RI on Music Theory Print

Ricercar

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

Terminology#

In the sixteenth century, the word ricercar could refer to several types of compositions. Terminology was flexible, even lax then: whether a composer called an instrumental piece a toccata, a canzona, a fantasia, or a ricercar was clearly not a matter of strict taxonomy but a rather arbitrary decision. Yet ricercars fall into two general types: a predominantly homophonic piece, with occasional runs and passagework, not unlike a toccata, found from the late fifteenth to the mid-sixteenth century, after which time this type of piece came to be called a toccata; and from the second half of the sixteenth century onward, a sectional work in which each section begins imitatively, usually in a variation form. The second type of ricercar, the imitative, contrapuntal type, was to prove the more important historically, and eventually developed into the fugue. Marco Dall’Aquila (c. 1480–after 1538) was known for polyphonic ricercars. Examples of both types of ricercars can be found in the works of Girolamo Frescobaldi, e.g. in his Fiori musicali.

Riddim

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

Definition#

Some classic riddims, such as “Nanny Goat” and “Real Rock,” both produced by Clement “Coxsone” Dodd, are essentially the accompaniment tracks of the original 1960s reggae songs with those names. Since the 1980s, however, riddims started to be originally composed by producers/beatmakers, who give the riddims original names and, typically, contract artists to voice over them. Thus, for example, “Diwali” is the name not of a song, but of a riddim created by Steven “Lenky” Marsden, subsequently used as the basis for several songs, such as Sean Paul’s “Get Busy” and Bounty Killer’s “Sufferer.” “Riddims are the primary musical building blocks of Jamaican popular songs…. At any given time, ten to fifteen riddims are widely used in dancehall recordings, but only two or three of these are the now ting (i.e., the latest riddims that everyone must record over if they want to get them played in the dance or on radio)…. In dancehall performing, those whose timing is right on top of the rhythm are said to be riding di riddim.

Riddim (genre)

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

Origins and evolution#

The term “riddim” is the Jamaican Patois pronunciation of the English word “rhythm”. The derived genre originally stemmed from dub, reggae, and dancehall. Although the term was widely used by MCs since the early days of dancehall and garage music, it was later adopted by American dubstep producers and fans to describe what was originally referred to as “wonky dubstep”. As a subgenre, riddim started to gain mainstream presence in the electronic music scene around 2015. As all riddim works of music are dubstep, their histories and notable artists can be considered closely intertwined. Riddim can be traced back to several dubstep artists, including Jakes and Rusko. Although not considered a riddim artist, Rusko originally produced dubstep that featured riddim-esque bassline patterns. Jakes is credited by many as being the first riddim artist, and served as direct inspiration for the following wave of producers. From that wave, artists like Subfiltronik are credited for establishing what riddim is known as today. Various other artists have been credited for having contributed to the rise of the subgenre, including Bukez Finezt, Coffi, Deemed, Blankface, Drippy, The Monsters, Coki from Digital Mystikz, and Kromestar.

Rieldans

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

Etymology#

The dance was not originally called “riel”. The original Khoisan and San languages had mostly disappeared and in South Africa these groups mostly speak Afrikaans. The word was later borrowed from “reel”, a Scottish folk dance and in Afrikaans the dance became known as the “riel”. In Nama the dance is known as Ikhapara which is derived from the word “khapas” which means “hat”. The hat of the man is a useful article to win a lady’s hand in marriage

Rigsar

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

History#

Rigsar’s popularity grew steadily in the 1970s, when the genre’s modern form developed; Dasho Thinley, a schoolteacher and composer, performed a song called Dorozam which was very influential. his 1986 Ngesem Ngesem was also very popular, and was the first to use keyboards. By the end of the 1980s rigsar was declining in popularity until the arrival of Norling Drayang, a very popular and prolific record label which has released more than 130 albums. Norling’s breakthrough release was the album Pangi Shawa, which set the stage for future developments. In the early 1990s, the rigsar industry grew considerably as Drayang repopularized the genre, adding more electronic elements. Modern rigsar recordings often use electronic approximations of drums and guitars. Suresh Moktan released an album, New Waves, in 1996 that is the highest-grossing Bhutanese album in sales. However, he has now begun criticizing rigsar as unmusical. Others dislike the genre because it is repetitive, simple and generally a copy of Indian popular songs, or because rigsar is not influenced by traditional Bhutanese music.

