SA on Music Theory Print

Saang

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

Features#

Stage is similar to operatic performance. The stage may consist of a clear circular open area, or at the most, a wooden platform about three and a half metre in length. There are no elaborate stage arrangements similar to modern dramatic performances. There are no backdrops, curtains or green-rooms. Typically, there are no microphones or loudspeakers either. An hour or so before the show, the musicians of the orchestra begin to sing religious or other songs connected with the play in order to create the proper atmosphere for the play. The ‘Guru’ then appears and the artistes touch his feet to evoke his blessings. The play opens with a song (‘bhait’ or offering) in praise of Bhawani, the Goddess of Knowledge: Aa re bhawani baas kar mere ghat ke parde khol Rasna par basa karo maai shudh shabd mukh bol (Oh Goddess Bhawani, open the doors of knowledge to me. Bless my tongue so that all I sing consists of pure surs.) After Bhawani there are Chamolas, Kafias, Savias the main ingredients of performance. Googa Dhamoda a dance form starts at the beginning. With a brief introduction about the play, the performance starts. It consists mainly of mimicry, from which the name of the theater form derives (swaang means disguise or impersonation). Also featured prominently are long question and answer sessions between the actors. Much of the dialogue is improvised and the actors must be able to trade quotations, puns, proverbs and songs at the drop of a hat. There is much singing and dancing and there is always a clown character called the makhaulia (jester). Swang theatre is traditionally restricted to men, who also play the female roles, the latter often involving elaborate make-up and costumes. But female troupes are not altogether unknown. A single presentation of swaang may continue for up to five or six hours. There is much song and music, especially the famous Haryanvi style of singing known as Raagani.

Sacred concerto

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

Early Baroque#

The stylistic roots of the concert lie in early baroque Italian models brought back to German by musicians such as Heinrich Schütz, and popularised by his contemporaries such as Samuel Scheidt. Some of these concerts take an Italianate dialogue or oratorio form, notably the works of Kaspar Förster and the dialogues of Schütz.

Middle Baroque#

The next generation of composers working in this form include Johann Schelle, Johann Philipp Förtsch, Sebastian Knüpfer, Dieterich Buxtehude and early members of the Bach family, the works of whom have been partially preserved in the Altbachisches Archiv. Johann Pachelbel is another composer contributing to the genre, for instance his Christ lag in Todesbanden, P 60, for SATB voices, strings, bassoon and continuo.

Sacred Harp

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

The music and its notation#

The name of the tradition comes from the title of the shape-note book from which the music is sung, The Sacred Harp. This book exists today in various editions, discussed below. In shape-note music, notes are printed in special shapes that help the reader identify them on the musical scale. There are two prevalent systems, one using four shapes, and one using seven. In the four-shape system used in The Sacred Harp, each of the four shapes is connected to a particular syllable, fa, sol, la, or mi, and these syllables are employed in singing the notes, just as in the more familiar system that uses do, re, mi, etc. (see solfege). The four-shape system is able to cover the full musical scale because each syllable-shape combination other than mi is assigned to two distinct notes of the scale. For example, the C major scale would be notated and sung as follows: The shape for fa is a triangle, sol an oval, la a rectangle, and mi a diamond. In Sacred Harp singing, pitch is not absolute. The shapes and notes designate degrees of the scale, not particular pitches. Thus for a song in the key of C, fa designates C and F; for a song in G, fa designates G and C, and so on; hence it is called a moveable “do” system. When Sacred Harp singers begin a song, they normally start by singing it with the appropriate syllable for each pitch, using the shapes to guide them. For those in the group not yet familiar with the song, the shapes help with the task of sight reading. The process of reading through the song with the shapes also helps fix the notes in memory. Once the shapes have been sung, the group then sings the verses of the song with their printed words.

Sacred jazz

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

History#

Jazz has always incorporated aspects of African American sacred music including spirituals and hymns, which jazz musicians often performed renditions of as part of their repertoire. Many other jazz artists also borrowed from black gospel music. Before World War II, American churches, black and white, regarded jazz and blues with suspicion or outright hostility as “the devil’s music”. It was only after World War II that a few jazz musicians began to compose and perform extended works intended for religious settings or expression. Since the 1950s, sacred and liturgical music has been performed and recorded by many jazz composers and musicians,

Sacred Steel (musical tradition)

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

Notable performers#

Maurice “Ted” Beard
The Campbell Brothers
Roosevelt Collier
Calvin Cooke
Aubrey Ghent
A. J. Ghent son of Aubrey Ghent
Bishop Lorenzo Harrison
The Lee Boys
Robert Randolph and the Family Band
Sonny Treadway

External links#

A Brief History of the House of God Steel Guitar Tradition by Robert L. Stone
Sacred Steel and The Empire State by Robert L. Stone
. By Robert L. Stone.
Aubrey Ghent Music and biography
“Sacred Steel”: Traditional Sacred African-American Steel Guitar Music in Florida Various Artists (links to samples from the CD)

Sadra (music)

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

Rhythmic Structure#

Compositions that exist in specific meters (tala) are classified as Sadra. The primary talas used include: * Teevra taal (7 beats) * Sool taal (10 beats) * Chau taal (12 beats) * Jhaptal (10 beats) - the most commonly used tala for Sadra performances The rhythmic complexity of Sadra incorporates layakari (rhythmic play) derived from Dhrupad tradition, making it distinctive among Hindustani vocal forms.

Musical Style#

Sadra represents a synthesis of classical vocal traditions. It combines the dignified bol baat (syllabic articulation) characteristic of Dhrupad with the melodic ornamentation and taan (rapid melodic passages) and sargam (solfa singing) found in Khyal. This unique combination gives Sadra a distinctive identity within the spectrum of Hindustani classical music forms. The compositional structure typically includes: * Sthayi - the initial section set in the lower and middle octaves * Antara - the second section exploring higher octaves * Elaborate rhythmic variations and improvisation

Saeta (flamenco)

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

Performance#

The saeta is a song of Catholic Andalusia dating back many centuries. The saeta antigua old saeta probably arose from the recitation of psalms under the influence of liturgical music. “Saetas vary greatly in form and style, ranging from simple syllabic melodies to highly ornamented ones.” In the older tradition, solemn drums and horns might accompany the singer, or the saetero sang alone. Since the nineteenth century, however, the more favored saetas have incorporated distinct elements associated with Flamenco music, particularly the siguiriyas. The saeta is best known for its mournful power during Holy Week in Spain. The song is performed during the processions by religious confraternities that move slowly through the streets of cities and towns in southern Spain. Possessing a plaintive emotional intensity, and dramatic charge, the saeta is sung by the saetero, often from a balcony, and may be addressed to the statue of Jesus below, in his agony on the Via Dolorosa, or to that of his suffering mother Mary. These and other crafted statues are mounted on platforms and carried along the streets on the shoulders of several penitents who pass among the assembled public. The immediate emotional response to the saeta, often of intense sorrow, may be the reason for its name, as the Spanish word saeta can mean “arrow or dart”. One of the places with the most tradition and variety in the singing of the flamenco saeta in Spain is Jerez de la Frontera. Saetas are also sung at outdoor devotions throughout Lent, and may be sung during the Christmas season as well. Several of the cities in Andalusia have their own peculiar styles of the saeta. Four intentions or themes have been distinguished from the religious lyrics, which mark the music of Saeta: descriptive, praising, prayerful, and exhortative.

