RE on Music Theory Print

Rebetiko

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

Definition and etymology#

The word (plural ) is an adjectival form derived from the Greek word (, ), which is construed to mean a person who embodies aspects of character, dress, behavior, morals and ethics associated with a particular subculture. The etymology of remains a subject of dispute and uncertainty. An early scholar of rebetiko, Elias Petropoulos, and the modern Greek lexicographer Georgios Babiniotis each offer suggested derivations, but leave the question open. where the word is defined as a ‘wanderer’, ‘blind’, ‘misguided’.

Rebita

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

Rebita Bands and Musicians#

In the history of Rebita music, musicians who made significant progress and development in the musical style include Ngola Ritmos, Mestre Geraldo Morgado, União Kaboko Meu, Euclides Fontes Pereira, Amadeu Amorim.

Recession pop

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

Etymology#

The term “recession pop” first gained prominence during the Great Recession and 2008 financial crash, a global financial crisis that significantly impacted economies worldwide. As individuals and communities grappled with unemployment, housing instability, and financial insecurity, popular music began to reflect these changes. Artists crafted songs characterized by a danceable sound and an emphasis on nightlife and partying, providing a sense of escapism, while others focused on themes of survival, frustration, sadness, and hope, often wrapped in an optimistic message. Music journalists noted the popularity of dance tracks, particularly those with narratives about clubbing and feeling positive during hard times, in pop music in the early 2010s being seen as a response to the 2007–2008 financial crisis or 2012 phenomenon, with the colloquial term “recession pop” used to define the popular songs of this decade. The Guardian stated that times of economic downturn or global recessions were categorized by an influx of upbeat, fun and happy dance-pop music: Additionally, Vice described recession pop songs as “meant to be screamed along to, danced to, used as a soundtrack to a chaotic night out. To be a recession banger means to offer your listeners a place of escape within your music, turning every party into an extravagant, maximalist club experience even if you’re broke.” Some music critics argue that the genre reflects popular culture, music, and art during times of economic downturns drawing parallels between the Great Depression and the rise of swing and big band music in the 1920s-30s.

Recitative

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

Origins#

The first use of recitative in opera was preceded by the monodies of the Florentine Camerata in which Vincenzo Galilei, father of the astronomer Galileo Galilei, played an important role. The elder Galilei, influenced by his correspondence with Girolamo Mei on the writings of the ancient Greeks and with Erycius Puteanus on the writings of Hucbald and wishing to recreate the old manner of storytelling and drama, pioneered the use of a single melodic line to tell the story, accompanied by simple chords from a harpsichord or lute. In the Baroque era, recitatives were commonly rehearsed on their own by the stage director, the singers frequently supplying their own favourite baggage arias which might be by a different composer (some of Mozart’s so-called concert arias fall into this category). This division of labour persisted into the 19th century: Rossini’s La Cenerentola (1817, recitatives by Luca Agolini ) is a famous example. Later it remained a custom to replace originally spoken dialogue with new recitatives: Carl Maria von Weber’s Der Freischütz (1821, adapted 1841 with recitatives by Hector Berlioz for the Paris Opera), Georges Bizet’s Carmen (1875, recitatives by Ernest Guiraud for the posthumous run in Vienna the same year), Charles Gounod’s Mireille and La colombe (staged by Sergei Diaghilev with recitatives respectively by Eric Satie and Francis Poulenc ).

