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Soca music

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

Etymology#

“Soca” is a portmanteau of the words “soul” and “calypso”. The genre was defined by Lord Shorty as the “Soul of Calypso”. The word was originally spelled s-o-k-a-h by Lord Shorty. In a 1979 interview with Carnival Magazine, Lord Shorty stated that he “came up with the name soca. I invented soca. And I never spelt it s-o-c-a. It was s-o-k-a-h to reflect the East Indian influence.” The use of kah (the Hindi word for “divine”) referenced the genre’s Indo-Caribbean influence. However, s-o-c-a quickly became the popular spelling after a journalist, Ivor Ferreira, misspelled the name. The article, which included an interview with Lord Shorty, was published during the 1976 Trinidad Carnival season. The article said “Shorty is doing soca”. Lord Shorty confirmed the error, but chose to leave it that way to avoid confusion.

Soft grunge

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

History#

By the 2000s, indie sleaze fashion had become popular, which including traits of 1970s and 1980s fashion in addition to grunge and the contemporary hipster fashion. Soft grunge evolved directly from this trend, once Tumblr users began to merge it with darker fashion elements like fishnets, chokers and combat boots. A 2022 article published by i-D specifically cited Hope Sandoval’s incorporation of baby tees, slip dresses and mesh as influential upon the development of soft grunge. Teen Vogue writer Kara K. Nesvig and Refinery29 writer Sadhbh O’Sullivan also cited emo fashion as a notable component. Early on its development, the style was deliberately confrontational to the fitness culture which was dominant in popular culture at the time, namely Victoria’s Secret’s Train Like an Angel campaign and online fitness influencers like Blogilates and Freelee the Bananagirl. Ferreira’s style was a direct outgrowth of indie sleaze, making use of chunky boots, babydoll dresses, leopard print, leather, tennis skirts, smudged makeup and grown out dark roots on bleached blonde hair. In a 2014 article for Vogue, stylist Ian Bradley called Ferreira’s look “A mix of sexy, innocent and tough”. In the following years, musician Lana Del Rey, models Kate Moss and Kylie Jenner and actress Kaya Scodelario’s portrayal of the fiction character Effy Stonem, all became points of inspiration for the emerging fashion style. and in 2013 Ferreira becoming Hedi Slimane’s muse when he took over as the creative director for luxury fashion house Yves Saint Laurent. By 2015, “grunge” was Tumblr’s most reblogged fashion term, with soft grunge and pale grunge both appearing in the top 20. i-D magazine called the style one of the earliest internet aesthetics which become commonplace by the 2020s. The style was also influential on 2020s rockstar girlfriend, ballerina sleaze and coquette trends. Around 2022, the style began to experience a resurgence in popularity due to videos uploaded on the video sharing application TikTok, where by August of that year, the hashtags 2014Tumblr accumulated 232 million uses, GrungeAesthetic with 611 million uses and TumblrAesthetic with 46.6 million. Harper’s Bazaars writer Ella Sangster credited the revival as a reaction against the clean girl aesthetic which had been prominent on the same platform since 2020. The same year, luxury fashion house Ports 1961 launched their fall/winter 2022 campagne which featured models Vittoria Ceretti and Bella Hadid in soft grunge inspired outfits taken on polaroid cameras. During this time, the style was embraced by celebrities including Emma Chamberlain, Doja Cat and Olivia Rodrigo.

Soft grunge (music)

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

Etymology#

Prior to the coining of “soft grunge”, many fans called the style “emo grunge”, and due its prominence on the record label Run for Cover Records, some adopted the name the “Run for Cover sound”. “Soft grunge” was coined in reference to the fashion style soft grunge, whose communities on Tumblr the genre was popular with. The term was originally used disparagingly, implying the genre appealed to the site’s female teen usership, was overconcered with aesthetics and downplaying its heaviness. Much of its popularity was due to its frequent use by Stuff You Will Hate. Sense Music Media stated that its use of “soft” is “very deceptive”, noting a live performance by soft grunge band Fleshwater as being “heavier than the brick walls around us”.

Soft rock

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

Mid-to-late 1960s#

Softer sounds in rock music could be heard in mid-1960s songs, such as “A Summer Song” by Chad & Jeremy (1964) and “Here, There and Everywhere” by the Beatles and “I Love My Dog” by Cat Stevens, both from 1966. By 1968, hard rock had been established as a mainstream genre. From the end of the 1960s, it became common to divide mainstream rock music into soft and hard rock, with both emerging as major radio formats in the US. The Bee Gees were considered soft rock in the late 1960s.

Sokkie

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

Sokkie dance#

Sokkie dance is a style of social ballroom dance with a partner. It is also referred to in Afrikaans as “langarm”, “sakkie-sakkie”, “kotteljons” and “Water-pomp”. Similarly to the U.S. ‘Sock Hop’, sokkie, meaning ‘sock’ in Afrikaans, refers to the way young people dance sokkie in their socks and often barefoot. Sokkie dancers in nightclubs mostly wear shoes and dress smart casual. Loopdans, two-step, swing, boogie, social foxtrot or quickstep steps, are often danced together in sokkie. A boerewals, which is a viennese waltz is also danced as sokkie. Sokkie is not only danced to sokkie music, but can be danced to many music genres, for example hip-hop, trance, country and pop. The dance “Sokkie Sokkie” originated in Southern Africa from the Afrikaner trekkers.

Soleá

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

Lyrics#

When singers sing soleá, as with most palos, they normally choose different “coplas” (stanzas), with different melody, and combine them according to the inspiration of the moment or to a previous plan. Even if the singer has a previous plan, it is often altered on the spur of the moment. These stanzas are independent in subject matter from one another. The content of the lyrics is generally serious in nature, as appropriate to the solemn air of the music. They often have a sententious tone and convey a feeling of intimate pain. Sometimes despair, more typical of seguiriya, can also appear. However, it is difficult to generalize: sometimes a less serious stanza can turn up in the middle of other serious ones, and irony is frequent. The stanza of the soleá has three or four lines. In four-line stanzas, the second and fourth line are in assonant rhyme, while the first and third are free. In three-line stanzas, the assonance is between the first and the third. Some examples: ;A three-line stanza :No se me daba cuidao :me hago cargo que ha sío un ensueño :y a lo pasaíto pasao. :;Translation ::I didn’t mind ::I know it was just a dream ::and past things are past. ;A four-line stanza :Fui piedra y perdí mi centro :y me arrojaron al mar :y a fuerza de mucho tiempo :mi centro vine a encontrar :;Translation ::I was a stone and lost my centre ::and was thrown into the sea ::and after a very long time ::I came to find my centre again. This type of stanza is the cuarteta romanceada, one of the oldest and most frequent in Spanish poetry, and is derived from the medieval “Romance” poetic form, a type of traditional epic poetry that has survived in both learned and popular literature to our days. The melody of a soleá can demand repeating some lines, altering their logical order, or cutting the lines, sometimes even in the middle of words. For example, as stanza like: :En mis cortas oraciones :le pido a dios llorando :que me quite la salud :y a ti te la vaya dando :;Translation ::In my short prayers ::crying, I ask God ::to deprive me of my health ::and to give it back to you Can be rendered in song like: :A Dios llorando yo le pido :le pido a Dios llorando :yo le pido a Dios llorando :que me quite la salud :y a ti te la vaya dando :en mis cortas oraciones :que yo le pido a Dios llorando

Soleá por bulerías

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

Structure#

The structure is similar to most Flamenco dances and can be broken down as follows: * ENTRADA/SALIDA (ENTRANCE): The dancer enters the stage via marking steps (marcando) * LLAMADA: This is the call for the singer to sing the first letra. * FIRST LETRA: The singer sings 7-12 sets of 12 count phrases * SECOND LETRA OR FALSETA: The Falsetta is a musical phrase or phrases that the guitarist has composed or improvises that the dancer interprets with choreography. * ESCOBILLA: Several sets of 12 count footwork phrases * SUBIDA/PALMAS/CHOREOGRAPHY that transitions into a BULERIAS. Usually, a REMATE/LLAMADA, a finish and a cue that are performed together in sequence, will occur here to call in the singer for the BULERIAS FINALE. * BULERIAS – FINALE for all 12 count dances. Here, the Bulerías is a structured improvisation with set phrases, a set structure, and learned or improvised choreography.