Saibara

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

Development#

It may have developed out of music to drive horses along, as the Chinese characters that compose its name seem to indicate but, according to German musicologist Eta Harich-Schneider, there are several other theories.

Repertoire#

About 55 pieces have been transcribed into modern Western notation from original 12th century sources by Elizabeth Markham. The few songs that have survived into modern times have changed over the centuries. Song texts are short and simple in character and describe scenes of life. The repertoire was once estimated at some 400 songs. In the late Nara period the aristocracy became more interested in complex foreign musical imports. Emperor Horikawa (1079-1107), despite the taste for Chinese culture since the Nara period, also cultivated an interest in . Courtiers sang songs for entertainment. A fashionable aristocrat was not regarded à jour if he did not know of the latest Chinese imports, such as music. In the 14th century, because of the many wars, the repertoire of declined, as many were lost due to the turmoil, and it was only at the crowning ceremony of emperor Emperor Go-Mizunoo, who ruled from 1611 to 1629, at Nijo Palace that a reconstruction of the old pieces was attempted and the famous piece "" was performed at the Imperial palace in Kyōto. The emperor’s wife, Fujiwara no Fusahi, tells in her court chronicles how little old material could be found. The repertoire today includes newly created folk songs, .

Saint Thomas Christian music

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

History#

The Saint Thomas Christians trace their origins to the evangelical activity of Thomas the Apostle in the 1st century. The community grew under the influence of migration from Syrians, members of the Church of the East. The community’s modern musical traditions may be derived from this connection. Into the 20th century, Saint Thomas Christian liturgy was performed and sung in the Syriac language, though today this largely has been replaced with the local language, Malayalam. Due to the community’s resistance to outside influence and isolation, the music of the Saint Thomas Christians may preserve elements of the earliest forms of Christian music. Scholar Israel J. Ross compares Saint Thomas Christian music to that of the Jews in Kerala. Jewish music influenced the early Christian music ancestral to the Saint Thomas Christian forms, and Jews have lived in similar conditions to the Thomas Christians in Kerala for centuries. For example, a Saint Thomas Christian blessing given by a dying father to his children is similar to the Jewish Amidah. These similarities may reflect a common origin in the ancient Middle East.

Sakara music

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

History and development#

Sakara music started to develop in the 1930s, which was a time period of rapid cultural exchange in colonial Lagos. As a result of this, Yoruba musicians started to adapt indigenous style performances to their urban audiences. Sakara also started to emerge as a bridge between traditional Yoruba oral poetry and early Nigerian popular music. Abibu Oluwa was one of the earliest known Sakara performers who influenced the establishment of the genre’s fundamental musical structure and the style people performed in. However, after he died in 1964, his leadership passed to Salami Alabi Balogun (Lefty) http://www.mattin.org/essays/lagos.html#:~:text=Salamo%20Alabi%20Balogun%20(1913%E2%80%931981,percussion%20traditions%20and%20Islamic%20chants. . Salami was a highly influential talking drummer who recorded extensively and helped preserve Sakara music during its peak commercial period. At this time, Sakara was becoming more popular and present in Africa. Another very central figure in the genre’s quick expansion was Yusuf Olatunji. Yusuf was born in 1909, and he died in 1978. However, there are some questions about his actual place of birth, but some people claimed that he was a native of Iseyin in Oyo State, south-western Nigeria. He was born a Christian, but he converted to Islam and changed his name. After changing his name, his life drastically changed because his music started to really boom in the music industry. Through numerous recordings and performances, he brought Sakara music to a wider national audience. His influence was such that a street in Abeokuta was later named in his honor.

Salegy

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

Artists and bands#

Anziza Salema
Arsène Félix
Dr. J.B. and the Jaguars
Fenoamby
Eusèbe Jaojoby
Fredy de Majunga
Gérard Tsapalôko
IO Anay
Jaojoby Junior
Joacin-tapaka
Lazard
Mily Clément
Mister Rotsirotsy
Ninie Doniah
Olga del Madagascar
Paskaal Japhet
SISCA
Tianjama
Vaiavy Chila
Wawa

Salon music

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

Definition and characteristics#

The boundaries of the category of salon music have always been disputed, and there is no single agreed musical definition. As early as 1841, the German composer and critic Robert Schumann dismissed Salonmusik as superficial and sentimental, while in 1853 the theorist Johann Christian Lobe argued against generalisation, pointing to such works as Schumann’s own Kinderszenen, Beethoven’s Bagatelles, Weber’s Aufforderung zum Tanze and Mendelssohn’s Lieder ohne Worte as examples of music written for the salon that nonetheless possessed lasting artistic value. In musical terms the genre tends to favour the character piece, a short composition built around a single idea, mood or scene and often given a programmatic title. Two broad currents are commonly identified: the lyrical character piece (nocturne, reverie, mazurka, waltz, polka), prized for cantabile melody, expressive rubato and tasteful ornamentation; and the virtuosic showpiece (operatic paraphrase, fantasia, étude and variation set), which reworked popular opera tunes and other familiar material with dazzling pianistic display.

Salsa music

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

Origins of the term Salsa#

The word Salsa means sauce in the Spanish language. The origin of the connection of this word to a style of music is disputed by various music writers and historians. The musicologist Max Salazar traced the origin of the connection to 1930 when Ignacio Piñeiro composed the song Échale salsita (Put some sauce in it). The phrase is seen as a cry from Piñeiro to his band, telling them to increase the tempo to “put the dancers into high gear”. In the mid-1940s, Cuban Cheo Marquetti emigrated to Mexico. He named his group Conjunto Los Salseros, with whom he recorded a couple of albums for the Panart and Egrem labels. Later on, while based in Mexico City, the musician Beny Moré would shout salsa during a performance to acknowledge a musical moment’s heat, making a connection with the hot salsa (sauce) made in the country. Puerto Rican music promoter Izzy Sanabria claims he was the first to use the word salsa to denote a music genre: In 1973, I hosted the television show Salsa which was the first reference to this particular music as salsa. I was using the term salsa, but the music wasn’t defined by that. The music was still defined as Latin music. And that was a very, very broad category, because it even includes mariachi music. It includes everything. So salsa defined this particular type of music … It’s a name that everyone could pronounce. Sanabria’s Latin New York magazine was an English language publication. Consequently, his promoted events were covered in The New York Times, as well as Time and Newsweek magazines. Sanabria confessed the term salsa was not developed by musicians: “Musicians were busy creating the music but played no role in promoting the name salsa.” For this reason the use of the term salsa has been controversial among musicians. Some have praised its unification element. Celia Cruz said, “Salsa is Cuban music with another name. It’s mambo, chachachá, rumba, son … all the Cuban rhythms under one name.” Willie Colón described salsa not as a precise musical style but a power to unite in the broadest terms: “Salsa was the force that united diverse Latino and other non-Latino racial and ethnic groups …Salsa is the harmonic sum of all Latin culture “. On the other hand, even some New York based artists were originally against the commercialization of music under that name. Machito said: “There’s nothing new about salsa, it is just the same old music that was played in Cuba for over fifty years.” Cuban musicologist Mayra Martínez wrote that “the term salsa obscured the Cuban base, the music’s history or part of its history in Cuba. And salsa was a way to do this so that Jerry Masucci, Fania and other record companies, like CBS, could have a hegemony on the music and keep the Cuban musicians from spreading their music abroad.” Johnny Pacheco, co-founder of Fania Records, gave his definition of the term “Salsa” during various interviews: “La salsa es, y siempre ha sido, la musica cubana” (“Salsa is, and always has been, Cuban music”). The marketing potential from the name was so big, that eventually both Machito, Puente, and even musicians in Cuba embraced the term as a financial necessity.

