are examples of this particular kind of perpetuum mobile/canon perpetuus. Perpetuum mobile as a genre of separate musical compositions was at the height of its popularity by the end of the 19th century. Such pieces would often be performed as virtuoso encores, in some cases increasing the tempo along the repeats.

Persian traditional music

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

History#

The history of musical development in Iran dates back thousands of years. Archaeological records attributed to the Elam in the southwest and of Oxus in the northeast, demonstrate musical traditions in prehistoric times. Little is known about the music of the classical Iranian empires of the Medes, the Achaemenids, and the Parthians. However, an elaborate musical scene is revealed through various fragmentary documents, including those that were observed at the court and in public theaters and those that accompanied religious rituals and battle preparations. The history of Sasanian music is better documented than the earlier periods, and the names of various instruments and court musicians from the reign of the Sasanians have been attested. Under the Sasanian rule, modal music was developed by a poet-musician of the court named Barbad, who is remembered in many documents. He may have invented the lute and the musical tradition that was to transform into the forms of dastgah and maqam. He has been credited to have organized a musical system consisting of seven “royal modes” (), 30 derived modes (), and 360 melodies (). Iran’s academic classical music, in addition to preserving melody types attributed to Sasanian musicians, is based on the theories of sonic aesthetics as expounded by the likes of Iranian musical theorists in the early centuries of after the Muslim conquest of the Sasanian Empire, most notably Avicenna, Farabi, Qotb-ed-Din Shirazi, and Safi-ed-Din Urmawi. During the late Qajar and the early Pahlavi eras, numerous musical compositions were produced within the parameters of classical Iranian modes, and many involved western musical harmonies. The introduction and popularity of western musical influences in the early contemporary era was criticized by traditionalists, who felt that traditional music was becoming endangered. It was prior to the 1950s that Iran’s music industry was dominated by classical musicians. In 1968, Dariush Safvat and Nur-Ali Borumand helped form an institution called the Center for Preservation and Propagation of Iranian Music, with the help of Reza Ghotbi, director of the National Iranian Radio and Television, an act that is credited with saving traditional music in the 1970s. The “Radif of Iranian music” was officially inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2009, described as “the traditional repertoire of the classical music of Iran”.