Red dirt music

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

History#

Oklahoma has been the source of several pop music movements that can be traced not only to a specific city but to a specific location within the city. Those music scenes include Western swing (attributed to Cain’s Ballroom in Tulsa), and Leon Russell’s Tulsa sound from his Tulsa church-turned-studio called The Church Studio. Like those two, red dirt music grew from a specific place in Stillwater. The place was an old two-story, five-bedroom house called “The Farm”, for two decades the center of what evolved into the red dirt scene. The house, located on the outskirts of Stillwater, was the country home of Bob Childers. Eventually Childers left The Farm, but the red dirt scene continued to grow and thrive. Childers said, “I found something in Stillwater that I just didn’t find anywhere else. And I looked everywhere from Nashville to Austin. I always came back to Stillwater—it’s like a fountainhead for folks trying to get their vision.” The first usage of “red dirt” was by Steve Ripley band Moses when the group chose the label name Red Dirt Records for their 1972 self-published live album. One of many bands representing red dirt music—as their name signifies—is the Red Dirt Rangers. The Rangers (John Cooper, Brad Piccolo and Ben Han) have been making music since the late 1980s and, along with Childers, were part of The Farm’s earliest musical brotherhood, which also included Jimmy LaFave and Tom Skinner. These musicians and others jammed in the living room, on the front porch, in the garage (known as the Gypsy Cafe), and around campfires in the yard where “the sheer joy of creating music with friends transcended everything else.” Cooper said, “The Farm was as much an attitude as a physical structure. It allowed a setting where freedom rang and all things were possible. Out of this setting came the music.” The physical structure burned down in 2003.

Redowa

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

History#

The name comes from the Czech name rejdovák, derived from rej (“whirl”). Originally a folk dance, it first appeared into the salons in Prague in 1829 and fell out of fashion by 1840, though in the meantime it had spread beyond Bohemia. states that the redowa was introduced to London ballrooms in 1846. Like other popular ballroom dances of the mid-nineteenth century, including the polka, it was danced in Paris prior to its appearance in London. As late as 1890, Russian composer Nikolay Rimsky-Korsakov included a “Redowa” as part of dance music in the score for his opera-ballet, Mlada, the action of which takes place during the ninth or tenth century in Slavic lands along the Baltic coast.

Reel (dance)

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

History#

The reel is indigenous to Scotland. The earliest reference was in a trial of 1590, where the accused was reported to have “daunced this reill or short dance.” However, the form may go back to the Middle Ages. The name may be cognate with or relate to an Old Norse form, with Suio-Gothic rulla, meaning “to whirl.” This became Anglo-Saxon hreol and Gaelic ruidhle or ruidhleadh, which is the origin of the word now. Later it was introduced to North America by English, Scottish, and Irish colonists and immigrants. In the United States, reels remain central in the traditions of Anglo and African-American Old-time music and square dancing, as well as Cajun and Zydeco. In Canada, they are important parts of Cape Breton, Acadian, Québécois, and Métis repertoires.

Reggae

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

Origins and influences#

Reggae developed from earlier Jamaican genres including mento, ska, and rocksteady, and is rooted in traditional drumming styles such as Kumina, Pukkumina, Revival Zion, Nyabinghi, and burru. It incorporates elements of rhythm and blues, jazz, mento (a rural folk form that served as dance music and an alternative to church singing, which was conflated with calypso by the 1950s),

Musical characteristics#

Reggae is distinguished by a slower tempo than ska or rocksteady, a strong emphasis on the downbeat in the drum and bass, and short, staccato guitar or piano chords on the offbeat. The bass guitar plays a central role, with a thick, heavy tone and the high frequencies reduced to accentuate the low end. Call-and-response patterns are common, and the rhythm section often uses the bass as a percussion instrument, a feature carried over from rocksteady. Notable rhythm players include Jackie Jackson, Carlton Barrett, Lloyd Brevett, Paul Douglas, Lloyd Knibb, Winston Grennan, Sly Dunbar, and Anthony “Benbow” Creary. Vocals are often delivered in Jamaican Patois, Jamaican English, or Iyaric. Lyrical themes range from political and social commentary to religion, love, and leisure activities.

