SK on Music Theory Print

Ska

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

Etymology#

There are multiple theories about the origins of the word ska. Ernest Ranglin claimed that the term was coined by musicians to refer to the “skat! skat! skat!” scratching guitar strum. Another explanation is that at a recording session in 1959 produced by Coxsone Dodd, double bassist Cluett Johnson instructed guitarist Ranglin to “play like ska, ska, ska”, although Ranglin has denied this, stating “Clue couldn’t tell me what to play!” A further theory is that it derives from Johnson’s word skavoovie, with which he was known to greet his friends. Jackie Mittoo insisted that the musicians called the rhythm Staya Staya, and that it was Byron Lee who introduced the term “ska”. Derrick Morgan said: “Guitar and piano making a ska sound, like ‘ska, ska”.

Ska jazz

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

Origins#

The term Ska-Jazz was coined by Rock Steady Freddie (Fred Reiter) of the New York Ska-Jazz Ensemble in 1994. Ska jazz is sometimes considered a subgenre of third wave ska, but early artists such as Tommy McCook considered themselves jazz musicians foremost. Before Rock Steady Freddie, Ska-Jazz was just another flare of jazz without its own name. Jazz improvisation is commonly used in Ska jazz. Ska Jazz bands usually contain one or two electric guitars, a bass guitar, keyboards, a drum kit and a horn section (composed of any combination of the following: trumpet, trombone, alto saxophone, tenor saxophone, and baritone saxophone). Occasionally there may be one or more vocalists, but the genre is primarily focused on instrumental tunes. The brass instruments usually carry the melody, and there are many improvised solos. The rhythm section places accents on the off beats, thus giving the music a different feel than straight jazz. Ever since its birth in the late 1950s, ska has been a genre marked by physical and cultural diasporas and an openness to borrowing from outside its origins. The history of ska and jazz combined travels across national borders and integrates with other musical styles, making it one of the most hybrid, transnational forms of postwar popular music.

Ska punk

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

Characteristics#

Ska punk combines ska music with punk rock music. Ska punk often features wind instruments, especially horns such as saxophones, trombones and trumpets, making the genre distinct from other forms of punk rock. It is similar to traditional Jamaican ska, but faster and heavier.

Predecessors and early development (late 1970s to early 1990s)#

Before ska punk started, many ska bands and punk rock bands performed on the same bills together and appealed to the same audiences. A ska revival occurred simultaneously around the beginning of British punk rock and the near-simultaneous rebirth of the late 1970s British mod and skinhead movements. During the late 1970s and early 1980s in United Kingdom, many punk rock bands mixed punk rock with ska influences. Pioneering punk rock band the Clash incorporated influences from ska alongside a range of other genres on their seminal 1979 post-punk album London Calling. Songs like 1978’s “Kill the Hippies” by the Deadbeats prominently featured horns, although there are no ska elements. Other British bands that were influenced by both punk rock and ska included the Specials, the Beat and Madness. With both films like the 1981 documentary film Dance Craze and supportive radio stations like Los Angeles, California’s KROQ, ska crossed the Atlantic. During the 1980s in America, ska punk was underground. However, Fishbone, one of the earliest ska punk bands, achieved moderate success. Another band in America that was semi-popular came from Chapel Hill, North Carolina, called the Pressure Boys. Other ska punk bands from the 1980s and early 1990s include Operation Ivy, The Toasters, Culture Shock, Voodoo Glow Skulls, the Porkers, Sublime, Citizen Fish, the Mighty Mighty Bosstones, the Suicide Machines, MU330 and Dance Hall Crashers.

Skate punk

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

Characteristics#

Characterized as “the perfect soundtrack to limb-threatening aerial stunts” and “thrash metal’s snotty younger brother,” skate punk is also known as “skate rock” and “skatecore”. Noted by AllMusic for having “high-energy”, skate punk features fast tempos. Skate punk music often features singing and vocal harmonies. Rolling Stone described skate punk as “a sort of pop hardcore”. Some skate punk music has lyrics that are about humor - “mostly of the smartass variety”. and the Suicide Machines, also play ska punk. Some skate punk bands, including Suicidal Tendencies and Excel, also play thrash metal or crossover thrash.