Salsa romántica

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

Description and origins#

The genre was introduced by La Palabra, a Cuban musician, in the mid-1980s. It arose at a time when classic salsa, popularized by Fania Records, was growing on the Latin record charts, including the rise of Latin pop. Salsa romántica was an adaptation of melodic love songs to a smooth, light salsa backing. The style sprang from a single album, Noches Calientes, created in 1984 by Fania producer Luis Ramirez. Salsa romántica uses softer, quieter orchestral sounds, ballads set to a slowed-down salsa rhythm and romantic lyrics. Due to the softer orchestration and leisurely rhythm, some have nicknamed this genre “limp salsa”.

Sama'i

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

References#

The Music of the Ottoman Court - Walter Feldman
Sufism, Music and Society - Swedish Research Institute
Makam - Karl Signell
Meaning in Turkish Musical Culture - Eugenia Popescu-Judetz

External links#

many pieces of Ottoman sheet music
many of the most common usul

Samba

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

Etymology and definition#

There is no consensus among experts on the etymology of the term “samba”. A traditionalist view that defends that the etymon comes from the Bantu was in the Diário de Pernambuco in 1830. The term was documented in the publication in a note opposing the sending of soldiers to the countryside of Pernambuco State as a disciplinary measure, as there they could be idle and entertained with “fishing of corrals traps to catch fish , and climbing coconut trees, in whose hobbies viola and samba will be welcomed “. Another old appearance was recorded in the humorous Recife newspaper O Carapuceiro, dated February 1838, when Father Miguel Lopes Gama of Sacramento wrote against what he called “the samba d’almocreve” – not referring to the future musical genre, but a kind of merriment (dance drama) popular for black people of that time. According to Hiram Araújo da Costa, over the centuries, the festival of dances of enslaved people in Bahia were called samba. In Rio de Janeiro, the word only became known at the end of the 19th century, when it was linked to rural festivities, to the area of Black people and to the “north” of the country, that is, the Brazilian Northeast. For many years of the Brazilian colonial and imperial history, the terms “batuque” or “samba” were used in any manifestation of African origins that brought together dances (mainly umbigada), songs and uses of Black people instruments. At the end of the 19th century, “samba” was present in the Portuguese language, designating different types of popular dances performed by African slaves (xiba, fandango, catereté, candomblé, baião) that assumed its own characteristics in each Brazilian state, not only by the diversity of the ethnic groups of the African diaspora, but also the peculiarity of each region in which they were settlers. In the twentieth century, the term was gaining new meanings, as for a “circle dance similar to batuque” and a “genre of popular song”. The use of the word in a musical context was documented as early as 1913 in the song Em casa de baiana, registered as a “samba de partido-alto”; then in the following year, for the works A viola está magoada and Moleque vagabundo; finally, in 1916, for the famous song Pelo Telefone, released as “samba carnavalesco” (“carnival samba”) and regarded as the founding landmark of modern Carioca samba.

Samba de Gafieira

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

Word meaning#

The word “gafieira” can also refer to the traditional samba music orchestra, as well as the dance hall where it is performed. The term gafieira was Brazilian Portuguese slang meaning “low dancing resort, gaff, honky-tonk” or “dance festivity frequented by the populace”.

Origins#

The style originated from samba dancing in cabarets and gafieiras (hence the name, literally meaning “Samba of gafieira”), primarily in districts of Botafogo, Catete and Centro of Rio de Janeiro. The term gained recognition in 1940s. Over time the style significantly evolved away from the style 1940s under significant influence of Argentine Tango and incorporating many acrobatic elements. In modern codification of the dance, acrobatic elements and the ones not characteristic to Brazilian culture are excluded from the syllabus. They cannot be used in dance competitions, but still can be used as embellishments in the show version of the dance (“Samba de Gafieira de show”).

Samba funk

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

Characteristics#

Samba funk is a hybrid musical subgenre that combines elements of Brazilian samba with American funk, its rhythm mostly composed by keyboards, electric guitar, bass guitar, drums and percussion, creating a hybrid and contagious sound. The bass, drums and guitar lines transition between the two styles. Samba funk uses instrumentation, timbres, and effects common in 1970s American funk bands, such as the Rhodes electric piano, clavinet, and Moog and Oberheim analog synthesizers. Musical effects such as the wah-wah on the guitar also contribute to the genre’s sound.

Samba reggae

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

History and background#

Samba-reggae arose in the context of the black pride movement that occurred in the city of Salvador de Bahia, around 69, and it still carries connotations of ethnic identity and pride for Afro-Brazilians today. Bahia’s population has a large proportion of dark-skinned Brazilians who are descendants of African slaves who were brought to Brazil by the Portuguese in the 17th and 18th centuries. These Afro-Brazilians played a major role in the early development of samba, which first took form in a Bahian style of dance and music called “samba de roda”, probably in the late 19th century. Samba de roda was brought to Rio de Janeiro by Bahians around 1900, where it was combined with harmonic and rhythmic elements from European influences (such as chorinho and military marches). By the 1930s, samba de roda had developed into the faster, more harmonically complex Rio-style samba that is now played in Rio’s Carnival. Through the middle of the 20th century this new Rio-style samba spread throughout Brazil. Of note, the low pitch bass that was heard on beats 1 and 3, and the higher pitched surdo on beats 2 and 4 in Bahia, brought by the slaves, was changed in Samba-the low pitch was moved to beats 2 and 4. The paradoxical result was that samba was brought back to Bahia from Rio, but now in a highly altered form, and no longer associated with Afro-Brazilians. Thus, in the mid-20th century, the city of Salvador had many samba schools that were modeled on the samba schools of Rio, as well as blocos (informal street percussion groups), both of which performed Rio-style samba in Carnival parades every year. Yet, ironically, black Brazilians did not participate in these Carnival parades or in the blocos, since they were not allowed to participate. Samba-reggae represents an effort by black Brazilians to develop a Carnival parade music that they could call their own, and to form all-black or mostly-black blocos with which they could parade during Carnival. The afro bloco music was very different because they aimed to recreate and strengthen their community through their music.