Reggae en Español

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

Early developments#

Reggae as a musical genre has its origins in Jamaica, and it became popular throughout the 1970s in the black-immigrant communities of the other British West Indies, North America, and Great Britain. Jamaican reggae was embraced in Panama by the descendants of black workers that immigrated to the Isthmus during the construction of the Panama Railroad (mid-19th century), the railways for the banana companies (late 19th century), and the Panama Canal (early 20th century). Prior to the period of construction of the Panama Canal (1904–1915), most of the Afro-Caribbean communities in Panama were of Haiti descent, but with the construction of the canal these communities grew in diversity with immigrants from other parts of the Caribbean such as Jamaica, Barbados, Martinique, Guadeloupe, Haiti, Trinidad, Dominica, Puerto Rico, French and British Guyana and other Caribbean Islands. In 1977, a Guyanese immigrant who went by the nickname “Guyana”, along with a local DJ known as “Wassabanga” introduced for first time the reggae rhythms in Panama with lyrics in Spanish. Wassabanga’s music along with later interpreters such as Rastanini and Calito Soul, were perhaps the first remarkable cases of reggae en Español, at a time when many Panamanians were already developing a musical and spiritual bond with the Mecca of reggae music (Kingston, Jamaica), a bond catalyzed mainly by the call to arms issued by the music of Bob Marley. In 1984, Hernando Brin produced the first record in Panamá of reggae in Spanish on vinyl, called “Treatment”, In the early to mid-1980s, Panamanians like Renato, El General, Nando Boom, El Maleante and Chicho Man started to take Jamaican dancehall songs and beats, singing over them with Spanish lyrics, most of the time preserving the melodies and the rhythms. They also sped up riddims. This style was called reggae en Español or “Spanish reggae”. The music continued to grow throughout the 1980s, with many stars developing in Panama. Between the 1980s and 1990s, the Panamanian artist Chicho Man emerged as one of the greater exponents of Panamanian reggae. In the 1990s, the genre had grown in Panama. In 1991, singer Apache Ness with Papa Chan, Kafu Banton, Calito Soul, Wassa Banga, and Original Dan decided to join forces and create the foundation “One Love One Blood” singing about urban street experiences under the rhythm called reggae bultrón. In 1996 came artists such as Aldo Ranks, El Renegado, and Jam & Suppose who sang the hit “Camión Lleno de Gun”. Jr. Ranks and Tony Bull already had good records with late singer Danger Man and they formed the musical group called The Killamanjaros. Later in Panama, the romanticism had been mixed with reggae and reggae romántico (“romantic reggae”), now better known as “romantic flow”. Those who keep alive the reggae with romantic lyrics are the following: Flex (aka Nigga), El Roockie, El Aspirante, Kathy Phillips, Eddy Lover, Tommy Real, Makano, Catherine, as well as groups like Raíces y Cultura and La Factoría who became famous by the Panamanian producer Irving DiBlasio. In the year 1996, considered the golden age of Panamanian reggae, appeared the productions Los Cuentos de la Cripta and La Mafia by producer El Chombo, with songs like “Las Chicas Quieren Chorizo” (“The Girls Want Chorizo”) by Wassabanga, “El Cubo de Leche” by Jam & Suppose and “Estaban Celebrando” by Aldo Ranks. The Museum of Reggae in Spanish was inaugurated on April 19, 2023. It is located on Calle 13 in the Santa Ana neighborhood of Panama City. This museum was created by Raul Isaac Alvarez who is a fan of the reggae music. The idea behind the museum was to show Panama’s contribution as the pioneers of reggae in Spanish and how this country influenced others such as Dominican Republic, Puerto Rico and Central America. The Museum of Reggae in Spanish has recognized the 10 pioneers of the genre including El General, Rude Girl, Renato, Nando Boom, Chicho Man, Carmensita Anderson, Gringo Man, Apache Ness, Super Nandi and Principal.

