ST on Music Theory Print

St. Louis Bounce

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

Stadium anthem

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

Association football#

FIFA Anthem
AFC Anthem
UEFA Champions League Anthem
UEFA Europa League Anthem
Major League Soccer Anthem
J.League Anthem – “J’S THEME”
Japan Football Association Anthem – “Japanese Soccer Anthem”

Australian Rules football#

“Eagle Rock” by Daddy Cool (unofficial theme song of the West Coast Eagles)
“Never Tear Us Apart” by INXS (unofficial theme song of the Port Adelaide Football Club)

Versatile#

“Another One Bites The Dust” by Queen
“Blitzkrieg Bop” by The Ramones
“Crazy Train” by Ozzy Osbourne
“Don’t Look Back in Anger” by Oasis
“Don’t Stop Believin’” by Journey
“Eye of the Tiger” by Survivor
“Freed from Desire” by Gala
“Get Ready for This” by 2 Unlimited
“Gonna Fly Now” by Bill Conti
“Heroes” by David Bowie
“Maria (I Like It Loud)” by Scooter
“Kernkraft 400” by Zombie Nation
“Mr. Brightside” by the Killers
“Mr. Touchdown, U.S.A.” by Ruth Roberts
“Halftime (Stand Up and Get Crunk)” by Ying Yang Twins
“Na Na Hey Hey Kiss Him Goodbye” by Steam
“Remember the Name” by Fort Minor
“Rock and Roll Part 2” by Gary Glitter
“Seven Nation Army” by The White Stripes
“Sirius” by The Alan Parsons Project
“Song 2” by Blur
“The Final Countdown” by Europe
“Swag Surfin” by Fast Life Yungstaz
“Sweet Caroline” by Neil Diamond
“Thunderstruck” by AC/DC
“We Are the Champions” by Queen
“We Will Rock You” by Queen
“Welcome to the Jungle” by Guns ‘N’ Roses

Stadium house

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Starogradska muzika

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

In Serbia#

Starogradska muzika was very popular during the early 20th century in Serbia. Today, this sort of music can be heard in the bohemian quarter of Belgrade, Skadarlija. It is most popular in the northern part of Serbia, Vojvodina. Famous performers include Zvonko Bogdan, Ksenija Cicvarić, Toma Zdravković and Dušan Jakšić. The lyrics are often romantic and depict city life, as well as some more rural scenes.

In North Macedonia#

The emergence of starogradska muzika is related to the development of cities and the bourgeoisie under the influence of the West in the Ottoman-occupied Macedonia during the 19th century. Unlike rural folk music, which portrays life in villages, the nature surrounding them, and the hard agricultural work performed in the fields, starogradska music is about life in the city and its famous loves, tragedies, and characters, from rich traders to impoverished beggars. Starogradska music uses instruments such as violins and clarinets instead of ones associated with more rural music, such as gajda. While rural folk performers usually wear traditional village costumes, starogradska music performers are usually dressed in European old city fashions, including suits, hats and neckties, as well as accessories such as pocket watches and walking sticks. An important, if not the most important part of the Macedonian old city music is the musical genre called Čalgija (not to be confused with chalga, which is a contemporary Turbofolk style in Bulgaria and Serbia). In both rural and urban Macedonian folk, songs about famous revolutionaries also exist. Among prominent starogradska performers are Ansambl Biljana from the city of Ohrid, a historic center for this sort of music along with Bitola, Prilep and others, the vocal groups Oktet Makedonija from Skopje and Oktet Kumanovo from Kumanovo, and the vocal and instrumental ensemble Raspeani Resenčani from Resen.

Stile antico

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

History#

Stile antico has been associated with composers of the high Baroque and early Classical periods of music, in which composers used controlled dissonance and modal effects and avoided overtly instrumental textures and lavish ornamentation, to imitate the compositional style of the late Renaissance. Stile antico was deemed appropriate in the conservative confines of church music, or as a compositional exercise as in J. J. Fux’s Gradus Ad Parnassum (1725), the classic textbook on strict counterpoint. Much of the music associated with this style looks to the music of Palestrina as a model. The term prima pratica was first used during the conflict between Giovanni Artusi and Claudio Monteverdi about the new musical style. For 18th-century composers such as Johann Sebastian Bach, can refer to music composed as late as the early years of that century (e.g. by Antonio Lotti, Pietro Torri), a style Bach would imitate more frequently in his later compositions (starting in the 1730s, up to his death in 1750).