Solo concerto

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

Baroque#

The earliest known solo concerti are nos. 6 and 12 of Giuseppe Torelli’s Op. 6 of 1698. These works employ both a three-movement cycle and clear (if diminutive) ritornello form, like that of the ripieno concerto except that sections for the soloist and continuo separate the orchestral ritornellos. Active in Bologna, Torelli would have known of the operatic arias and the numerous sonatas and sinfonias for trumpet and strings produced in Bologna since the 1660s. He himself composed more than a dozen such works for trumpet, two dated in the early 1690s. Other early violin concertos are the four in Albinoni’s Op. 2 (1700) and the six in Torelli’s important Op. 8 (1709 - the other six works in this set are double concertos for two violins). The most influential and prolific composer of concertos during the Baroque period was the Venetian Antonio Vivaldi (1678–1741). In addition to his nearly 60 extant ripieno concertos, Vivaldi composed approximately 425 concertos for one or more soloists, including about 350 solo concertos (two-thirds for solo violin) and 45 double concertos (over half for two violins). Vivaldi’s concertos firmly establish the three-movement form as the norm. The virtuosity of the solo sections increases markedly, especially in the later works, and concurrently the texture becomes more homophonic. Concertos for instruments other than violin began to appear early in the 18th century, including the oboe concertos of George Frideric Handel and the numerous concertos for flute, oboe, bassoon, cello, and other instruments by Vivaldi. The earliest organ concertos can probably be credited to Handel (16 concertos, c. 1735–51), the earliest harpsichord concertos to Johann Sebastian Bach (13 concertos for one to four harpsichords, c. 1735–40). In the latter case, all but probably one of the concertos are arrangements of existing works, though Bach had already approached the idea of a harpsichord concerto before 1721 in the Brandenburg Concerto no. 5.

Son cubano

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

Etymology and cognates#

In Spanish, the word son, from Latin sonus, denotes a pleasant sound, particularly a musical one. In eastern Cuba, the term began to be used to refer to the music of the highlands towards the late 19th century. To distinguish it from similar genres from other countries (such as son mexicano and son guatemalteco), the term son cubano is most commonly used. In Cuba, various qualifiers are used to distinguish the regional variants of the genre. These include son montuno, son oriental, son santiaguero and son habanero. The adjective soneado refers to songs and styles which incorporate the tempo and syncopation of the son, or even its montunos. Generally, there is an explicit difference between styles that incorporate elements of the son partially or totally, as evidenced by the distinction between bolero soneado and bolero-son. The term sonora refers to conjuntos with smoother trumpet sections such as Sonora Matancera and Sonora Ponceña.

Son jalisciense

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

History#

The early origins of the son jalisciense and other early Mexican sones is not very well documented, as it was mostly an aural and local tradition until the early 20th century. It included rhythmic components that originated in Spain, pre-colonial Mexico, and different Indigenous regions. In the wake of the Spanish colonization of Mexico in the 16th century, they also brought many precursors to modern European instruments. This included winds and strings which were quickly adopted by the native population. According to legend, the genre of son jalisciense originated in the town of Cocula, Jalisco, where the traditional characteristics were solidified in the latter half of the 19th century. It is even believed that the word “mariachi” originated from a now-extinct language of this region. Following the Mexican Revolution, the prominence of mariachi (and thus the son jalisciense which is a fundamental component of mariachi) began to skyrocket. It became a symbol of national pride, and mariachis became a fixture of government events. It was during this time that the music underwent significant urbanization and standardization. Many of the most successful local groups of musicians, such as Mariachi Vargas de Tecalitlán began migrating to Mexico City. It was here that recording catapulted mariachi to be one of Mexico’s most popular forms of art by the 1940s. Throughout this period the typical size of the group grew, with the addition of trumpets and an increased number of violins, usually meaning three or more. They complemented a rhythm section of vihuela, guitarrón, classical guitar, and harp, which still saw occasional use. The 1950s and 1960s are today regarded as a golden age for the style, as mariachi reached its cultural zenith in Mexico, and many of the most popular and renowned sones were written or recorded during this time. Mariachi Vargas was the most popular and influential mariachi during this time, and their albums from this generation live on as some of the defining mariachi recordings. In the second half of the 20th century, mariachi began to achieve popularity and mainstay status in the United States as well, due to the increasing number of American citizens with Mexican heritage. The first mariachi group in the US was started by Nati Cano in 1961, and since mariachi has only bloomed as both a cultural and academic interest in the states. Linda Ronstadt’s 1987 album Canciones de Mi Padre, which features several sones jaliscienses became a smash hit, further elevating the prominence of the style in the US and Worldwide.

Son jarocho

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

Characteristics#

The genre combines elements from indigenous (primarily Huastecan), Baroque music from Southern Spain (fandango) and the Western African music of slaves taken to the Caribbean; reflecting the population which evolved in the region from Spanish colonial times. It is closely related to several other genres in meter which appeared throughout Hispanic America from the 17th to the 19th century; such as the Cuban son, the Venezuelan and Colombian joropo and the Chilean cueca. Lyrics include humorous verses and subjects such as love, nature, sailors, and cattle breeding that still reflect life in colonial and 19th century Mexico. Verses are often repeated in antimetabole form. Verses are often shared with the wider Mexican and Hispanic Caribbean repertoire and some have even been borrowed from famous works by writers of the Spanish “Siglo de Oro”. It is usually performed by an ensemble of musicians and instruments which collectively are termed a “conjunto jarocho”. Son jarocho is often played only on jaranas and sung in a style in which several singers exchange improvised verses called décimas, often with humorous or risqué content. The high-pitched falsetto singing is likely of indigenous origin.

Son mexicano

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

Definition#

The term “son” is given to a category of Mexican folk music covering various styles that vary by region. However, these styles share several common rhythms, lyrics and dance characteristics. The music is a mix of Spanish, African and Indigenous elements, which mingled at least as far back as the 18th century. It is most popular on the Gulf Coast and certain sections of the Pacific coast, with three main regional varieties: son jarocho in Veracruz, son huasteco (or huapango) in the La Huasteca region and son jaliscience, which has morphed into what is now known as Mariachi. Most bands generally sing but there are usually one or two lead singers. Most songs are about love, mythological figures, legends, the landscapes of Mexico as well as political and religious themes. It is strongly tied to social dance, which varies by region, but not ceremonial. Dancers are generally couples executing zapateados on raised wooden dance floors. Notable groups include Trío Los Chiles, which performs son huasteco; Son del pueblo, which performs songs from Guerrero and Oaxaca; Caña dulce caña brava, which performs son jarocho, and Chintacastla which performs son music from Tixtla in southern Veracruz.