Reggae fusion

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

Origin#

Artists have been mixing reggae with other genres from as early as the early 1970s, but initially they were described using terms that joined the various genres they performed (e.g. “reggae funk”, “reggae pop”, “reggae-disco”). It was not until the late 1990s that the term “reggae fusion” was coined. The subgenre predominantly evolved from late 1980s and early 1990s dancehall music which instrumentals or “riddims” contained elements from the R&B and hip hop genres. Due to this, some consider dancehall artists such as Mad Cobra, Shabba Ranks, Super Cat, Buju Banton and Tony Rebel as pioneers of reggae fusion. For some of these artists, among them Buju Banton, reggae fusion became a staple throughout their careers. However, reggae fusion can be traced back to before the success of these artists, as far back as the late 1970s and early 1980s, with such songs as “Pass the Dutchie”, and the band Third World blazed the trail, finding international success with songs such as “Now That We Found Love” and “Try Jah Love”. Therefore, Third World can be seen as arguably the original pioneers of reggae fusion leading the way for groups such as UB40 and Steel Pulse. Although there were a few recognized reggae fusion artists in the late 1980s to mid-1990s, including the aforementioned acts in addition to others such as Sublime, Maxi Priest, Shinehead, 311, First Light, the Police and Inner Circle, their style of fusing genres was subtly done. Artists such as Diana King, Patra, Buju Banton, Ini Kamoze, Snow and Shabba Ranks followed in their footsteps, however, creating a less subtle fusion by further blending heavier Jamaican dialect as well as more hardcore and sexual lyrics in their songs. This led to a lot of crossover success for these artists with songs such as “Informer” and “Here Comes the Hotstepper” reaching number one on the Billboard Hot 100, as well as topping charts all around the world. As the subgenre began to take shape, the mid- to late 1990s saw artists becoming more innovative as many began to mix genres that were not similar nor typically associated with reggae, such as techno and house, leading to the subgenre gaining a more distinctive following and really beginning to grow. This led dancehall artists who were trying to break into the U.S. market, to fuse the dancehall style of toasting or deejaying over softer and predominantly pop and hip hop instrumentals as well as to diversify the content of their songs while moving away from homophobic lyrics. Traditional dancehall acts, such as Shaggy and Beenie Man experienced commercial success in the American markets with the release of their albums in 2000. Shaggy had previously experienced multiple chart successes in the ’90s but it was his album, Hot Shot, that especially helped further propel the subgenre internationally, as his album spawned two number-one singles on the Billboard Hot 100, “It Wasn’t Me” and “Angel”. The early 2000s also saw Sean Paul achieve tremendous success internationally with singles such as “Baby Boy”, “Breathe”, “Like Glue” and “Make It Clap”, among many others. His albums Dutty Rock and The Trinity altogether spawned five top 10 Billboard Hot 100 hits between 2002 and 2006, including the number-one hits “Get Busy” and “Temperature”.

Reggae punk

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

1970s#

Reggae punk first appeared in the late-1970s in England by punk rock bands incorporating reggae (and even lovers rock) elements into their music. The most notable band to have done this was the Clash. When Clash bassist Paul Simonon was getting his start in the music business and learning to play the bass, he found it easier to play along to reggae songs rather than traditional rock songs. In 1977, the Police would form. Initially considered a punk rock band, they soon expanded their sound to incorporate pop, new wave and reggae. In a retrospective assessment, AllMusic’s Stephen Thomas Erlewine argued that the notion of the Police as a punk band was only true “in the loosest sense of the term”, and stated that the band’s “nervous, reggae-injected pop/rock was punky” and had a “punk spirit” but it “wasn’t necessarily punk”. The Slits have also been described as punk-reggae by The Independent.

Reggae rock

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

Reggaeton

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

Etymology#

There are several versions about the origin of the word reggaeton. The word reggaeton was officially invented and coined in Puerto Rico adding the Spanish suffix ton to the word reggae. One of them states that the word reggaeton emerged in 1994 when Daddy Yankee mentioned it for the first time while “freestyling” on the mixtape Playero 34. Another version suggests that it appeared the following year when DJ Erick released the album titled Reggaetón Live Vol.1, abbreviating the words reggae and maratón (marathon). The spellings reggaeton and reggaetón are common, although prescriptivist sources such as the Fundéu BBVA and the Academia Puertorriqueña de la Lengua Española recommend the spelling reguetón, as it conforms more closely with traditional Spanish spelling rules.

Regional Mexican music

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

16th–20th century: Origins#

Many different subgenres of regional Mexican have their origins in the 16th to 19th centuries. Indigenous and Spanish instruments and styles mixed together to create these genres of music. For example, mariachi originated in the state of Jalisco around the 18th century. The mariachi genre is distinguished by its use of the vihuela, guitarrón, trumpet, and violin. Other genres developed later in the 20th century. An example being the ranchera. Ranchera is a traditional style of regional Mexican formed during the Mexican Revolution. Today, it can be performed in the vast majority of regional Mexican subgenres in several different time signatures.