Personal anthem

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

Examples#

Countries where the national anthem is also the head of state’s personal anthem include Barbados, Jamaica, Japan, Malaysia, and the Netherlands. - rowspan=“2” Australia Monarch “God Save the King” - Governor-General, Governors Vice-regal salute - rowspan=“3” Canada Monarch, consort “God Save the King” - Other Royal Family members The first six bars of “God Save the King” - Denmark Monarch “Kong Christian stod ved højen mast” Also one of two national anthems, the other being “Der er et yndigt land”. - Ecuador President "" (Presidential Salute) "" (Presidential March) 1. In the Army, Air Force and Police, a bugle fanfare followed by the chorus of "" 2. In the Navy, four long blasts of the boatswain’s call then the rest as above 3. Played at the arrival of the president in military events, once the arrival honors have been received. - rowspan=“2” Estonia President “Pidulik marss” (“Solemn March”, or Presidential March) In 1922, “Pidulik marss” won the contest for Estonian-composed state march. On 27 January 1923, it was adopted by the then-Minister of War Jaan Soots as the honorary march of the State Elder of Estonia (later known as the president of the Republic of Estonia), thus replacing the “Porilaste marss” which was previously used in its place. - Commander of the Estonian Defence Forces and Commander-in-Chief of the Estonian Defence Forces “Porilaste marss” was the honorary march of the State Elder of Estonia until 27 January 1923 when it was replaced by the “Pidulik marss”. “March of the Pori Regiment”/“March of the Björneborgers”. The tune was first publicly performed in Estonia at the 7th Estonian Song Festival in 1910, a handful of years before the declaration of independence. - France President “Chant du départ” Adopted by then-president Valéry Giscard d’Estaing in 1974 as the personal anthem of the president of France. - Haiti President “Quand nos Aïeux brisèrent leurs entraves” (Chant Nationale) “When Our Fathers Broke Their Chains” (also known as the National Hymn). Poem by Oswald Durand, set to music by Occide Jeanty in 1893 to serve as a national anthem; replaced by “La Dessalinienne” in 1904. - rowspan=“2” Ireland President “Presidential Salute” The first four and last five bars of “Amhrán na bhFiann”, the national anthem. - Taoiseach “Mór Chluana” / “Amhrán Dóchais” “Mór Chluana” (“More of Cloyne”) is a traditional air collected by Patrick Weston Joyce in 1873. “Amhrán Dóchais” (“Song of Hope”) is a poem written by Osborn Bergin in 1913 and set to the air. John A. Costello chose the air as his salute. - Italy President “S’hymnu sardu nationale” (“Inno Sardo Nazionale”) First adopted in 1991. - Korea (Republic of) President “Phoenix Hymn” Modified version of Star March, played during military parades or events attended by the President. - rowspan=“2” Malaysia Raja Permaisuri Agong; Yang di-Pertua Negeri Abridged version of the National Anthem Consisting of first and last sections. - Various officials not entitled to “Het Wilhelmus” “De Jonge Prins van Friesland” - rowspan=“2” New Zealand Monarch “God Save the King” Also one of two national anthems, the other being “God Defend New Zealand”. The anthem may also be played in full. - Philippines President “We Say Mabuhay” Played to announce the arrival of the President during major events, minus the four ruffles and flourishes. - Poland President “Sygnał prezydencki” Played in the presence of the President when the Presidential Ensign is raised in major events. - Romania President “Marș triumfal” Played in the presence of the president in state events and during state visits by foreign high officials. - Singapore President “Majulah Singapura” For the purposes of singing, the anthem is played in full. A version without the repeat of section B is used for a Salute to the President. An abridged version is used for Singapore Armed Forces Dining In and after the playing of the visiting dignitary’s National Anthem during a Welcome Ceremony at the Istana. - rowspan=“4” Thailand rowspan=“2” Monarch “Sansoen Phra Barami” “The song of glorifying His Majesty’s prestige”. Former national anthem, still played before shows in cinemas and theatres and during all major events when the King and Queen are present. - “Sadudee Jom Racha” “Hymn to the Righteous King”. Used for ceremonies related to King Vajiralongkorn and Queen Suthida. - Other members of the royal family “Maha Chai” “Grand Victory”. Also used for regents and military officers who held the rank of Field Marshal, Admiral of the Fleet and/or Marshal of the Royal Thai Air Force. - Other situations “Maha Roek” “Grand Auspice”. Mainly used for the arrival of senior government officials and for inaugurations. It is also used as the General Salute Music of the Royal Thai Armed Forces. - rowspan=“6” United States President “Hail to the Chief” - Vice President “Hail Columbia” “Honors March 1” 32-bar medley of “Stars and Stripes Forever” - Army, Air Force, and Space Force general officers “General’s March” Also listed in AR 600-25 as “Honors March 2” - Navy flag officers “Admiral’s March” Also listed in AR 600-25 as “Honors March 3” - Navy and Coast Guard admirals and Marine Corps generals “Flag Officer’s March” Also listed in AR 600-25 as “Honors March 4”