Son montuno

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

Background#

Son cubano developed in the late 19th century and soon became the most important genre of Cuban popular music. In addition, it is perhaps the most flexible of all forms of Latin American music, and is the foundation of many Cuban-based dance forms, and salsa. Its great strength is its fusion between European and African musical traditions. The son arose in Oriente, merging the Spanish guitar and lyrical traditions with Afro-Cuban percussion and rhythms. We now know that its history as a distinct form is relatively recent. There is no evidence that it goes back further than the end of the nineteenth century. It moved from Oriente to Havana in about 1909, carried by members of the Permanent (the Army), who were sent out of their areas of origin as a matter of policy. The first recordings were in 1918. There are many types of son, of which the son montuno is one. The term has been used in several ways. Probably the ‘montuno’ originally referred to its origin in the mountainous regions of eastern Cuba; eventually, it was used more to describe the final up-tempo section of a son, with its semi-improvisation, repetitive vocal refrain and brash instrumental climax. The term was being used in the 1920s, when son sextetos set up in Havana and competed strongly with the older danzones.

Sonata

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

Instrumentation#

In the Baroque period, a sonata was for one or more instruments, almost always with continuo. After the Baroque period most works designated as sonatas specifically are performed by a solo instrument, most often a keyboard instrument, or by a solo instrument accompanied by a keyboard instrument. Sonatas for a solo instrument other than keyboard have been composed, as have sonatas for other combinations of instruments. There are some general guidelines a typical sonata might follow, however, the term sonata still hadn’t taken shape yet in the 17th century because of the sinfonia conflating the term. Sinfonia were pieces played by multiple instruments together, upholding the characteristics of the imitative canzona. The sinfonia showed precursors to the introductory movement of sonata form today. As newer types of canzonas and concertos began to form (called stile moderno), the sonata was still an ambiguous genre because many characteristics of other forms became entangled with early sonatas. The sonata finally began to become a separate entity starting in the 17th to 18th centuries when the canzona became less popular and the suite, concerto, and sonata all developed in different directions. In short, a suite is a sequence of movements based on dance movements, whereas sonatas do not possess complete dance like movements. Sonatas can contain movements assembled from parts of dance movements, but the passages are not formal enough to be called a suite. Sonatas were standardized to either fall into being a sonata da camera, “chamber sonata,” or a sonata da chiesa, “church sonata.” Corelli’s twelve trio sonatas, Op. 2, were foundational to the development of the sonata and an example of 12 chamber trio sonatas, Op. 2, in 1685. Corelli’s prolific work in his trio sonatas inspired Bach, Vivaldi, Handel, and Telemann. The sonata and the suite were two forms that experienced overlap in France, Germany, and England; however, they remained separate in Italy because the scoring criteria were different. Beste writes that during this time period, the keyboard repertoire evolved with the sonata as Bach was writing his keyboard suites, with BWV 825-30 being called “partitas.” Beste writes on the partita that “By the late seventeenth century, however, the partita had come to denote a multi-movement instrumental cycle, either still as a set of variations or as a succession of dances. Only in its latter connotation does it overlap with the sonata, and only in a specific instrumental and geographical context: its widespread currency is limited to Germany, and to the solo keyboard repertoire (12). The overlap between sonata and partita is interesting to consider looking at Bach’s unaccompanied sonatas for violin, as Beste writes “they conform to the four-movement ‘church sonata’ pattern established by Corelli, for which no other generic term was available. The partitas, on the other hand, borrow their designation from the keyboard repertoire, as multi-movement dance cycles for solo instrument.”

Sonata da camera

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

Sonata da chiesa

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

Song

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Art#

Art songs are songs created for performance by classical artists, often with piano or other instrumental accompaniment, although they can be sung solo. Art songs require strong vocal technique, an understanding of language, diction, and poetry for interpretation. Though such singers may also perform popular or folk songs on their programs, these characteristics and the use of poetry are what distinguish art songs from popular songs. Art songs are a tradition from most European countries, and now other countries with classical music traditions. German-speaking communities use the term art song (“Kunstlied”) to distinguish so-called serious compositions from folk songs (Volkslied). The lyrics are often written by a poet or lyricist and the music separately by a composer. Art songs may be more formally complicated than popular or folk songs, though many early Lieder by the likes of Franz Schubert are in simple strophic form. The accompaniment of European art songs is considered as an important part of the composition. Some art songs are so revered that they take on characteristics of national identification. Art songs emerge from the tradition of singing romantic love songs, often to an ideal or imaginary person and from religious songs. The troubadours and bards of Europe began the documented tradition of romantic songs, continued by the Elizabethan lutenists. Some of the earliest art songs are found in the music of Henry Purcell. The tradition of the romance, a love song with a flowing accompaniment, often in triple meter, entered opera in the 19th century and spread from there throughout Europe. It expanded into popular music and became one of the underpinnings of popular songs. While a romance generally has a simple accompaniment, art songs tend to have complicated, sophisticated accompaniments that underpin, embellish, illustrate or provide contrast to the voice. Sometimes the accompaniment performer has the melody, while the voice sings a more dramatic part.

Song cycle

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

Song cycles in German Lieder#

Although most European countries began developing the art song genre by the beginning of the 19th century, the rise of Lieder in “Austria and Germany have outweighed all others in terms of influence.” German-language song composition at the end of 18th century shifted from accessible, Strophic form, more traditional folk songs to 19th century settings of more sophisticated poetry for a more educated middle class, “who were gradually supplanting the aristocracy as the main patrons of the arts”. Since these songs were relatively small-scale works, like the lyric poetry used for their musical settings, they were often published in collections, and consequently borrowed various poetic terms to mark their groupings: Reihe (series), Kranz (ring), Zyklus (cycle) or Kreis (circle). In the first few decades of the 1800s, the collections of poetry and the subsequent song settings took on more underlying coherence and dramatic plot, giving rise to the song cycle. This coherence allowed the song genre to be elevated to a “higher form”, serious enough to be compared with symphonies and cycles of lyric piano pieces. Two of the earliest examples of the German song cycle were composed in 1816: Beethoven’s An die ferne Geliebte (Op. 98), and Die Temperamente beim Verluste der Geliebten (J. 200-3, \Op. 46) by Carl Maria von Weber. The genre was firmly established by the cycles of Schubert; his Die schöne Müllerin (1823) and Winterreise (1827), settings of poems by Wilhelm Müller, are among his most greatly admired works. Schubert’s Schwanengesang (1828), though collected posthumously, is also frequently performed as a cycle. Schumann’s great cycles were all composed in 1840. They comprise Dichterliebe, Frauenliebe und -leben, two collections entitled Liederkreis (Opp. 24 & 39 on texts by Heinrich Heine and Eichendorf respectively)—a German word meaning a song cycle—and the Kerner Lieder (Op. 35), a Liederreihe (literally “song row”) on poems by Justinus Kerner. Brahms composed settings (Op. 33) of verses from Ludwig Tieck’s novel “Magelone”, and modern performances usually include some sort of connecting narration. He also wrote Vier ernste Gesänge (“Four Serious Songs”), Op. 121 (1896). Mahler’s Lieder eines fahrenden Gesellen, Kindertotenlieder, and Das Lied von der Erde expand the accompaniment from piano to orchestra. Wolf made the composition of song collections by a single poet something of a specialty, although only the shorter Italian Songbook and Spanish Songbook are performed at a single sitting, and Eisler’s Hollywood Liederbuch also falls into the category of anthology. Das Buch der hängenden Gärten by Schoenberg and Krenek’s Reisebuch aus den österreichischen Alpen are important 20th-century examples. Wilhelm Killmayer composed several song cycles, on lyrics by Sappho, French Renaissance poets, German Romantic poets, and contemporary poets. The tradition was carried on by Wolfgang Rihm, with cycles such as Reminiszenz (2017). Graham Waterhouse composed song cycles including Sechs späteste Lieder after Hölderlin’s late poems in 2003.