Samba rock

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

Origins#

Samba rock’s origins lie in the predominantly black favelas of São Paulo during the late 1950s, when Brazilian radio and dance halls were reached by the global spread of American rock and roll and related African-American music such as blues and jazz. Its first incarnation was as a dance phenomenon at community block parties that began to play these styles alongside traditional samba and bolero music. These parties eventually moved to larger venues hosted by disc jockeys. The first known samba-rock deejay Osvaldo Pereira—known by his stage name “Orquestra Invisível (Invisible Orchestra) Let’s Dance”—debuted in 1958 in downtown São Paulo. “The parties started to get crowded, and the rooms for the parties started to get larger”, Pereira recounted. “Then, I thought of building my own equipment, which had to be powerful, and faithful to the sound of the live orchestras.” His early equipment included a 100-watt sound system featuring a rudimentary version of a crossover, which allowed Pereira to control the frequencies of the music.

Samba-canção

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

History#

It appeared after the World War II, at the end of the 1940s, and practically disappeared in the middle of the 1960s when majority of composers began to present their songs without category denomination. The name is somewhat arbitrary, adopted by the music industry, that is, publishers and record companies, and some composers. Like many popular songs of the world, Samba-canção (plural ‘sambas-canções’)’s principal theme is the love relationship, typically moaning for a lost love. Tempo is moderate or a little slower. The denomination suggests that the song is more sophisticated, less earthy, than ordinary samba songs.

Samba-enredo

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

Background#

“Samba-enredo” translates literally in Portuguese a samba-theme, which is thematically bonded to the selected special theme (enredo) of its samba school and narrates the story, which it told by the samba schools, in a lyrical form. Each samba school performs one song in the Carnaval parade. A new song must be written each year for each school; they must be on Brazilian topics. The Carnaval parade is among other things a samba competition, with judges, who rank the new sambas according to their perceived merit. Being by definition topical, sambas-enredo are seldom performed outside of the Carnaval environment. The samba-enredo is one of the criteria used by the Judging committee to decide who is the winner of the Carnaval parade competition. The samba-enredo must be well sung by the samba school’s puxador (or singer) or the school will lose points. While the “puxador” (the samba-enredo singer) sings, everyone marching in the Carnaval parade sings the samba-enredo along with him, and harmony is another judging criterion. For each samba school, choosing the following year’s samba-enredo is a long process. Well in advance of the Carnaval parade, each samba school holds a contest for writing the song. The song is written by samba composers from within the school itself (“Ala dos Compositores”), or sometimes from outside composers, normally in “parcerias” (partnerships). Each school receives many—sometimes hundreds—songs, sometimes hundreds of them, each hoping to be the next samba-enredo for that year. The samba-enredo is written by these numerous composers mentioned above only after the Carnival Art Director, or “Carnavalesco”, officially publishes the samba school’s parade theme synopsis for the year. After a careful explanation of the parade-theme, many times done by the Carnival Art Director himself, composers may ask questions in order to clarify the synopsis, so they can start writing the samba-enredos.

Samba-sincopado

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

Etymology#

The word syncope comes from the Greek syncopé, meaning “suppression” or “cut”. In medicine, syncope indicates a momentary stop or decrease in heart rate, accompanied by suspension of breathing and temporary loss of consciousness. In grammar, syncope means the deletion of phonemes in a word. In both medicine and grammar, the term syncope suggests a change or alteration in the rhythm of the body or tongue. In music, syncopation indicates deviations in the rhythmic pattern in which the sound—articulated in the weak part of the beat or bar—continues in the strong part of the next beat. It indicates the writing of a weak beat of a bar, prolonged by another beat of greater or equal duration. Modern urban samba, which emerged in Rio de Janeiro in the 1910s, was closely linked to the maxixe. At the end of the 1920s, samba underwent major rhythmic transformations, changing the way it was played, sung and danced compared with the first generation of samba players—such as Sinhô, Donga and João da Baiana. Doing away with the old samba amaxixado, this new form of samba had a more syncopated cadence and was supported more by percussion. Samba itself became syncopated, but in samba-sincopado, syncopation (displacement) was pushed to its ultimate consequences.

Sámi music

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

Musical instruments#

Some sources have commented on a supposed lack of musical instruments among the Sámi, with one 1885 work noting: “They cannot claim to possess a single instrument of their own, not even the most primitive.” Despite these beliefs, the Sámi employ a variety of musical instruments, several unique to them. Among these instruments are the fadno, a reedpipe made from Angelica archangelica stalks, and the Sámi drum. Late 18th century researchers also noted two bagpipes in Lapland: the sak-pipe and the wal-pipe. Other Sámi instruments of wider Scandinavian usage include the lur (a long horn trumpet), and the harpu, a zither to the Finnish kantele. Willow flutes are often made from the bark of the quicken tree or mountain ash. Modern bands use a wide variety of instruments, especially the fiddle, concertina, and accordion.

Sampledelia

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

Characteristics#

Sampledelia describes a variety of styles which involve the use of samplers to manipulate and play back appropriated sounds, often drawn from outside familiar contexts or from foreign sources. According to critic Simon Reynolds, sampledelic music expands upon the recording methods of 1960s psychedelia, which saw artists abandon “naturalistic” recording practices in favor of using studio-based techniques and effects to create sounds that could not be achieved through live performance. Reynolds identifies two contrasting tendencies amongst sampledelic artists: postmodernist versus modernist, with the former viewing sampling as a form of collage and pop art referentiality, and the latter approaching it as an update of musique concrète’s techniques of sonic manipulation and transformation. Theorist Kodwo Eshun has described sampledelia as a kind of mythology in which “sounds have detached themselves from sources and substitute themselves for the world,” inducing an experience of “synthetic defamiliarisation.”

Samul nori

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

History#

The term samul originally comes from Korean Buddhism, where it referred to four instruments considered essential for ritual use in temples: the wooden fish (), the temple bell (), the dharma drum (), and the bronze gong (). The term nori means “to play” in Korean. In a later interview, Kim Duk-soo (), the founder and artistic director of the group, claimed that the choice to adapt traditional music to indoor venues was due to political circumstances at the time. The late 1970s saw the last years of the rule of South Korean president Park Chung Hee. During that time, large public gatherings were restricted, and Korean traditional music was associated with the student protest movement. Public performers were subject to arrest. in a small theater in Seoul. Initially, samul nori failed to gain acceptance from traditional Korean musicians; among others, South Korean musicologist Alan Heyman questioned the genre’s link to traditional local bands. Ethnomusicologist Keith Howard noted, “Older musicians saw in the quartet a challenge to what they knew, hence SamulNori was destined to struggle for acceptance from them.” and globally, with the original quartet being invited to perform in Tokyo and at the opening of Disney World Resort’s Epcot Centre in Florida in 1982. In 1984, Kim Yong-bae brought samul nori to the South Korean National Gugak Center. In 1985, the group began touring in Europe. The original samul nori quartet disbanded in 1993, as a result of internal conflicts, burnout, and financial issues. The same year, however, Kim founded a large samul nori orchestra called “Hanullim” (). The orchestra seeks to promote samul nori performance.