Regional styles of Mexican music

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

Baja California#

: Baja California has a characteristic style derived from the huapango norteño, known as calabaceado. Calabaceado is a type of dance that was created in the 1940s, based in the fact that “norteño music” and typical cowboy cultures were being mixed, which is reflected in the dance. Other norteño forms are also popular, such as Vals Norteño, Chotis, Mazurka and mariachi.

Chiapas#

: Chiapas has produced many marimba bands and artists, such as Marimbas de Chiapas. Chiapas has its own “son” tradition (son chiapaneco), often played on the marimba. Mexican waltzes are also particularly popular here.

Religion and spirituality podcast

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

History#

The Vatican began radio broadcasts in 1931 and by 2005 was offering many of those programs as podcasts. founder of The Godcast Network. Patchett’s Godcast Network provides a platform for a number of podcasts including his daughter’s show “Rachel’s Choice.” Religion and spirituality podcasts are used as an alternative for attending live sermons or church services and are more easily accessible for people with busy schedules. Podcasting makes it easier for a pastor to connect with their congregation than having an individual conversations with each parishioner. They are also used for evangelizing and proselytizing to larger audiences through an alternative medium that can be easily accessed from around the world—leading to pastors having listenership from every continent and numerous countries other than their own. Tania Ralli of The New York Times compared the beginnings of Christian podcasting to the Christian movement that embraced radio and television—now known as Televangelism. Between early July and late August 2005, religion and spirituality podcasts on Podcast Alley increased from 171 to 474. Reverend Mark Batterson, the host of National Community Church Audio Podcast, compared the impact of podcasting on the church to that of the printing press on the distribution of Bibles. Religion and spirituality podcasting has the same roots in blogs and radio shows that other genres of podcasts have. According to Tania Ralli of The New York Times, Christian podcasts make up the majority of religious and spirituality podcasts available. Reverend Roderick Vonhögen commented on the medium saying that “Podcasting for us has been a resurrection of radio,” and “It’s the connection to a new generation.” Many religion and spirituality podcasts contain daily devotional readings, sermons, daily prayers, and Christian music. According to Ellen Lee of the Fort Wayne News-Sentinel, “the vast majority of religion and spirituality podcasts are Christian-based, but they also include New Age, Jewish and Buddhist podcasts.” Charles Arthur of the New Statesman has commented on the trend and its funding methods to the TV evangelist Billy Graham, who would boldly ask for donations. The Daily Telegraph pointed out that churches typically have difficulty embracing pop culture and that podcasting has been one of a few success stories, and that even the non-religious can be enthusiastic about the development because over-zealous evangelists will be reduced to silently using earbuds and headphones. According to Olga Kharif of the Bloomberg Businessweek, “Religion and spirituality podcasts have multiplied faster than most other types of podcast programming and have emerged as one of the genre’s most popular.” In May 2005, Vonhögen’s “Catholic Insider” podcast ranked third on PodcastAlley.com, which hosted 2,884 podcasts at the time. Ryan King and Dan Tripp began a podcast called “Outchurched” as an alternative to ministry work. In 2005, most religious organizations did not have official positions on podcasts, but encouraged spreading the Gospel message regardless of the medium being used. Most religion and spirituality podcasts are made by preachers who want to spread the Gospel to more than just their congregation. Reverend Tim Hohm hosts the podcast “RevTim”, which reached an international audience in 2005 despite his relatively small congregation. Reverend John Butler—who worked previously as a radio host and DJ—hosts the “Psalmcast”, which contained over 5,000 psalms in 2005.