Song poem

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

Production and promotion#

From the early 20th century, the business of recording song poems was promoted through small display ads in popular magazines, comic books, tabloids, men’s adventure journals, and similar publications, soliciting lyrics for songs. Those who sent their poetry to one of the production companies usually received notice by mail that their work was worthy of recording by professional musicians, along with a proposal to do so in exchange for a fee. The early 20th century versions of this business involved setting the words to music and printing up sheet music from inexpensively engraved plates. Some of the companies recorded new vocals over pre-recorded music backing tracks, using the same music tracks hundreds of times. The recordings were then duplicated on 45 RPM vinyl singles or on individual cassette tapes, or released on compilation LPs with other song poems. Copies of the recording were sent to the customer; promises that they would also be sent to radio stations or music industry executives were rarely, if ever, kept.

Songo music

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

Timbales#

With songo, the timbales were expanded with the addition of a kick bass drum, and sometimes a snare drum and hi-hat. Songo uses a Cuban-style timbale/drum kit hybrid, which can be anything from standard timbales with kick, to a full drum kit augmented with timbales, woodblock, and various cowbells. Songo was the first Cuban popular dance rhythm to blend rumba and North American funk rhythms. The most basic songo bell pattern is an embellishment of the Matanzas-style cáscara pattern for guaguancó, traditionally played on a guagua (hollowed piece of bamboo). In both patterns the right hand (lower notes) plays the four main beats, while the left hand plays offbeats. The right hand is typically played on a closed hi-hat, woodblock, or cowbell. The left hand is typically played on the snare rim, snare, cowbell(s), or toms. The left hand portion of the pattern is expressed in a wide variety of melodic motifs, and timbres. See: “Songo Patterns on Drum Kit” (Changuito).

Songs of realization

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

Caryagiti songs#

A renowned collection of Buddhist caryagiti, or mystical songs, is the Charyapada, a palm-leaf manuscript of the 8th-12th century text having been found in the early 20th century in Nepal. Another copy of the Charyapada was preserved in the Tibetan Buddhist canon. Miranda Shaw describes how caryagiti were an element of the ritual gathering of practitioners in a tantric feast: The feast culminates in the performance of tantric dances and music that must never be disclosed to outsiders. The revelers may also improvise “songs of realization” (caryagiti) to express their heightened clarity and blissful raptures in spontaneous verse.

Songs of the Spanish Civil War

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

Songs of the Republican side#

¡Ay Carmela!, also known as El Paso del Ebro, - Republican song
Eusko Gudariak (“Basque Soldiers”) - anthem of the Basque Autonomous Army
Los cuatro generales, also known as El Puente de los Franceses, based on Los cuatro muleros by Federico García Lorca with lyrics by Ernst Busch
El Himno de Riego - anthem of the Spanish Republic
A Las Barricadas - Spanish anarchist anthem, an adaptation of Russian/Polish march “The Varsovian”
Hijos del pueblo - Another anarchist anthem
Si me quieres escribir, also known as El Frente de Gandesa - Republican song
The Internationale - Socialist anthem
Jarama Valley - Republican song
Spaniens Himmel - “Spain’s heaven spreads its brightest stars …”
El quinto regimiento - Republican adaptation of two popular songs, “El Vito” and “Anda jaleo”.
Viva la FAI - Anarchist anthem
En la Plaza de mi Pueblo -Republican adaptation of the popular song “El Café de Chinitas”
Arroja la bomba - composed in 1932, by an Aragonese anarchist named Aznar, in response to the torture to which he was subjected by police in Barcelona. A more moderate, non-violent version was also written, by the name “Luchemos obreros” (“Let’s fight/struggle workers”).

Songs of the Nationalist side#

La Marcha Real - Anthem of Francoist Spain
Cantos nacionales (“national songs”) were accorded special honors.
Oriamendi - Carlist anthem
Cara al Sol - Falangist anthem
Cancion del Legionario - Song of the Spanish Legion
Camisa Azul - Falangist Song
Ya Hemos Pasao - Celia Gamez
Falangista Soy - Falangist Song
Cálzame las Alpargatas - Carlist Song
Arriba España - Italian Song.

Retrospective#

“Juanita” - Björn Afzelius
“1936, The Spanish Revolution” - The Ex
“Viva la Quinta Brigada” (later retitled “Viva la Quince Brigada”) - Christy Moore’s tribute to the fallen Irish
“Civil War in Spain” - Joe Mulheron (Derry, Northern Ireland) later covered by Pòl Mac Adaim (Belfast)
“Spanish Bombs” - The Clash
“Lorca’s Novena” - The Pogues
“Life During Wartime” - Talking Heads
“If You Tolerate This Your Children Will Be Next” - Manic Street Preachers
Spain in My Heart: Songs of the Spanish Civil War (Various artists) (2007) —with contributions by Pete Seeger, Arlo Guthrie, Joel Rafael and Aoife (Finnes) Clancy (from Cherish the Ladies).
“On the Border” (Al Stewart) (1977) Year of the Cat album.
“Always the Cause” (Al Stewart) (1995) Between the Wars
Flowers from Exile album by Rome
“Guernica” by The Cinematics (2010)
“The Last Lincoln Veteran” by David Rovics

External links#

Songbook of the International Brigades
Songs of the Spanish Civil War
11 Songs of the Spanish Civil War
Spain’s heavens or the Thaelmann Brigade

Sonorism

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

History#

Sonorism is rooted in the nationalistic movement of the 1920s called “Polish colourism”, whose best-known exponent is Karol Szymanowski. Sonorism as such was developed in the 1950s and 1960s as a means of gaining freedom from strict serialism, particularly by Krzysztof Penderecki, but also in a number of compositions by Grażyna Bacewicz, Henryk Górecki, Kazimierz Serocki, Wojciech Kilar, Witold Szalonek, Witold Rudziński, Zbigniew Bujarski, Zbigniew Penherski, and Zygmunt Krauze, amongst others (; ).

Sophisti-pop

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

Characteristics#

Sophisti-pop is characterized by its extensive use of electronic keyboards, synthesizers, and polished arrangements. Artists also utilized cutting-edge studio technology and perfectionist recording methods. The genre has been described as mellow, romantic, and atmospheric, with artists often adopting a sharp, well-dressed and well-groomed visual presentation.