San Francisco sound

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

Characteristics#

The new sound, which melded many musical influences, was perhaps heralded in the live performances of Jefferson Airplane (from 1965 on), who put out an LP record earlier than nearly all the other new bands (August 1966). According to writer Douglas Brinkley, celebrated author Hunter S. Thompson, one of the Bay Area cultural-scene boosters, was a big early fan of the group: “Thompson extolled the sonic energy of the Jefferson Airplane as it pulsed around the California locales that nursed the psychedelic era…” The bohemian predecessor of the hippie culture in San Francisco was the “Beat Generation” style of coffee houses and bars, whose clientele appreciated literature, a game of chess, music (in the forms of jazz and folk style), modern dance, and traditional crafts and arts like pottery and painting. Acoustic music had had an avid following far and wide, but it was “a fading world of traditional folk and Brechtian art songs.” The entire tone of the new subculture was different. According to biography author Robert Greenfield, “Jon McIntire manager of the Grateful Dead from the late sixties to the mid-eighties points out that the great contribution of the hippie culture was this projection of joy. The beatnik thing was black, cynical, and cold.” The Beats tended to be cagey, keeping their lives discreet (save for the few who published, in literary bursts, about their perceptions, enthusiasms, and activities); in a word, they generally “kept cool.” The young hippies were far more numerous, less wary, and had scarcely any inclination to keep their lifestyles concealed. The new music was loud and community-connected: bands sometimes presented free concerts in Golden Gate Park and “happenings” at the city’s several psychedelic clubs and ballrooms. The many bands that formed signalled a shift from one subculture to the next. Monterey, California is about 120 road miles south of San Francisco. At the June 1967 Monterey Pop Festival, Bay Area groups performed from the same stage as established and fast-rising musical groups and well-known individual artists from the U.S., the UK, and even India. Soon after, Ralph J. Gleason and Jann Wenner, based in San Francisco, established Rolling Stone magazine (first issue’s date: November 1967). Each San Francisco band had its characteristic sound, but enough commonalities existed that there was a regional identity. By 1967, fresh and adventurous improvisation during live performance (which many heard as being epitomized by the Grateful Dead and by the “cross-talk” guitar work of Moby Grape) was one characteristic of the San Francisco sound. A louder, more prominent role for the electric bass—typically with a melodic or semi-melodic approach, and using a plush, pervasive tone—was another feature. This questing bass quality has been wryly characterized as a “roving” (rather than the conventional “stay-at-home”) style. In jazz it had been exuberantly pioneered by numerous musicians. A musician who was a leading example of this, Jack Casady of Jefferson Airplane (and the offshoot Hot Tuna) pioneered the approach, perhaps best represented on the album Bless Its Pointed Little Head. Phil Lesh, bassist with the Grateful Dead, furthered this sound. Lesh had developed his style on the foundation of having studied classical, brass-band, jazz, and modernist music on the violin and later the trumpet. Exploration of chordal progressions previously uncommon in rock & roll, and a freer and more powerful use of all instruments (drums and other percussion, electric guitars, keyboards, as well as the bass) went along with this “psychedelic-era” music. Brasses and reeds, such as trumpets and saxophones were rarely used, unlike in contemporary R&B and soul bands and some of the white bands from the U.S. East Coast (e.g., Blood, Sweat & Tears or Chicago). Sly & the Family Stone, a San Francisco–based group that got its start in the late 1960s, was an exception, being a racially integrated hippie band with a hefty influence from soul music, hence making use of brass instrumentation. “Rock & roll” was the point of departure for the new music. But well known stars of rock & roll “were being called fifties primitives” by this time. This was the period when “rock” was differentiating itself from rock & roll, partly due to the upshot of the British Invasion. Among these British acts, according to music journalist Chris Smith, writing in his book on the most influential albums in American popular music, the Beatles inspired the emergence of the San Francisco psychedelic scene following their incorporation of folk rock on the 1965 album Rubber Soul, which reflected the reciprocal influences shared between the group and Bob Dylan. San Francisco historian Charles Perry recalled that in Haight-Ashbury, “You could party hop all night and hear nothing but Rubber Soul”, and that “More than ever the Beatles were the soundtrack of the Haight-Ashbury, Berkeley and the whole circuit.” In San Francisco, musical influences came in from not only London, Liverpool and Manchester, but also included the bi-coastal American folk music revival of the 1950s and 1960s, the Chicago electric blues scene, the soul music scenes in Detroit, Memphis, and Muscle Shoals, and jazz styles of various eras and regions. A number of key San Francisco rock musicians of the era cited John Coltrane and his circle of leading-edge jazz musicians as important influences. The journalist Ed Vulliamy wrote: “The Summer of Love had an empress, and her name was Janis Joplin.” Women, in a few cases, enjoyed an equal status with men as stars in the San Francisco rock scene—but these few instances signaled a shift that has continued in the U.S. music scene. Both Grace Slick (singing with Jefferson Airplane) and Joplin (singing initially with Big Brother & the Holding Company) gained a substantial following locally and, before long, across the country. Coming of age in the San Francisco Bay Area, famed singer/songwriter Stevie Nicks gained her first performing experience there in the 1960s with Lindsey Buckingham and his band. Nicks and Buckingham went on to bring that San Francisco sound to established British rock band Fleetwood Mac when they both joined in 1975.

Sanaa (music)

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

Origin and meaning#

Sanâa or san’a means “musical mastery”, This is the specific name attributed in Algeria to the Andalusi nubah of Algiers, to be distinguished from the Gharnati of Tlemcen and the Malouf of Constantine. However, the sanâa of Algiers shares many similarities with the Gharnati of Tlemcen. The schism between them occurred by 1946, with the creation of the Arab-Andalusian classical orchestra of Radio d’Alger.