Ringbang

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

Ringbang music#

In an attempt to popularise ringbang music and its underlying philosophy, Grant asked various recording artists to apply the word (which he trademarked) to some of their songs. Barbadian recording artists Grynner, Square One, Viking Tundah, and others recorded ringbang tracks for Grant’s record labels, Ice Records and Blue Wave Records. Among the ringbang albums on these labels were Fire in de Wave (1994), Ringbang Rebel Dance (1995), Ringbang Souljah (1996), and Ringbang Revolution (1997). On New Year’s Eve 1999, Grant hosted a concert in Tobago called Ringbang Celebration 2000, at which he performed with the Frontline Orchestra. The event drew approximately 11,000 people, and featured performances by artists from Antigua, Barbados, and Trinidad and Tobago. Calypso musician Lord Kitchener’s brief appearance at the event was his final time onstage, as he died the following February. In March 2003, Ice Records published Ringbang 4 Kids, a selection of songs intended for children of primary school age. The songs were performed by Barbadian singer Indra Rudder, who had previously sung backing vocals for several Ice Records tracks.

Ringtone

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

Background and history#

A telephone rings when the telephone network indicates an incoming call, so that the recipient is alerted of the call attempt. Landline telephones typically receive an electric alternating current signal, called power ringing or ringing signal, generated by the telephone exchange to which the telephone is connected. The ringing current originally operated an electric bell. For mobile phones, the network sends a message to the recipient’s device, which may activate a sound, or a visual or vibrating indication. On a POTS interface, this signal is created by superimposing ringing voltage atop the −48 VDC already on the line. This is done at the Central Office, or a neighborhood multiplexer called an “SLC” for Subscriber Line Carrier. (SLC is a trademark of Alcatel-Lucent, but is often used generically.) Telephones with electromagnetic ringers are still in widespread use. The ringing signal in North America is normally specified at ca. 90 volts AC with a frequency of 20 hertz. In Europe it is around 60–90 VAC with a frequency of 25 Hz. Some non-Bell Company system party lines in the US used multiple frequencies for selective ringing. Ringing voltage is produced by various sources. Large central offices used motor-driven generator sets for both ringing and other signals such as dial tone and busy signals. In smaller offices, special sub-cycle magnetic oscillators were used. Typically, solid-state oscillators have replaced them. Originally this voltage was used to trigger an electromagnet to ring a bell installed inside the telephone, or in a nearby mounted ringer box. Fixed phones of the late 20th century and later detect this ringing current voltage and trigger a warbling tone electronically. Mobile phones have been fully digital since the early 1990s second-generation (“2G”) devices, hence are signaled to ring as part of the protocol they use to communicate with the cell base stations. While the sound produced is still called a “ring”, some phones electronically produce a warbling, chirping, or other sound. Variation of the ring signal can be used to indicate characteristics of incoming calls. For example, ringing bursts with a shorter interval between them might be used to signal a call from a given number. In POTS switching systems, ringing is said to be “tripped” when the impedance of the entire telephone line (local loop) is reduced when the telephone handset is lifted off the hook. This signals that the telephone call has been answered. The telephone exchange immediately removes the ringing signal from the line and connects the call. The ringing pattern is known as ring cadence, in which the high voltage ring current is switched on and off to create the pattern. In North America, the standard ring cadence is two seconds of ringing followed by four seconds of silence. In Australia and the UK, the standard ring cadence is 400 ms on, 200 ms off, 400 ms on, 2000 ms off. These patterns may vary from region to region, and other patterns are used in different countries around the world. Some central offices offer distinctive ring to identify one of multiple telephone numbers assigned to the same line, a pattern once widely used on party line (telephony). In many systems, including North America Bellcore standards, Caller ID signals are sent during the silent interval between the first and second bursts of the ringing signals. The caller is informed about the progress of the call by the audible ringing signal, often called ringback tone. Power ringing and audible ringing are not generally synchronized. Seven different gong combinations for the “C” type ringer were included in the model 500 and 2500 landline telephone sets. These gongs provided “distinctive tones” for hearing-impaired customers and also made it possible to distinguish the specific telephone that was ringing when several telephones were placed in close proximity. A “Bell Chime” was also offered, which could be set to sound like a doorbell or to ring like a standard telephone. While rings, ringers, ring signals, or what might be viewed as the call signals which are the predecessors of ringtones, date back to the beginnings of telephony, modern ringtones appeared in the 1960s and have expanded into tunes and many customizable tones or melodies. Arguably the first ringtone (in the modern sense) appeared in the movie Our Man Flint in 1966, where the head of the secret government agency had a red phone that connected directly to the President and rang with a distinctive musical ringtone. Following a 1975 FCC ruling which permitted third-party devices to be connected to phone lines, manufacturers produced accessory telephone ringers which rang with electronic tones or melodies rather than mechanical bells. People also made their own ringers which used the chip from a musical greeting card to play a melody on the arrival of a call. One such ringer, described in a 1989 book, even features a toy dog which barks and wags its tail when a call arrives. Eventually, electronic telephone ringers became the norm. Some of these ringers produced a single tone, but others produced a sequence of two or three tones or a musical melody. Some novelty phones have a ringer to match, such as a duck that quacks or a car that honks its horn. Polyphonic ringtone technology dates back to 1999, when the Yamaha MA-1 sound chip was introduced, including four 2-op FM synthesis channels. Ringtones played on the MA series chips are in the MIDI-based synthetic music mobile application format (SMAF). It was succeeded by the MA-2 in 2000, which includes 16 channels with support for ADPCM samples, and the MA-3 in 2001 which includes 32 FM channels and 8 wavetable channels. One of the first software-based polyphonic synths included on phones was miniBAE, developed by Thomas Dolby’s audio technology company Beatnik. It is an optimized version of Beatnik Audio Engine, which was previously used in products such as WebTV. The first phone to include this synth was the Nokia 3510, released in 2002.