Religious Jewish music

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

History of religious Jewish music#

The history of religious Jewish music is that of the Jerusalem Temples, synagogal, and cantoral music composed for Jewish worship contexts since the period of the First Temple. The earliest synagogal music was based on that used during Jewish rituals performed in the Temple in Jerusalem. According to the Mishnah, the regular Temple orchestra consisted of twelve instruments and a choir of twelve male singers. A number of additional instruments were known to the ancient Hebrews but were not included in the Temple’s regular orchestra: the uggav (a small flute) and the abbuv (a reed flute or oboe-like instrument). After the destruction of the Second Temple and subsequent Jewish diasporization, music in religious contexts was initially banned. Later, these restrictions were relaxed—save for Yemenite Jews, who maintained strict adherence to Talmudic and Maimonidean Halakha, and, “instead of developing the playing of musical instruments, they perfected singing and rhythm.” It was with the development of the genre of piyyut (pl. piyyutim, ’liturgical poems’) that Jewish religious music began to crystallize into definite form. In the Jewish congregational setting, the hazzan chanted piyyutim to melodies selected by their composers or composed by himself, thus introducing fixed melodies into synagogal music. The music likely retained some phrases from Temple songs, including scripture, but mainly reflected the tones familiar to Jews of various ages and places, influencing both borrowed tunes and local musical tonality.

Religious music

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

Buddhist music#

Buddhist music is music created for or inspired by Buddhism and part of Buddhist art.

Buddhist chanting#

Buddhist chanting is a form of musical verse or incantation, which is similar to religious recitations of other faiths. Buddhist chanting is the traditional means of preparing the mind for meditation, especially as part of formal practice (in either a lay or monastic context). Some Buddhist traditions also use chanting as a form of devotional practices. Apart from chanting, in certain Buddhist traditions, offerings of music are given in honor of the Triple Gem, consisting of traditional music performed by specialists, or of the ritual music that accompanies the chanting. One significant example lies in Sri Lankan tradition, where a traditional ceremony is performed by drummers as a musical offering, also popularly known as “Sabda-Puja”.

Renaissance music

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

Background#

As in the other arts, the music of the period was significantly influenced by the developments which define the Early Modern period: the rise of humanistic thought; the recovery of the literary and artistic heritage of Ancient Greece and Ancient Rome; increased innovation and discovery; the growth of commercial enterprises; the rise of a bourgeois class; and the Protestant Reformation. From this changing society emerged a common, unifying musical language, in particular, the polyphonic style of the Franco-Flemish school. The invention of the printing press in 1439 made it cheaper and easier to distribute music and music theory texts on a wider geographic scale and to more people. Prior to the invention of printing, written music and music theory texts had to be hand-copied, a time-consuming and expensive process. Demand for music as entertainment and as a leisure activity for educated amateurs increased with the emergence of a bourgeois class. Dissemination of chansons, motets, and masses throughout Europe coincided with the unification of polyphonic practice into the fluid style which culminated in the second half of the sixteenth century in the work of composers such as Giovanni Pierluigi da Palestrina, Orlande de Lassus, Thomas Tallis, William Byrd and Tomás Luis de Victoria. Relative political stability and prosperity in the Low Countries, along with a flourishing system of music education in the area’s many churches and cathedrals allowed the training of large numbers of singers, instrumentalists, and composers. These musicians were highly sought throughout Europe, particularly in Italy, where churches and aristocratic courts hired them as composers, performers, and teachers. Since the printing press made it easier to disseminate printed music, by the end of the 16th century, Italy had absorbed the northern musical influences with Venice, Rome, and other cities becoming centers of musical activity. This reversed the situation from a hundred years earlier. Opera, a dramatic staged genre in which singers are accompanied by instruments, arose at this time in Florence. Opera was developed as a deliberate attempt to resurrect the music of ancient Greece.

Repetitive song

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

Children’s songs#

In children’s songs, repetition serves various educational purposes: repetition aids memory, can aid in learning punctuation and reading skills, and is very valuable in learning (foreign) languages.

Work songs#

See also: Slave Songs of the United States. Repetitive songs are also found in traditional work songs. Examples abound in African-American culture, in political groups, and among traveler, marchers, and walkers.