Modes#

The sanaa musical system is a modal system, based on sixteen modes (الطبع: Ṭabʿ, الطبوع: pl. tūbūb’) which are divided into two main groups : principal modes, defined on the basis of seven istiḥbār (vocal and instrumental semi-improvisations), and derived modes. # Istiḥbār Mawwāl : ##* Mawwāl (الموال) ##** Dīl (الذيل) ##** Raṣd ə-Dīl (رصد الذيل) ##** Māya (الماية) # Istiḥbār Zīdān : ##* Zīdān (الزيدان) ##** Raml (الرمل) ##** Mǧənba (المجنبة) # Istiḥbār Raml əl-Māya : ##* Raml əl-Māya (رمل الماية) ##** Raṣd (الرصد) # Istiḥbār al-‘Iraq : ##* ‘Iraq (العراق) ##** Ḥsīn (الحسين) ##** Ġrīb (الغريب) ##** Ġrībat əl-Ḥsīn (غريبة الحسين) # Istiḥbār Ǧārkā : ##* Ǧārkā (الجاركاه) # Istiḥbār Sīkā : ##* Sīkā (السيكاه) # Istiḥbār Məzmūm : ##* Məzmūm (المزموم) The French musicologist, Jule Rouanet, added other modes considered as lost : * Asbaʿayn (الاصبعين) * Ḥsīn Aṣīl (الحسين الاصيل) * Ḥsīn Ṣabā (الحسين صبا) * Ḥsīn ʿUšəyrān (الحسين عشيران) * Iṣbahān Kabīr (الاصبهان الكبير) * Iṣbahān Ṣaġir (الاصبهان الصغير) * Rahāwi (الرهاوي) * Raml əl-ʿAšiyya (رمل العشية) * Māya Fāriġ (الماية الفارغ) * ʿUššāq (العشّاق)

Sanedo

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

History#

The original pronunciation and word is snehdo (), derived from the word sneh (), meaning love or affection. Sanedo contains couplets of four lines and has a striking resemblance to bhavai, a folk drama form from Gujarat. Gujarati folk artist Arvind Barot performed Sanedo on stage in the 1980s and deserves credit for bringing it to the mainstream. However, it was another Gujarati folk artist, Maniraj Barot, who made Sanedo widely popular among Gujaratis, and it is now commonly played during Navratri and at many wedding celebrations. A Sanedo topic can be anything from romance or youth to satire. Sanedo originated from the villages of the Patan district in Gujarat and it has become a very popular dance all over Gujarat and also among the Gujarati speaking population in other parts of India, United States, Australia, Canada and Britain. It is frequently played during the festival of Navratri, wedding celebrations and parties. The music played in the background during a Sanedo recital is from a musical instrument called daklu. It is similar in shape to a damaru but is considerably larger.

Sangeet Natak

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

The beginning#

Vishnudas Bhave is considered the founder of Marathi theater. In 1843, his group staged the first public performance of Marathi play Seeta Swayamvar (सीता स्वयं‍वर). The integration of music in the dramas took place quite late in 1879 when play writer and producer Trilokekar presented his musical play Nal-Damayanti (नल-दमयंती). It was the first musical play on Marathi stage. But only when Balwant Pandurang Kirloskar (popularly known as Annasaheb Kirloskar) staged his first musical play Shaakuntal, based on Kalidas’s play Abhijñānaśākuntalam, on October 31, 1880 in Pune did the trend of Sangeet Natak really start. Kirloskar included 209 musical pieces in his Shaakuntal of 7 acts. They consisted of a mix of Hindustani and Carnatic classical music, and lighter music. During its early period, Sangeet natak was dominated by religious plays like Sangeet Saubhdra, which is legend in Marathi sangeet natak. The trend changed with coming of sangeet Manapman, which depicts bravery of its hero Dheryadhar and his love with Bhamini which was written by Krushnaji Prabhakar Khadilkar.

Sangini

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

Description#

The Sangini dance is performed on other occasions also for entertainment but not in a big scale. The women folk of the village perform Sangini dance at the courtyard of the house or temples amid the green sylvan surroundings. The dancers themselves sing Songs. This dance belong to the high caste of Nepali community among the Brahmin and Chettris. The married away daughters come from afar and assemble in the house of their parents to take part in the dance. They meet their long forgotten friends there and take part in the dance with them. In this dance Ladies perform Sangini dance holding plates of Kalasha or Diyo or carrying Kalash on the head.

Sangita

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

Sanjo (music)

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

Composition#

The composition of sanjo varies depending on the people, instruments and time. However, usually sanjo starts with a slow jinyangjo rhythm (hangul: 진양조장단; very slow rhythm used in pansori or sanjo) and becomes faster, ending with a very fast rhythm like a danmori rhythm and creating enthusiasm in the audience. Starting from a slow rhythm, the audience can gradually sink into the melody of the song. Sanjo expresses various aspects of the player. Sanjos are not fixed music. The musician can make new music with original variations. Sanjo has endless melodies in which musicians make new compositions that change with the times.

Sanjuanito

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

Background#

This type of music is associated with “Las Fiestas de San Juan”, which translates in English to the Celebration of Saint John’s Eve. It’s typically celebrated on June 24, the same day as Inti Raymi, a traditional ceremony from Incan times that coincides with the June solstice. Inti Raymi is a ritual observed in the Ecuadorian highlands where people give thanks to “Pachamama”, or “Mother Earth”, and Inti, the sun god, for a good harvest and agricultural blessings. While the name “San Juan”, in English “St. John”, relates back to Catholicism, the festivities aren’t necessarily associated with the saint. Another hypothesis behind the name “sanjuanito” is that it’s derived from Peru’s Huayno or Huaynito. Up until the 1990s, Sanjuanitos were mainly associated with the working class, particularly lower-class mestizos and indigenous people. Meanwhile, the title “musica nacional” or national music was reserved for the elite class’ preferences and definition of Ecuadorian music, as was the case for Pasillos.

Santé engagé

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

Context#

The 1960s and 1970s (“les années de braise”) have been a very bustling period in the history of Mauritius. It has been a period of high interracial tension leading to more than 300 deaths due to interracial affrays. It has also been an indecisive period with regard to the cultural heirloom of the island with a deep reconsidering of the multicultural image.

Independence of Mauritius#

Mauritius attained independence from Great Britain in 1968 without real exhilaration. A profound division prevailed between, on one side, the members of the independent movement and, on the other side, the anti-independentists. The island is faced with a vertiginously high level of unemployment and people still had in mind the recent interracial tensions peaking in 1964 and 1968. Under the pretext of security and law and order, the newly formed government of Mauritius took highly repressive measures against opponents who intended to put forward ideas adverse to those of the governing regime. Even though independence was declared in 1968, British colonial presence and dominance remained clearly visible throughout the 1970s.

Santo Daime hymns

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

Calendar of hinarios#

The Santo Daime tradition does not have a unified, formal organizational structure so there is no single official calendar. In the Mapia tradition, the hinario Mestre Irineu on the Virgin of Conception (Dec. 7), Christmas, Day of Kings (January 6), St. John (June 23). The hinario of Padrinho Sebastiao is sung on Mestre Irineu’s birthday (Dec. 15), Saint Sebastian (January 19), Madrinha Rita’s birthday (June 25), as well as Brazilian Father’s Day. Padrinho Alfredo’s hinario is sung on Padrinho Alfredo’s birthday (January 7), St. Joseph (March 18), and Saint Peter (June 28), as well as New Year’s Eve (December 31). In some Alto Santo traditions, the hinario of Mestre Irineu is sung on the Virgin of the Conception, the anniversary of Mestre Irineu’s birth (Dec. 25), Christmas, Epiphany (Three King’s Day), St. Joseph, Saint Joseph, and on the anniversary of his death.