History#

Stylus Magazine suggested that acts had been influenced by the work of Roxy Music (such as 1982’s Avalon, often cited as the first sophisti-pop album), and Bryan Ferry’s Boys and Girls (1985) and Bête Noire (1987). Sweetwater named major artists in the genre as including the Blue Nile, Prefab Sprout, the Style Council, Scritti Politti, Everything but the Girl, and Danny Wilson. Its popularity declined in the 1990s.

Soukous

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

Etymology#

The term soukous, derived from the French verb secouer, denoting “to shake,” initially described a person who moved jerkily but evolved into a dance style synonymous with vitality and cadence. Over time, secousse evolved into soucousses and later soucous in everyday speech and in the press, before the letter “c” was eventually replaced with a “k”, giving rise to the modern spelling soukous.

Characteristics#

The music typically utilizes a time signature and major chords articulated in arpeggiated forms. The bassline, inspired by hand-drum percussion patterns, is the genre’s rhythmic foundation and is typically characterized by a 16th-note cadence. Emerging prominently during Mobutu Sese Seko’s reign in Zaire, the assertive bass style of soukous emulated regimented motions of military marches (marche militaire). Soukous chord progressions mainly rely on the I, IV, and V chords. Common progressions include: # I - I - IV - IV # I - IV - V # I -I - V-V # I - IV/V # V/IV - I # I/IV - IV/I # I - V- I - V # V/IV - I

Soul jazz

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

Musical style#

Soul jazz is often associated with hard bop. Jazz pianist Horace Silver stated that " f unky means earthy and blues-based. It might not be blues itself, but it does have that ‘down-home’ feel to it. Soul is basically the same, but there’s an added dimension of feeling and spirit."

Origins#

Roy Carr has described soul jazz as an outgrowth of hard bop, with the terms “funk” and “soul” appearing in a jazz context as early as the mid-1950s to describe “gospel-informed, down-home, call-and-response blues”. Carr has also noted the influence of Ray Charles’ small group recordings (which included saxophonists David “Fathead” Newman and Hank Crawford) on Horace Silver, Art Blakey, Cannonball Adderley. For this and his “full bodied yet reedy tone that was equally at home in rhythm & blues settings as more modern contexts,” he “provided a link” between big band swing and soul jazz. Soul jazz continued to develop in the late 1950s, reaching public awareness with the release of The Cannonball Adderley Quintet in San Francisco. Cannonball Adderley noted: “We were pressured quite heavily by Riverside Records when they discovered there was a word called ‘soul’. We became, from an image point of view, soul jazz artists. They kept promoting us that way and I kept deliberately fighting it, to the extent that it became a game.” Late 1950s, soul jazz artist Curtis Fuller recorded “Five Spot after Dark”.

Soul music

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

Origins#

Soul music has its roots in traditional African-American gospel music and rhythm and blues and as the hybridization of their respective religious and secular styles – in both lyrical content and instrumentation – that began in the 1950s. The term “soul” had been used among African-American musicians to emphasize the feeling of being an African American in the United States. According to musicologist Barry Hansen, Though this hybrid produced a clutch of hits in the R&B market in the early 1950s, only the most adventurous white fans felt its impact at the time; the rest had to wait for the coming of soul music in the 1960s to feel the rush of rock and roll sung gospel-style. According to AllMusic, “Soul music was the result of the urbanization and commercialization of rhythm and blues in the ’60s.” The phrase “soul music” itself, referring to gospel-style music with secular lyrics, was first attested in 1961. The term “soul” in African-American parlance has connotations of African-American pride and culture. Gospel groups in the 1940s and ’50s occasionally used the term as part of their names. The jazz style that originated from gospel became known as soul jazz. As singers and arrangers began using techniques from both gospel and soul jazz in African-American popular music during the 1960s, soul music gradually functioned as an umbrella term for African-American popular music at the time. According to the Acoustic Music Organization, the “first clear evidence of soul music shows up with the “5” Royales, an ex-gospel group that turned to R&B and in Faye Adams, whose “Shake A Hand” becomes an R&B standard”. Important innovators whose recordings in the 1950s contributed to the emergence of soul music included Clyde McPhatter, Hank Ballard, and Etta James. Singer Bobby Womack said, “Ray was the genius. He turned the world onto soul music.” Charles was open in acknowledging the influence of Pilgrim Travelers vocalist Jesse Whitaker on his singing style. Little Richard, who inspired Otis Redding, and James Brown both were equally influential. Brown was nicknamed the “Godfather of Soul Music”, Sam Cooke and Jackie Wilson also are often acknowledged as soul forefathers. Cooke became popular as the lead singer of the gospel group the Soul Stirrers, before controversially moving into secular music. His recording of “You Send Me” in 1957 launched a successful pop music career. Furthermore, his 1962 recording of “Bring It On Home to Me” has been described as “perhaps the first record to define the soul experience”. Jackie Wilson, a contemporary of both Cooke and James Brown, also achieved crossover success, especially with his 1957 hit “Reet Petite”. He even was particularly influential for his dramatic delivery and performances.

Sound art

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

Origin of term#

According to Bernhard Gál’s research, the first published use of the term was found in Something Else Press on the cover of their 1974 Yearbook. The first use as the title of an exhibition at a major museum was 1979’s Sound Art at the Museum of Modern Art in New York (MoMA), featuring Maggi Payne, Connie Beckley, and Julia Heyward. The curator, Barbara London defined sound art as, “more closely allied to art than to music, and are usually presented in the museum, gallery, or alternative space.” Commenting on an exhibition called Sound/Art at the SculptureCenter in New York City in 1984 art historian Don Goddard noted: “It may be that sound art adheres to curator Hellermann’s perception that ‘hearing is another form of seeing,’ that sound has meaning only when its connection with an image is understood…The conjunction of sound and image insists on the engagement of the viewer, forcing participation in real space and concrete, responsive thought, rather than illusionary space and thought.”

Sound collage

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

History#

The origin of sound collage can be traced back to the works of Biber’s programmatic sonata Battalia (1673) and Mozart’s Don Giovanni (1789), and certain passages in Mahler symphonies as collage, but the first fully developed collages occur in a few works by Charles Ives, whose piece Central Park in the Dark (1906) creates the feeling of a walk in the city by layering several distinct melodies and quotations on top of each other. Earlier traditional forms and procedures such as the quodlibet, medley, potpourri, and centonization differ from collage in that the various elements in them are made to fit smoothly together, whereas in a collage clashes of key, timbre, texture, meter, tempo, or other discrepancies are important in helping to preserve the individuality of the constituent elements and to convey the impression of a heterogeneous assemblage. What made their technique true collage, however, was the juxtaposition of quotations and unrelated melodies, either by layering them or by moving between them in quick succession. A first documented instance of sound collage created as electronic music is Wochenende (in English, Weekend), a collage of words, music and sounds created by film-maker and media artist Walter Ruttmann in 1928. Later, in 1948, Pierre Schaeffer used the techniques of sound collage to create the first piece of musique concrète, Étude aux chemins de fer, which was assembled from recordings of trains. Schaeffer created this piece by recording sounds of trains onto several vinyl records, some of which had lock grooves allowing them to play in a continuous loop. He then set up multiple turntables in his studio, allowing him to trigger and mix together the various train sounds as needed. According to music theorist Cristina Losada, the third movement of Luciano Berio’s Sinfonia is often considered “the prototype of a musical collage.” In an essay written in 1937, John Cage expressed an interest in using extra-musical sound materials and came to distinguish between found sounds, which he called noise, and musical sounds, examples of which included: rain, static between radio channels, and “a truck at fifty miles per hour”. Cage began in 1939 to create a series of found sounds works that explored his stated aims, the first being Imaginary Landscape #1 for instruments including two variable speed turntables with frequency recordings. Important modern sound collage pieces were created by Pierre Schaeffer and the Groupe de Recherches Musicales. In 1950s and early-1960s Schaeffer, Pierre Henry, Olivier Messiaen, Pierre Boulez, Jean Barraqué, Karlheinz Stockhausen, Edgard Varèse, Iannis Xenakis, Michel Philippot, and Arthur Honegger all worked with sound collage. Examples are Étude I (1951) and Étude II (1951) by Boulez, Timbres-durées (1952) by Messiaen, Étude aux mille collants (1952) by Stockhausen, Le microphone bien tempéré (1952) and La voile d’Orphée (1953) by Henry, Étude I (1953) by Philippot, Étude (1953) by Barraqué, the mixed pieces Toute la lyre (1951) and Orphée 53 (1953) by Schaeffer/Henry, and the film score Masquerage (1952) by Schaeffer and Astrologie (1953) by Henry. In 1954 Varèse and Honegger created Déserts and La rivière endormie". John Cage created his influential collage piece Williams Mix in 1952. More recently, George Rochberg used collage in Contra Mortem et Tempus and Symphony No. 3. In the 1980s Minóy made many palimpsest-like multi-tracked soundscape compositions that used sound collage.