Rescue opera

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

Term#

“Rescue opera” was not a contemporary term. Dyneley Hussey used the term in English in 1927 as a translation of Karl M. Klob’s 1913 reference to Fidelio as “das sogenannte Rettungs- oder Befreiungsstück” in Die Oper von Gluck bis Wagner. David Charlton believes that rescue opera is not an authentic genre, and that the concept was coined to make what he believes is a nonexistent connection between Beethoven’s work and French opera. Patrick J. Smith, on the other hand, observes: “The ‘rescue opera’…antedated the Revolution, but ‘rescue opera’ as a genre was a product of it.” In French, this genre is referred to as the pièce à sauvetage or opéra à sauvetage,

Responsory

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

Definition#

The most general definition of a responsory is any psalm, canticle, or other sacred musical work sung responsorially, that is, with a cantor or small group singing verses while the whole choir or congregation respond with a refrain. However, this article focuses on those chants of the western Christian tradition that have traditionally been designated by the term responsory. In the Roman Rite and rites strongly influenced by it, such as the pre-reformation English rite and the monastic rite of the Rule of St. Benedict, these chants ordinarily follow readings at services of the Divine Office (also called the Liturgy of the Hours); however, they have also been used as processional chants.

Retro-soul

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

Background#

Retro soul started in the late 1990s in New York City, with the vintage focused recordings from Desco (now Daptone Records). Hip hop producers craved sampling material, and the small label presented vinyl recordings emulating the style of 1960s and 1970s soul and music. This music was initially released to represent that the music may be rare or lost recordings that were somehow unearthed, although they were technically brand new recordings. The popularity grew, finding the music being played frequently on US college radio. In addition, some of these recordings were used as material for sampling in hip hop and electronic recordings.

Retrograde (music)

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

In treatises#

Retrograde was not mentioned in theoretical treatises prior to 1500. Nicola Vicentino (1555) discussed the difficulty in finding canonic imitation: “At times, the fugue or canon cannot be discovered through the systems mentioned above, either because of the impediment of rests, or because one part is going up while another is going down, or because one part starts at the beginning and the other at the end. In such cases a student can begin at the end and work back to the beginning in order to find where and in which voice he should begin the canons.” Vicentino derided those who achieved purely intellectual pleasure from retrograde (and similar permutations): “A composer of such fancies must try to make canons and fugues that are pleasant and full of sweetness and harmony. He should not make a canon in the shape of a tower, a mountain, a river, a chessboard, or other objects, for these compositions create a loud noise in many voices, with little harmonic sweetness. To tell the truth, a listening is more likely to be induced to vexation than to delight by these disproportioned fancies, which are devoid of pleasant harmony and contrary to the goal of the imitation of the nature of the words.” Friedrich Wilhelm Marpurg (1754) notes various names for the procedure imitatio retrograda or cancrizans or per motum retrogradum and says it is used primarily in canons and fugues. Some writers acknowledge that hearing retrograde in music is a challenge, and consider it a self-referential compositional device.

Revivalist artist

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

List of notable revivalist artists#

The Beau Hunks – Dutch orchestra who have recorded overlooked works by American composers Raymond Scott, Leroy Shield, Ferde Grofe, Edward McDowell, and others, as well as reconstructing and recording themes from Hal Roach 1930s film comedies.
Big Bad Voodoo Daddy – one of the major swing revival bands
The Black Crowes – started in 1984 as revivalists of 1970s blues-rock – eventually became writers of their own material
The Blues Brothers – started in 1978 as revivalists of 1950s and 1960s blues, soul and R&B music
Michael Feinstein – began his performing career in 1986 as a revivalist of the genre of American songs written between 1920–1960 (known colloquially as the Great American Songbook)
The Jam – started in 1972 and evolved into the leading band of the late-1970s mod revival
Imelda May – Irish singer noted as a revivalist of rockabilly in the 2000s
Pete Seeger, along with his associated act The Weavers, revitalized American folk music in the 1940s and 1950s.
Leon Redbone – singer-songwriter, guitarist, and actor specializing in jazz, blues, and Tin Pan Alley classics.
Joshua Rifkin – played a central role in the ragtime revival in the 1970s by treating the works of Scott Joplin as serious classical music rather than as nostalgia or novelty
Sha Na Na – started in 1969 as revivalists of 1950s doo-wop music
The Sheepdogs – started in 2007 as revivalists of early-1970’s roots rock
Simple Plan – Canadian band that was noted as punk rock revival
Steel Panther – formed in 2000 as revivalists and a parody of the 1980s ‘glam metal’ scene.
The Stray Cats – a major player in the rockabilly revival of the early 1980s
Tiny Tim – performed historic and regional American music in his natural baritone, in addition to novelty songs sung falsetto.
Cedric Watson has helped to revive Creole music.