Skiffle

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

Origins in the United States#

Skiffle is often said to have developed from New Orleans jazz, but this claim has been disputed. Improvised jug bands playing blues and jazz were common across the American South in the early decades of the 20th century. They used instruments such as the washboard, jugs, washtub bass, cigar-box fiddle, musical saw and comb-and-paper kazoos, as well as more conventional instruments, such as acoustic guitar and banjo. The origin of the English word skiffle is unknown. However, in the dialect of the west of England to make a skiffle, meaning to make a mess of any business, is attested from 1873. In early 20th century America the term skiffle was one of many slang phrases for a rent party, a social event with a small charge designed to pay rent on a house. It was first recorded in Chicago in the 1920s and may have been brought there as part of the African-American migration to northern industrial cities. It was used by Ma Rainey (1886–1939) to describe her repertoire to rural audiences. The term skiffle disappeared from American music in the 1940s.

Skiladiko

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

Chryspa
Lefteris Pantazis
Giorgos Mazonakis
Nancy Alexiadi
Dionysis Makris
Kelly Kelekidou
Maro Litra
Vasilis Karras
Paola Foka
Zafeiris Melas
Anna Vissi
Angela Dimitriou
Antypas (singer)
Themis Adamantidis

Skipping-rope rhyme

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

History#

Explorers reported seeing Aboriginal Australians jumping with vines in the 16th century. European boys started jumping rope in the early 17th century. The activity was considered indecent for girls because they might show their ankles. There were no associated chants. This changed in the early 18th century as girls began to jump rope. They added the chants, owned the rope, controlled the game, and decided who participated. In the United States, domination of the activity by girls occurred when their families moved into the cities in the late 19th century. There, they found sidewalks and other smooth surfaces conducive to jumping rope, along with a host of contemporaries. Another source suggests that, prior to 1833, the invention of pantalettes enabled girls to jump rope without displaying ankles. Chants are intended to structure the game and are secondary, explaining the nonsense or irrational lyrics. These chants are unusual inasmuch as they were transmitted from child to child usually without an underlying reason, as opposed to nursery rhymes which were transmitted from adult to child and often contained a moral. Chants may contain girlish references to boyfriends or marriage.

Skweee

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

Origins#

The name “skweee” was coined by Daniel Savio, one of the originators of the emerging sound. The name refers to the use of analog synthesizers in the production process, where the aim is to “squeeze out” the most interesting sounds possible. Producers can vary from high-profile to new talent from the Scandinavian electronica environment.

Recognition#

The major outlets of skweee music are the Swedish record label Flogsta Danshall and Finnish record label Harmönia. Norwegian Dødpop, Canadian Ancient Robot, US Losonofono, US Titched, US Poisonous Gases, Spanish Lo Fi Funk, Finnish Mässy, and French Mazout have since been added to this family. The preferred media format of skweee enthusiasts is the 7" vinyl record. Early releases were exclusively released in this format. More recently, however, a series of 12" vinyl records, digital releases and CD compilations have been released through these outlets as well. The increasing notability of the skweee genre has resulted in releases such as the Eero Johannes album on Planet Mu. Producers such as Rusko, Gemmy, Joker, Zomby, and Rustie have given their take on the sound, resulting in several releases on the boundary between skweee and dubstep.

SK on Music Theory Print

Ska

Etymology#

Ska jazz

Origins#

Ska punk

Characteristics#

Predecessors and early development (late 1970s to early 1990s)#

Skate punk

Characteristics#

Skiffle

Origins in the United States#

Skiladiko

Related Greek artists#

See also#

Skipping-rope rhyme

History#

Skweee

Origins#

Recognition#