Sapphic pop

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

Sarabande

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

History#

The Sarabande evolved from a Spanish dance with Arab influences, danced by a lively double line of couples with castanets. A dance called zarabanda is first mentioned in 1539 in Central America in the poem Vida y tiempo de Maricastaña, written in Panama by Fernando de Guzmán Mejía. In 1596, Alonso López, “el Pinciano”, traces its origins even to the cult of Dionysus. The dance seems to have been especially popular in the 16th and 17th centuries, initially in Spain and in the Spanish colonies. The Jesuit priest Juan de Mariana thought it indecent, describing it in his (Treatise Against Public Amusements, 1609) as “a dance and song so loose in its words and so ugly in its motions that it is enough to excite bad emotions in even very decent people”. A character in an entremés by Cervantes alluded to the dance’s notoriety by saying that hell was its “birthplace and breeding place” (in ). It was banned in Spain in 1583 but was nevertheless still performed and frequently cited in literature of the period (for instance, by Lope de Vega). Bach sometimes gave the sarabande a privileged place in his music, where it is often the heart of his suites for cello or keyboard. And outside the context of dance suites, striking examples include the theme (aria) and the 13th and 26th variations from Bach’s Goldberg Variations; and the final movements of both the St. John and St. Matthew Passions. The anonymous harmonic sequence known as La Folia appears in pieces of various types, mainly dances, by dozens of composers from the time of Mudarra (1546) and Corelli through to the present day, custom perhaps influenced by its Spanish origin. The theme of the fourth-movement Sarabande of Handel’s Keyboard suite in D minor (HWV 437) for harpsichord, one of these many pieces, appears prominently in the film Barry Lyndon. The sarabande was revived in the 19th and early 20th centuries by the German composer Louis Spohr (in his Salonstücke, Op. 135 of 1847), Norwegian composer Edvard Grieg (in his Holberg Suite of 1884), French composers such as Debussy and Satie, and in England, in different styles, Vaughan Williams (in Job: A Masque for Dancing), Benjamin Britten (in the Simple Symphony), Herbert Howells (in Six Pieces for Organ: Saraband for the Morning of Easter), and Carlos Chávez in the ballet La hija de Cólquide. The sarabande inspired the title of Ingmar Bergman’s last film Saraband (2003). The film uses the sarabande from Bach’s Fifth Cello Suite, which Bergman also used in Cries and Whispers (1972).

Sardana

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

History#

The origin of the Sardana is unknown. The oldest found reference to the word Sardana is from 1552. The invention served to symbolize the distinct Catalan ethos promoted by the then-newborn Catalan nationalism. These influences evolved into sardanes (plural of sardana) of different lengths. As a consequence, people started counting steps in order to finish at the same time. Shorter choreographies could be accommodated in longer melodies. The new melodies which progressively were made popular required new instruments, increasing the size of the cobla. This fact increased the identification of the sardana with Catalanism. In 2015 the Spanish parliament approved unanimously an initiative of the People’s Party of Spain to urge the Spanish Government to promote sardana for inclusion in the UNESCO Intangible Cultural Heritage. The same vote was done in 2002 in Spain’s senate and was rejected due to the negative vote of People’s Party of Spain.

Sasanian music

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

Music in Sasanian Iran#

The history of musical performance in Sassanid Iran is however better documented than earlier periods. This is specially more evident in the context of Zoroastrian ritual. Because happiness, laughter and festivity was cherished in Zoroastrianism, entertainers like jesters and musicians were highly esteemed. They maintained a central role in daily court assemblies. Stability and prosperity in the empire was reflected in the activities of jesters, clowns and musicians. By the time of Khusro Parviz, the Sassanid royal court was the host of prominent musicians. In general the period of Khosro Parviz reign is regarded as a “golden age of Iranian music” and himself is shown in a large relief at Taq-e Bostan among his musicians and himself holding bow and arrows and while standing in a boat amidst a group of harpists. The relief depicts two boats and the whole picture shows these boats at “two successive moments within the same panel”.

Sass (music)

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

Etymology#

The name sass was derived from sass, referencing the genre’s flamboyant vocal expressions and lyrics. Svenonius submitted himself to the competition, later stating in an interview with the The Washington Post that “To me, different qualities define sassiness: disrespect to authority, to be youthful and zestful, and be sharply dressed”. A January 1993 issue of Maximum Rocknroll called the band the “sultans of sass”. While many sass bands crossed over into the mainstream, the name “sass” was only used in the hardcore scene during its initial popularity. In the mainstream, it was more often called hardcore or screamo. Around 2018, SeeYouSpaceCowboy began to self-identify as sasscore, a portmanteau of sass and metalcore that the band considered themselves to have coined, to clarify their influences from both styles. In the following years, the term became a popular synonym for all sass; however, in a 2021 article, BrooklynVegan editor Andrew Sacher expressed that “sasscore” encompassed a narrower selection of bands than simply “sass”, excluding the softer, less hardcore-based sound of the Blood Brothers, Death From Above 1979 and Hot Hot Heat. In a 2021 interview, the band’s vocalist Connie Sgarbossa stated of the term’s use as synonym that “It’s kind of funny that ‘sasscore’ has become such a thing, because I came up with that stupid genre tag for SpaceCowboy back in the day, and there’s become this like cult around sasscore. I think people think that’s what they actually called it back then.” In a 2004 article by Loyola College in Maryland student newspaper The Grayhound, the Blood Brothers vocalist Jordan Blilie was noted as self-identifying his band as “sasscore”, noting his preference for the term over screamo.

Satirical music

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

History#

Satirical route in music has been explored countless times; from premodern ballads such as the 4th-century BCE Song of Songs to classical, avant-garde, and modern popular music. Such examples are: ;Classical :Satirical ballets, operas, ballads, and plays include Le Bourgeois gentilhomme , surreal funk musicians George Clinton and Parliament Funkadelic, hardcore punk band Dead Kennedys grindcore band Anal Cunt , Negativland , Culturcide , and the so-called Americana absurdum movement comprising monks , The Residents especially their albums The Residents Present the Third Reich and Roll (1976) and Commercial Album (1980), DEVO , and Talking Heads . Another example is a digital hardcore album Alec Empire vs. Elvis Presley (1998).