Revolutionary opera

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

Origin#

Precursors of revolutionary opera existed during the Republican era, when Nationalist officials and rural reformers such as the Mass Education Movement pushed for various opera reform initiatives that sought to use theatre performances to inculcate their desired objectives of abolishing certain traditional customs and strengthening national identity. Nationalist officials also coerced local village leaders to replace religious festivals with reform opera through police involvement. The Communists only began to use opera as a method of mass mobilization in the late 1940s when they began land reform programs in areas under their control. Jiang Qing was the chief advocate and engineer of the transformation from traditional operas to revolutionary ones, and chose the Peking opera as her “laboratory experimentation” for accomplishing this radical change in theater art. The traditional Peking opera was revolutionized in both form and content. Eight model plays were produced in the first three years of the Cultural Revolution. They consisted of five modern operas (The Legend of the Red Lantern, Shajiabang, Taking Tiger Mountain by Strategy, Raid on the White Tiger Regiment, and On the Docks), two ballets (Red Detachment of Women and The White-Haired Girl), and one symphony (also Shajiabang, which is more precisely a cantata). The official versions of the operas were all Peking operas and were produced by either the China Peking Opera House or the Shanghai Peking Opera House, although many of them were subsequently adapted to local provincial types of operas. The ballets were produced by either the National Ballet of China or the Shanghai Ballet Company. Shajiabang was musically expanded to a symphony with a full Western orchestra, a format similar to the ninth symphony of Beethoven, with an overture and 8 movements. The Legend of the Red Lantern was also adapted to a piano-accompanied cantata by the pianist Yin Chengzong, which was basically a cycle of arias excerpted from the opera. After 1969 several other model operas were produced, including Azalea Mountain, Battle in the Plains, and Bay of Panshi, following the original model in content and form. However it was the original eight plays that were most commonly performed. Toward the end of the Cultural Revolution, the ballet Red Detachment of Women was adapted to a Peking opera, while the Peking opera The Azalea Mountain was adapted to a ballet. These did not have a chance to become as popular as their earlier versions, and the ballet version of The Azalea Mountain was never officially released.

Revolutionary song

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

By country#

Music was part of the cultural support of the earliest revolutions, and institutionalized as a genre of socialist or workers’ music in countries including the Soviet Union, its former Eastern European satellites, China, Vietnam, Cuba and North Korea, as well as less permanent revolutionary movements in other countries.

French Revolution#

During the French Revolution, notable songs, beyond “La Marseillaise”, included “”, “Carmagnole”, "" (1790), "" (1790), "" (1790), "" (1790), “”, and many more.

Revue

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

Etymology#

Revue comes from the French word for , as in a “show presenting a review of current events”. George Lederer’s The Passing Show (1894) is usually held to be the first successful American “review”. The English spelling was used until 1907 when Florenz Ziegfeld Jr. popularized the French spelling. “Follies” is now sometimes (incorrectly) employed as an analog for “revue”, though the term was proprietary to Ziegfeld until his death in 1932. Other popular proprietary revue names included George White’s “Scandals”, Earl Carroll’s “Vanities” and John Murray Anderson’s Greenwich Village Follies.

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Rebetiko

Definition and etymology#

Rebita

Rebita Bands and Musicians#

Recession pop

Etymology#

Recitative

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Red dirt music

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Redowa

History#

Reel (dance)

History#

Reggae

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Reggae en Español

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Reggae fusion

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Reggae punk

1970s#

Reggae rock

Reggaeton

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Regional Mexican music

16th–20th century: Origins#

Regional styles of Mexican music

Baja California#

Chiapas#

Religion and spirituality podcast

History#

Religious Jewish music

History of religious Jewish music#

Religious music

Buddhist music#

Buddhist chanting#

Renaissance music

Background#

Repetitive song

Children’s songs#

Work songs#

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Rescue opera

Term#

Responsory

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Retro-soul

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Retrograde (music)

In treatises#

Revivalist artist

List of notable revivalist artists#

See also#

Revolutionary opera

Origin#

Revolutionary song

By country#

French Revolution#

Revue

Etymology#