Peruvian cumbia

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

Origins and development#

Chicha started out in the 1960s in the oil-boom cities of the Peruvian Amazon. Loosely inspired by Colombian cumbia, it incorporated the distinctive pentatonic scales of Andean melodies, Cuban percussion, and the psychedelic sounds of surf guitars, wah-wah pedals and combo organs or Moog synthesizers. Chicha absorbed elements of the music of the Amazonian regions of Peru and the use of the Farfisa electronic organ through Amazonian bands like Juaneco y Su Combo. Chicha, which is named after a corn-based liquor favored by the Incas, quickly spread to Lima. It became the music of choice of the mostly indigenous new migrant population. By the mid-1980s it had become the most widespread urban music in Peru. The first chicha hit, and the song from which the movement has taken its name, was “La Chichera” (The Chicha Seller) by Los Demonios del Mantaro (The Devils of Mantaro), who hailed from the central highlands of Junin. The band Los Destellos, formed in Lima in 1966, brought electric guitars to chicha and consolidated its characteristic features by integrating in it elements of Peruvian Andean folklore, Peruvian creole waltz, Cuban music and rock music. Other bands, such as Los Mirlos, Los Ecos, and Los Diablos Rojos were highly influenced by this style. During the 1980s the Amerindian immigrants to coastal cities that nurtured the subgenre became working and middle class individuals and a market for chicha commercial radio. The Pharaoh of Cumbia, Chacalon, became one of the most popular chicha artists through his hit “Soy provinciano” (I am from the province) and vibrant concerts. Another famous band in the 1980s were Los Shapis, a provincial group established by their 1981 hit “El Aguajal” (The Swamp), a version of a traditional huayno. The strong influence of Mexican tecnocumbia became evident on the evolution of Peruvian cumbia in the 1990s. Efforts by Argentina-based Grupo Néctar and others gave it regional recognition. Its decline during the late 1990s was followed by a revival that began in 2007, mainly thanks to the rising popularity of Tongo.

Peruvian rock

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

1960s#

New trends like British Merseybeat and American surf became popular, and a number of Peruvian bands built a loyal audience. Los Saicos blended psychedelic rock, garage rock and surf. Los Shains featured rock guitar hero (later in Pax). Traffic Sound, the first Peruvian supergroup, merged core players from Los Hang Ten’s with other important musicians. Also popular were Los York’s, Los Jaguars, Los Silvertons, Los Belkings and Los Doltons.

Peruvian waltz

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

History#

“La Guardia Vieja,” translated as “the old guard,” was a time period in Peru approximately from 1900 to 1920 in which as a result of the combination of European, Afro-Peruvian, and indigenous musical elements the vals criollo emerged among the public. The music is characterized by the use of triple metre, sometimes compound duple time, and the lyrics consist of verses in strophic form with intercalated choruses. Throughout the 1920s and 1930s, the vals criollo became the main musical expression of the urban working class, with its lyrics reflecting their cultural personality, conflicts, and value systems. Composers such as Felipe Pinglo Alva, Laureano Martinez, Carlos Saco, Filomeno Ormeño Belmonte, and Alicia Maguiña enriched and drove the music at the time.

Peşrev

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

Etymology#

In Ottoman Turkish, peşrev combines a New Persian loanword, piš “before, ahead” and the native term rev, “that which goes”. coming to mean “that which comes first”.

Structure#

Peşrevs are composed of movements called hane (lit. “house”), at the end of which there is always an unchanging particle introducing the teslim (lit. “handing in”) mülazime (lit. “that which is inseparable or constant”), i.e. the refrain. Peşrevs are named after the Turkish makam used in the first hane and usually end with this makam; in Turkish classical music theory, they are said to be “bound” to this makam. There are always modulations to other makams in the hanes that follow the first hane, but with the refrain (teslim), the piece always regains the principal mode. At the end of each hane, a pause is made on the strong degree of its makam, forming a semi-cadence. This is called a yarım karar or nim karar (lit. “semi-decision”). Peşrevs usually have 4 hanes, yet they occasionally have 2, 5 or 6. In principle, they comport rather large usuls, yet peşrevs with shorter rhythmical patterns do exist. One rule that is never transgressed is that this usul may not be a compound meter of the family aksak. Some peşrevs, called batak or karabatak, are organized as to instigate a form of question-and-answer between instruments. If the hanes are to be marked with A, C, D, E and the teslim with B , the regular structure of a peşrev would be A+B/C+B/D+B/E+B, thus always ending with the teslim. For some, the teslim is also the first hane; therefore they have the structure: A/B+A/C+A/D+A.