Riot grrrl

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

Origins#

The riot grrrl movement originated in 1991, when a group of women from Olympia, Washington, and Washington, D.C., held a meeting about sexism in their local punk scenes in the United States. The word “girl” was intentionally used in order to focus on childhood, a time when children have the strongest self-esteem and belief in themselves. Riot grrrls then took a growling “R”, replacing the “I” in the word as a way to take back the derogatory use of the term. Both double and triple “R” spellings are acceptable. The first documented use of this was from a July 1991 zine titled riot grrrl, compiled and published by Kathleen Hanna, Molly Neuman, Allison Wolfe, and Jen Smith. The Seattle and Olympia, Washington, music scenes in the Pacific Northwest had sophisticated do it yourself (DIY) infrastructure. While the model of politically themed zines had already been used in punk culture as an alternative (to mainstream) culture, zines also followed a longer legacy of self-published feminist writing that allowed women to circulate ideas that would not otherwise be published. There was a lot of anger and self-mutilation. In a symbolic sense, women were cutting and destroying the established image of femininity, aggressively tearing it down. Riot grrrl bands were influenced by groundbreaking female punk and mainstream rock performers of the 1970s to the mid-1980s. While many of these musicians were not originally associated with each other during their time and came from a variety of backgrounds and styles, as a group they anticipated many of riot grrrl’s musical and thematic attributes. These performers include the Slits, Poly Styrene, Siouxsie Sioux, the Raincoats, Joan Jett, Kim Gordon, and Kim Deal, among others. Of Kim Gordon, in particular, Kathleen Hanna noted, “She was a forerunner, musically … Just knowing a woman was in a band trading lead vocals, playing bass, and being a visual artist at the same time made me feel less alone.”