Sound poetry

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

20th century#

While it is sometimes argued that the roots of sound poetry are to be found in oral poetry traditions, the writing of pure sound texts that downplay the roles of meaning and structure is a 20th-century phenomenon. The Futurist and Dadaist Vanguards of the beginning of this century were the pioneers in creating the first sound poetry forms. Filippo Tommaso Marinetti discovered that onomatopoeias were useful to describe a battle in Tripoli where he was a soldier, creating a sound text that became a sort of a spoken photograph of the battle. Dadaists were more involved in sound poetry and they invented different categories: *Bruitist poem: a phonetic poem, not so different from the futurist poem. Invented by Richard Huelsenbeck. *Simultaneous poem: a poem read in different languages, with different rhythms, tonalities, and by different persons at the same time. Invented by Tristan Tzara. *Movement poem: a poem accompanied by primitive movements.

SoundCloud indie

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

Etymology#

In August 2025, music critic Kieran Press-Reynolds, writing for Pitchfork, coined the term “BandLab rock”, referring to the free online digital audio workstation, to describe “a new wave of SoundCloud indie rock” made by artists emerging from the underground SoundCloud rap scene who began to take an interest in alternative rock music while using beatmaker techniques. Press-Reynolds referred to the movement as an “online ‘indie music’ boom”.

Characteristics#

According to music critic Kieran Press-Reynolds, SoundCloud indie artists tend to be members of SoundCloud collectives and use beatmaker techniques like opening and ending songs with slowed versions of the instrumental, or “spamming sound effects like ad-libs.” Press-Reynolds noted that bedroom producers in the scene posted video tutorials on YouTube for “indie rock beats (without a real guitar)”. The scene is primarily inspired by artists Jaydes and Wifiskeleton. Artist Ayowitty stated that in 2025 a new wave of musicians began producing “Wifiskeleton type songs” and replicating his sound to the point of cliche, with fellow artist Bunii adding that artists imitating Wifiskeleton’s sound were popular across TikTok.

Soundtrack

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

Types of recordings#

Types of soundtrack recordings include: # Musical film soundtracks are for the film versions of musical theatre; they concentrate primarily on the songs. (Examples: Grease, Evita) # Film scores showcase the primarily instrumental musical themes and background music from movies. (Examples: Blade Runner, Star Wars series ) # For movies that contain both orchestral film scores and pop songs, both types of music. (Examples: Shrek series, Back to the Future series) # Albums of popular songs heard in whole or part in the background of non-musical movies. (Examples: Top Gun, The Bodyguard) # Video game soundtracks are often released after a game’s release, usually consisting of the theme and background music from the game’s levels, menus, title screens, promo material (such as entire songs of which only segments were used in the game), cut-screens and occasionally sound-effects used in the game. (Examples: Final Fantasy VII, Red Dead Redemption 2) # Albums which contain both music and dialogue from the film. (Examples: Reservoir Dogs, A Star Is Born) The soundtrack to the 1937 Walt Disney animated film Snow White and the Seven Dwarfs was the first commercially issued film soundtrack. It was released by RCA Victor Records on multiple 78 rpm discs in January 1938 as Songs from Walt Disney’s Snow White and the Seven Dwarfs (with the Same Characters and Sound Effects as in the Film of That Title) and has since seen numerous expansions and reissues. The first live-action musical film to have a commercially issued soundtrack album was MGM’s 1946 film biography of Show Boat composer Jerome Kern, Till the Clouds Roll By. The album was originally issued as a set of four 10-inch 78 rpm records. Only eight selections from the film were included in this first edition of the album. In order to fit the songs onto the record sides the musical material needed editing and manipulation. This was before tape existed, so the record producer needed to copy segments from the playback discs used on set, then copy and re-copy them from one disc to another adding transitions and cross-fades until the final master was created. Needless to say, it was several generations removed from the original and the sound quality suffered for it. The playback recordings were purposely recorded very dry (without reverberation); otherwise it would come across as too hollow sounding in large movie theatres. This made these albums sound flat and boxy.

South African folk music and AIDS

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

Khayelitsha Courthouse Protest 2002#

The Khayelitsha Courthouse is located in Cape Town, South Africa, a region with one of the highest reported rates of HIV/AIDS cases. During the demonstrations, they let music groups and individuals perform and demonstrators distributed free condoms out to the crowds of people that had gathered. While some people were supportive of bringing awareness, others were not. During the 1990s and early 2000s, some people believed that HIV/AIDS could be treated as communicable diseases with traditional therapy methods, while others in the awareness campaigns believed that biomedical therapy would be more effective as treatment.