Savoy opera

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

Other definitions#

During the years when the Gilbert and Sullivan (“G&S”) operas were being written, Richard D’Oyly Carte also produced, at the Savoy Theatre, operas by other composer–librettist teams, either as curtain raisers to the G&S pieces, or to fill the theatre when no G&S piece was available. To his contemporaries, the term “Savoy Opera” referred to any opera that appeared at that theatre, regardless of who wrote it. Aside from curtain raisers (which are listed in the second table below), the G&S operas were the only works produced at the Savoy Theatre from the date it opened (10 October 1881) until The Gondoliers closed on 20 June 1891. Over the next decade, there were only two new G&S pieces (Utopia Limited and The Grand Duke), both of which had comparatively brief runs. To fill the gap, Carte mounted G&S revivals, Sullivan operas with different librettists, and works by other composer–librettist teams. Richard D’Oyly Carte died on 3 April 1901. If the nexus of Carte and the Savoy Theatre is used to define “Savoy Opera,” then the last new Savoy Opera was The Rose of Persia (music by Sullivan, libretto by Basil Hood), which ran from 28 November 1899 to 28 June 1900. After Carte’s death, his wife Helen Carte assumed management of the theatre. In 1901, she produced Sullivan’s last opera, The Emerald Isle (finished after Sullivan’s death by Edward German), and during the run of that opera, she hired William Greet as manager of the theatre. Later that year, she leased the theatre to Greet, who then produced Ib and Little Christina, The Willow Pattern, a revival of Iolanthe, Merrie England (1902) and A Princess of Kensington (1903), each with a cast made up largely of Carte’s Savoy company. Cyril Rollins and R. John Witts adopt A Princess of Kensington as the last of the Savoy Operas. After A Princess of Kensington closed in May 1903, Mrs. Carte leased the theatre to unrelated parties until late 1906, when she produced the first of her two seasons of G&S revivals in repertory at the Savoy, with Gilbert returning to direct. In March 1909, Charles H. Workman leased the theatre, producing three new pieces, including one by Gilbert, Fallen Fairies (music by Edward German). The last of these Workman-produced works came in early 1910, Two Merry Monarchs, by Arthur Anderson, George Levy, and Hartley Carrick, with music by Orlando Morgan. The contemporary press referred to these works as “Savoy Operas”, and S. J. Adair Fitz-Gerald regarded Workman’s pieces as the last Savoy Operas. Fitz-Gerald wrote his book, The Story of the Savoy Opera, in 1924, when these other pieces were still within living memory. But over the ensuing decades, the works produced at the Savoy by composers and librettists other than Gilbert and Sullivan were forgotten or infrequently revived. The term “Savoy Opera” came to be synonymous with the thirteen extant works of Gilbert and Sullivan. The first collaboration of Gilbert and Sullivan – the 1871 opera Thespis – was not a Savoy Opera under any of the definitions mentioned to this point, as Richard D’Oyly Carte did not produce it, nor was it ever performed at the Savoy Theatre. Nevertheless, Rollins & Witts include it in their compendium of the Savoy Operas, as does Geoffrey Smith. The Oxford English Dictionary defines the phrase as: “Designating any of the Gilbert and Sullivan operas originally presented at the Savoy Theatre in London by the D’Oyly Carte company. Also used more generally to designate any of the Gilbert and Sullivan operas, including those first presented before the Savoy Theatre opened in 1881, or to designate any comic opera of a similar style which appeared at the theatre”.

Sawani

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

Regional significance#

The genre is traditionally sung in the villages and towns of Uttar Pradesh, particularly around Banaras, Mirzapur, Mathura, and Allahabad, as well as in the Saran and Bhojpur regions of Bihar. This geographical spread corresponds with the Bhojpuri-speaking belt, where folk music traditions have been preserved and transmitted through generations.

Musical characteristics#

As a semi-classical genre, Sawani shares musical characteristics with other forms of Hindustani classical music. Like its companion seasonal songs, it can be adorned with elements from classical ragas and can incorporate styles such as Thumri and Bhairavi. The songs are typically performed in informal, community settings rather than formal concert halls, maintaining their folk character while displaying classical influences.

Sawt (music)

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

History#

It is said that sawt was established in Kuwait by the poet, composer, singer and oud player Abdallah al-Faraj (1836-1901/1903). The Bahraini historian Mubārak al-‘Ammārī believes that sawt was known in Kuwait before 1766, and in Bahrain since 1783.

Description#

Sawt is a complex form of urban music, originally performed on the ‘ud (plucked lute) and mirwas (a drum), with a violin later supplementing the arrangement. Two men perform the dance, which is called “Zaffan”. Al-Sout is performed only at night gatherings of men. It is called “Samra” (nightly chat). Sawt also contains a special type of clapping called sherbaka, which means “intertwined,” and is usually performed by spectators only on Arabic and Levantine scales. The poetry used in sawt is usually classical Arabic poetry, or khamini poetry, which is similar to mushah, but with scales characteristic of ancient Yemeni poets and their local language. Most Arabic and Levantine sawts end with a fragment called Tawshih, which is the beginning of the end of the sawt and can be lyrical or musical only. Tawshih also contains improvised rhythms, and some end it with a specific melody to finish the sawt. Some sources indicate that the history of the art of sawt began before the advent of Abdullah al-Faraj, and that it is related to the sound singing that was prevalent in the Abbasid era, as Ahmed Ali notes in his book Music and Singing in Kuwait. As for Mubarak al-Omari, in his book “Muhammad bin Faris: The Most Famous Sawt Singer in the Persian Gulf”, points out that sawt arrived in Bahrain from Kuwait in 1766.

Saya (art form)

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

Background#

Enslaved Africans were taken to South America to work in a range of industries. Their customs, music, was merged with the native cultures gave rise to mixtures. The specific history of many of these practices has disappeared, but many authors have worked to identify cultural survivals in Afro-descended groups throughout South America. Many dances have been derived from the saya. Caporales was based on these dances, created and presented to the public for the first time in 1969 by the Estrada brothers who were inspired in the Afro-Bolivian saya character of the Caporal. This character was, in turn, inspired by the foreman on the haciendas of the Yungas. In the present day, Afro-Bolivians have used the saya in their struggle to reclaim their rights within Bolivian society. In this movement, the saya has functioned both as a way of expressing and solidifying Afro-Bolivian identity among black Bolivians, and as a way to express their identity in the context of national social movements based on ethnic identities.

SA on Music Theory Print

Saang

Features#

Sacred concerto

Early Baroque#

Middle Baroque#

Sacred Harp

The music and its notation#

Sacred jazz

History#

Sacred Steel (musical tradition)

Notable performers#

External links#

Sadra (music)

Rhythmic Structure#

Musical Style#

Saeta (flamenco)

Performance#

Saibara

Development#

Repertoire#

Saint Thomas Christian music

History#

Sakara music

History and development#

Salegy

Artists and bands#

Salon music

Definition and characteristics#

Salsa music

Origins of the term Salsa#

Salsa romántica

Description and origins#

Sama'i

See also#

References#

External links#

Samba

Etymology and definition#

Samba de Gafieira

Word meaning#

Origins#

Samba funk

Characteristics#

Samba reggae

History and background#

Samba rock

Origins#

Samba-canção

History#

Samba-enredo

Background#

Samba-sincopado

Etymology#

Sámi music

Musical instruments#

Sampledelia

Characteristics#

Samul nori

History#

San Francisco sound

Characteristics#

Sanaa (music)

Origin and meaning#

Modes#

Sanedo

History#

Sangeet Natak

The beginning#

Sangini

Description#

Sangita

See also#

Sanjo (music)

Composition#

Sanjuanito

Background#

Santé engagé

Context#

Independence of Mauritius#