Ripieno concerto

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

Types#

Most ripieno concertos fall into one of two distinct classes: a sonata type and a sinfonia type. The sonata type generally mirrors the form and style of the in its use of four-movement slow–fast–slow–fast cycles and predominantly fugal texture. The more modern sinfonia type was firmly established in Torelli’s second publication to include concertos, Op. 6 (1698), and in Giulio Taglietti’s , Op. 4 (1699), which turn to the three-movement (fast-slow-fast) pattern and more homophonic texture familiar to us from the solo concerto and opera sinfonia. The opening movements also parallel the solo concerto in utilizing ritornello form (without solo sections), in which the opening material recurs from one to several times in various keys, the last statement normally in the tonic. Finales are most often binary in form and dancelike in style. The sinfonia type gradually merged with the early concert symphony beginning in the 1720s, doubtless in part because the term concerto was by that time acquiring an indelible association with the notion of tutti-solo contrast. Concerto for Orchestra of the 20th century is not a ripieno concerto in the Baroque sense but rather a display piece in which the orchestra itself is the virtuoso, with soloists, to sections of the orchestra, to choirs, to tutti taking on and relinquishing the solo part or parts. Best known through Bartók’s popular work of 1943, other examples include those by Hindemith (1925), Walter Piston (1933), Zoltán Kodály (1939–40), Michael Tippett (1962–63), and Elliott Carter (1969). In the last piece, Carter dramatically personifies or characterizes the various concertino groupings, a technique he had previously explored in his Double Concerto for harpsichord and piano (1961) and his Piano Concerto (1964–65).

Ripsaw music

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

External links#

Music in the Turks and Caicos Islands at Turks and Caicos Tourist Board
Ripsaw Music & Our Musical Heritage, by David Bowen, Cultural Officer, Turks & Caicos Tourist Board.

Risecore

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

History#

In the mid-2000s, many pop screamo bands began to push their music further into the prevailing metalcore sound, particularly Alesana, Drop Dead, Gorgeous, Blessthefall and From First to Last. In turn, Drop Dead, Gorgeous, Alesana, Blessthefall, A Skylit Drive and Escape the Fate became early pioneers of Risecore. By the end of the decade, this style had been popularised by Attack Attack!, the Devil Wears Prada, I See Stars, We Came As Romans and Of Mice & Men. By early 2012, Risecore had declined in popularity, as the metalcore scene shifted towards srscore.

Ritual opera

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

Categories#

There are several types of performances, such as temple fair performances, festival performances, ancestral hall performances, festive performances, affairs performances, and peace plays. The most common is the Miaohui play, which is usually performed on the birthdays of deities such as the Jade Emperor, Three Great Emperor-Officials, Guan Di, Xuanwu, Lü Dongbin, Mazu, Dragon King, City God, Mountain God, Land God. The worship of these gods is usually a major event for the local temples, and at the same time, the local temples also hold Temple Festival to celebrate during the festival. The performance is mainly for the purpose of entertaining the gods or thanking them, and is only performed incidentally for the appreciation of the good faith. Therefore, the stage is often set up at the front of the temple, and the audience is not allowed to go forward or get too close, but can only watch the show from the sides or the back, so that the gods can be said to be sitting in the VIP seats or the seats in the front rows. In Hong Kong, most of the performances are Cantonese opera, Teochew opera, and Liyuan opera. In Taiwan, in the early days, it was Beiguan music, Gaojia opera, Taiwanese opera, and Glove puppetry, but after the restoration, it was mostly Taiwanese opera and Glove puppetry, and even Puppetry and modern Drama are available, and in recent decades, Film has also been shown to honor the gods. In mainland China, the performance of Shinto plays is based on the region’s popular theater genres. In Southeast Asia, most of the Chinese operas are Taiwanese Ke-Tse opera（Hokkien opera）, Teochew opera, and Cantonese opera.

Rizitika

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

Description#

Rizitika songs commonly have no conventional names, and are instead referred to by with their first verse, or with some other verse. Rizika are generally not danced, and additionally they are traditionally divided into songs and in his book , classified them in 32 melodies, and found 31 songs to have their own unique melodies, always on major scales. Their music is serious, typically a singer first sings a verse, which is usually repeated chorally. This does not always happen, however. The songs do not always need to rhyme, and the verse does not always have fifteen syllables.