South African jazz

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

History#

The jazz scene in South Africa grew much as it did in the United States. Through performances in nightclubs, dances, and other venues, musicians had the opportunity to play music often. Musicians such as singer Sathima Bea Benjamin learned by going to nightclubs and jam sessions and waiting for opportunities to offer their talents. One unique aspect of the South African jazz scene was the appearance of individuals imitating popular artists as closely as possible because the real musician wasn’t there to perform in the area. For instance, one could find a “Cape Town Dizzy Gillespie” who would imitate not only the music, but the look and style of Dizzy. This practice created a strong environment to nurture some artists who would eventually leave South Africa and become legitimate contributors to the international jazz scene. One of the first major bebop groups in South Africa in the 1950s was the Jazz Epistles. This group consisted of trombonist Jonas Gwangwa, trumpeter Hugh Masekela, saxophonist Kippie Moeketsi, and pianist Abdullah Ibrahim (then known as Dollar Brand). This group brought the sounds of United States bebop, created by artists such as Dizzy Gillespie, Charlie Parker, and Thelonious Monk, to Cape Town with Moeketsi modeling his sound and style on Parker’s. This group was the first in South Africa to cut a record in the bebop style, but their contemporaries, the Blue Notes, led by pianist Chris McGregor, were no less involved in the local jazz scene. Together, these two groups formed the backbone of South African bebop. An early use of jazz as an anti-apartheid tool was the production of a musical entitled King Kong. Written as a social commentary on young black South Africans, much of the music was arranged and performed by famous South African jazz musicians, including all the members of the Jazz Epistles, minus bandleader Abdullah Ibrahim. The musical was premiered to an integrated audience at the University of Witwatersrand despite efforts of the government to prevent its opening. The university had legal jurisdiction over its property and was able to allow the gathering of an integrated audience. From this point on, as the play toured South Africa, it carried this undertone of defiance with it. The success of the play eventually took it to premiere in London, and while failing financially outside of South Africa, allowed many local jazz musicians an opportunity to obtain passports and leave the country. In March 1960, the first in a series of small uprisings occurred, in an event that is now known as the Sharpeville Massacre. Censorship was dramatically increased by the apartheid government, which led to the shutting down of all venues and events that catered to or employed both black and white individuals. Gatherings of more than ten people were also declared illegal. As a result, a mass exodus was created of jazz musicians leaving South Africa seeking work. Among these were pianist Abdullah Ibrahim, his wife and jazz vocalist Sathima Bea Benjamin, trumpeter Hugh Masekela, and vocalist Miriam Makeba. For some, the move proved to be fortuitous. Ibrahim and Benjamin found themselves in the company of US jazz great Duke Ellington in a night club in Paris in early 1963. The meet resulted in a recording of Ibrahim’s trio, Duke Ellington presents the Dollar Brand Trio, and a recording of Benjamin, accompanied by Ellington, Billy Strayhorn, Ibrahim, and Svend Asmussen, called A Morning in Paris. Artists such as Masekela traveled to the United States and were exposed first hand to the American jazz scene. One of the most important subgenres of jazz in the region is Cape Jazz. The music originates from Cape Town and surrounding towns and is inspired by the carnival music of the area, sometimes referred to as Goema.

Southern gospel

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

Origins#

The date of southern gospel’s establishment, as a distinct genre, is generally considered to be 1910, the year the first professional quartet was formed for the purpose of selling songbooks for the James D. Vaughan Music Publishing Company in Lawrenceburg, Tennessee. Nonetheless, the style of the music itself had existed for at least 35 years prior—although the traditional wisdom that southern gospel was “invented” in the 1870s by circuit preacher Everett Beverly is spurious. The existence of the genre prior to 1910 is evident in the work of Charles Davis Tillman (1861–1943), who popularized “The Old Time Religion”, wrote “Life’s Railway to Heaven” and published 22 songbooks. Some of the genre’s roots can be found in the publishing work and “normal schools” or singing schools of Aldine S. Kieffer and Ephraim Ruebush. Southern gospel was promoted by traveling singing school teachers, quartets, and shape note music publishing companies such as the A. J. Showalter Company (1879) and the Stamps-Baxter Music and Printing Company. Over time, southern gospel came to be an eclectic musical form with groups singing traditional hymns, a capella (jazz-style singing with no instruments) songs, country, bluegrass, spirituals, and “convention songs”. Because it grew out of the musical traditions of white musicians from the American South, the name Southern gospel was used to differentiate it from the black gospel tradition. Convention songs typically have contrasting homophonic and contrapuntal sections. In the homophonic sections, the four parts sing the same words and rhythms. In the contrapuntal sections, each group member has a unique lyric and rhythm. These songs are called “convention songs” because various conventions were organized across the United States for the purpose of getting together regularly and singing songs in this style. Convention songs were employed by training centers like the Stamps-Baxter School Of Music as a way to teach quartet members how to concentrate on singing their own part. Examples of convention songs include “Heavenly Parade”, “I’m Living In Canaan Now”, “Give the World a Smile”, and “Heaven’s Jubilee”.

Southern hip-hop

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

Overall characteristics#

Although Southern hip-hop includes a number of localized scenes with distinct styles, there are nevertheless stylistic commonalities that have been observed throughout the region. Most Southern hip-hop music places less emphasis on lyrical complexity than other regions do, instead prioritizing vocal styles that encourage audience participation, such as call-and-response chants or catchy choruses that can be sung along with. At the same time, other branches of Southern hip-hop embraced gangsta rap and have been described as pioneers of hardcore hip-hop. Musically, Southern hip-hop displays inspiration from other Southern music styles, such as gospel and blues. Influential artists from throughout the South have also been described as incorporating elements of funk. Bass-heavy percussion, especially that produced by the Roland TR-808 drum machine, is viewed as a cornerstone of much Southern hip-hop. According to some performers, Southern hip-hop is also more likely than other regions to use live instrumentation rather than samples.

Southern rock

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

1950s and 1960s: origins#

Southern rock’s origins lie mostly in the blues, country and rock music of the American South. Many stars from the first wave of 1950s rock and roll such as Bo Diddley, Elvis Presley, Little Richard, Buddy Holly, Fats Domino, and Jerry Lee Lewis hailed from the Deep South. However, the British Invasion and the rise of folk rock and psychedelic rock in the middle 1960s shifted the focus of new rock music away from the rural south and to large cities like Liverpool, London, Los Angeles, New York City, and San Francisco. In the 1960s, rock musician Lonnie Mack blended black and white roots-music genres within the framework of rock, beginning with the hit song “Memphis” in 1963. Music historian Dick Shurman considers Mack’s recordings from that era “a prototype of what later could be called Southern rock”. Late 1960s, The Box Tops, Sir Douglas Quintet, and Dale Hawkins were popular in southern states. The Allman Brothers Band, from Jacksonville, Florida, made their national debut in 1969 and soon gained a loyal following. Duane Allman’s playing on the two Hour Glass albums and an Hour Glass session in early 1968 at FAME Studios in Muscle Shoals, Alabama had caught the ear of Rick Hall, owner of FAME. In November 1968, Hall hired Allman to play on an album with Wilson Pickett. Allman’s work on that album, Hey Jude (1968), got him hired as a full-time session musician at Muscle Shoals and brought him to the attention of a number of other musicians, such as Eric Clapton, who later related how he heard Pickett’s version of “Hey Jude” on his car radio and called Atlantic Records to find out who the guitarist was: “To this day,” Clapton said, “I’ve never heard better rock guitar playing on an R&B record. It’s the best.” Early 1970s, popular musicians in the southern area included Creedence Clearwater Revival (from California), Delaney & Bonnie, Janis Joplin, Leon Russell, and Tony Joe White. Charlie Daniels’ self-titled debut album, released in 1970, was a pivotal recording in the development of the Southern rock genre, “because it points the way to how the genre could and would sound, and how country music could retain its hillbilly spirit and rock like a mother,” according to Stephen Thomas Erlewine. Erlewine described Daniels as “a redneck rebel, not fitting into either the country or the rock & roll … but, in retrospect, he sounds like a visionary, pointing the way to the future when southern rockers saw no dividing lines between rock, country, and blues, and only saw it all as sons of the south.” Daniels later formed the Charlie Daniels Band, a group which fused rock, country, blues, and jazz. Erlewine described the band’s sound as “a distinctly Southern blend” which emphasized improvisation in their instrumentation. After the success of “The Devil Went Down to Georgia”, a single which Erlewine described as a “roaring country-disco fusion”, Daniels shifted his sound from rock to country music and “helped shape the sound of country-rock”.

Southern soul

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

1960s–1980s#

Some soul musicians were from southern states: these included Georgia natives Otis Redding and James Brown, Rufus Thomas and Bobby “Blue” Bland (from Tennessee), Eddie Floyd (from Alabama), Johnnie Taylor, Al Green (from Arkansas). Southern soul was at its peak through the 1960s, when Memphis soul and the Muscle Shoals sound were popular. In 1963, Stan Lewis founded Jewel Records in Shreveport, Louisiana, along with two subsidiary labels, Paula and Ronn. Lewis signed soul and blues artists such as Toissaint McCall, Bobby Rush, John Lee Hooker, Charles Brown, Buster Benton, Lightnin’ Hopkins, Ted Taylor and Little Johnny Taylor. In 1966, the Shreveport-based Murco Records released “Losin’ Boy” by Eddy Giles, which held a place on Cashbox magazine’s Hot 100 for five weeks. Murco Records had soul chart success with its other artist included Reuben Bell. Other significant contributors were Stax Records with their house band Booker T. & the MGs as well as New York based Label Atlantic Records. Atlantic was Ray Charles’s home, and became an early exporter of the “Muscle Shoals Sound” by distributing Percy Sledge’s “When a Man Loves a Woman”, recorded at Rick Hall’s FAME Studios. FAME becoming the studio of choice for new and experienced artists alike. Establishing the city of Muscle Shoals, Alabama as a major part of Southern soul. Aretha Franklin credits FAME as the place her career turned around, and Etta James recorded hit album “Tell Mama” there. The Stax label’s most successful artist of the 1960s, Otis Redding, was influenced by fellow Georgia native Little Richard and the more cosmopolitan sounds of Mississippi-born Sam Cooke. Other Stax artists of note included Johnnie Taylor, Soul Children, the Dramatics (from Detroit), Eddie Floyd, the Staple Singers, Carla Thomas, and Isaac Hayes. Atlantic Records artists Sam & Dave’s records were released on the Stax label and featured the MGs. Wilson Pickett launched his solo career through his collaboration with the Stax team, and Pickett gained big hit “Land of a Thousand Dances” with FAME Studios musicians in Muscle Shoals, Alabama. After Sam & Dave moved from Stax to Atlantic Records, Stax producer David Porter and his songwriting and production partner Isaac Hayes decided to put together a new vocal group of two men and two women. They recruited J. Blackfoot, together with Norman West, Anita Louis, and Shelbra Bennett, to form the Soul Children. Between 1968 and 1978, the Soul Children had 15 hits on the R&B chart, including three that crossed over to the Billboard Hot 100, and recorded seven albums. Another Memphis 1960s label Goldwax Records, featured James Carr, Spencer Wiggins, and the Ovations. Al Green, Otis Clay, O.V. Wright, Don Bryant, Ann Peebles and Quiet Elegance recorded for Memphis’s 70s label Hi Records, where they were produced by Willie Mitchell. Rick Hall was a R&B producer of “Muscle Shoals Sound”, originating from Muscle Shoals, Alabama. The Muscle Shoals Rhythm Section played on hits by many Stax artists during the late 1960s through the mid-1970s, and Atlantic Records artists Wilson Pickett, Percy Sledge, Joe Tex and Aretha Franklin. Producer and session guitarist Chips Moman produced Bobby Womack and Womack wrote R&B song “I’m in Love” for Wilson Pickett. Bobby Womack gained R&B hit “If You Think You’re Lonely Now” in 1981. Malaco Records introduced Dorothy Moore, Bobby Bland, Johnnie Taylor, Denise Lasalle, Little Milton and others. In 1983, former Soul Children singer J. Blackfoot saw success on soul chart with his single “Taxi”. In 1987, Marvin Sease gained an R&B hit with “Candy Licker”.

Sovietwave

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

History#

At the height of the trance music boom in the 2000s, Russian trance duo PPK used the melodies of Soviet electronic music as the basis of their compositions, pioneering the fusion of contemporary electronic music with Soviet-era nostalgia. Until 2014, the groups of the “Soviet wave” — N.E.M.O., , PPVK — were often classified as indie, lo-fi or other type of electronics. One of the first performers who took a course to isolate themselves from the rest of electronic music was the Kharkiv project “Mayak”. The main inspirations for Sovietwave artists are typically the collective cultural memories associated with the Soviet era. Lyudmila Shevchenko of Jan Kochanowski University considers the genre a manifestation of romanticized “nostalgic myth”. Sovietwave became popular in post-Soviet countries in the latter half of the 2010s, drawing on synthwave and nostalgia for mid-century Soviet culture in the region. In September 2017, on Moscow City Day sovietwave compositions were used in the musical design of the Crafts Park pavilion. In August 2018, the first music festival “Volna-1” (“Wave-1”) dedicated to the genre was held in St. Petersburg; “Volna-2” was held on August 10, 2019, in Moscow. On July 22, 2019, an Olympic Night concert party was held in the abandoned SKA pool in Novosibirsk, decorated in the style of Soviet nostalgia; most of the collectives belonged to local sovietwave groups. During the COVID-19 pandemic, Sovietwave experienced a growth in popularity, along with related forms of vaporwave and synthwave. This upsurge was driven in large part by the success of the Belarusian post-punk band Molchat Doma, whose song from the album Etazhi became a popular meme on TikTok. According to Cat Zhang of Pitchfork, the song connected with Generation Z’s “deep pessimism towards the future”. Molchat Doma’s entry into the mainstream spawned multiple compilations of the genre on streaming platforms such as Spotify and YouTube, which feature more overt nostalgia for Soviet and Space Age aesthetics despite the band’s criticism of the genre for “fail ing to recognize the harsh realities of life in the region”. Sovietwave gained popularity primarily with younger Millennials and Generation Z in post-Soviet states. Hungarian lifestyle writer Zsófia Tóth noted that Sovietwave “playlists are usually listened to by young people who were born just before the fall of the Soviet Union or have only experienced its aftermath.” Gamble notes that Sovietwave was brought to an international audience by “the wide accessibility of YouTube music mixes.”

SO on Music Theory Print

Soca music

Etymology#

Soft grunge

History#

Soft grunge (music)

Etymology#

Soft rock

Mid-to-late 1960s#

Sokkie

Sokkie dance#

Soleá

Lyrics#

Soleá por bulerías

Structure#

Solo concerto

Baroque#

Son cubano

Etymology and cognates#

Son jalisciense

History#

Son jarocho

Characteristics#

Son mexicano

Definition#

Son montuno

Background#

Sonata

Instrumentation#

Sonata da camera

Sonata da chiesa

Song

Art#

Song cycle

Song cycles in German Lieder#

Song poem

Production and promotion#

Songo music

Timbales#

Songs of realization

Caryagiti songs#

Songs of the Spanish Civil War

Songs of the Republican side#

Songs of the Nationalist side#

Retrospective#

See also#

External links#

Sonorism

History#

Sophisti-pop

Characteristics#

History#

Soukous

Etymology#

Characteristics#

Soul jazz

Musical style#

Origins#

Soul music

Origins#

Sound art

Origin of term#

Sound collage

History#

Sound poetry

20th century#

SoundCloud indie

Etymology#

Characteristics#

Soundtrack

Types of recordings#

South African folk music and AIDS

Khayelitsha Courthouse Protest 2002#

South African jazz

History#

Southern gospel

Origins#

Southern hip-hop

Overall characteristics#

Southern rock