Stile concertato

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

Composers of music in stile concertato#

Giovanni Croce
Ignazio Donati
Andrea Gabrieli
Giovanni Gabrieli
Alessandro Grandi
Johann Kaspar Kerll
Claudio Monteverdi
Michael Praetorius
Samuel Scheidt
Johann Hermann Schein
Heinrich Schütz
Lodovico Viadana

Sources#

Manfred Bukofzer, Music in the Baroque Era. New York, W.W. Norton & Co., 1947. ()
The New Harvard Dictionary of Music, ed. Don Randel. Cambridge, Massachusetts, Harvard University Press, 1986. ()
Article “concertato” in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ()

Stile concitato

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

History#

The earliest description of stile concitato comes from the foreword to Madrigali guerrieri, et amorosi (“Madrigals of war and love”), Claudio Monteverdi’s eighth and final book of madrigals, published in 1638. Monteverdi wrote the following: I have reflected that the principal passions or affections of our mind are three, namely, anger, moderation, and humility or supplication… The art of music also points clearly to these three in its terms “agitated,” “soft,” and “moderate” (concitato, molle, and temperato). In all the works of former composers I have indeed found examples of the “soft” and the “moderate,” but never of the “agitated.” Monteverdi developed the musical style of stile concitato to represent the human emotion of agitation. He considered Il combattimento di Tancredi e Clorinda, one of the pieces from Madrigali guerrieri, et amorosi, to be the first instance of stile concitato. Stile concitato is represented musically in Il combattimento di Tancredi e Clorinda through the rapid repetition of sixteenth notes.

Stoner rock

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

Characteristics#

Stoner rock is typically slow- to mid-tempo and features a heavily distorted, groove-laden bass-heavy sound, melodic vocals, and “retro” production. Due to the similarities between stoner and sludge metal, there is often a crossover between the two genres. This hybrid has traits of both styles, but generally lacks stoner metal’s laid back atmosphere and its usage of psychedelia. Bands such as Weedeater, High on Fire and Electric Wizard creatively fuse both styles.

Stotra

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

Etymology and definition#

Stotra comes from the Sanskrit root stu- which means “to praise, eulogize or laud” combined with the ṣṭran suffix. Literally, the term refers to “poems of praise”. The earliest trace of stotras are Vedic, particularly in the Samaveda.

Example#

The following is a Peterson translation of a Stotra by the Tamil poet Appar for Ardhanarishvara, the Hindu concept of a god who incorporates both the masculine and the feminine as inseparable halves.

Straight edge

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

1970s and early 1980s#

Straight edge grew out of hardcore punk in the late 1970s and early 1980s and was partly characterized by shouted rather than sung vocals. Straight-edge individuals of this early era often associated with the original punk ideals such as individualism, disdain for work and school, and live-for-the-moment attitudes. The movement was influenced by the political and social climate of its origin, around the time of the “Just Say No” campaign and a rise in conservative viewpoints. The discipline of the subculture came from a mix of leftist radicalism and conservative influences. Straight edge sentiments can be found in songs by the early 1980s band Minor Threat. This anti-inebriation movement had been developing in punk before Minor Threat, but their song “Straight Edge” was influential in giving the scene a name, and something of a (somewhat unwilling) figurehead. Minor Threat frontman Ian MacKaye is often credited with birthing the straight edge name and movement and in later years has often spoken out about how he never intended it to be a movement. Straight edge sentiments can also be found in the song “Keep it Clean” by English punk band The Vibrators, and the Modern Lovers song “I’m Straight”, recorded in 1973, which rejected drug use. Ted Nugent was a key influence on the straight edge ideology as one of the few prominent 1970s hard rock icons to eschew alcohol and other drug use explicitly. Straight edge started in Washington, D.C., and quickly spread throughout the United States and Canada. By the 1980s, bands on the West Coast, such as America’s Hardcore, Stalag 13, Justice League, and Uniform Choice, were gaining popularity. In the early stages of this subculture’s history, concerts often consisted of both punk bands and straight edge bands. Circumstances soon changed, and the early 1980s eventually was viewed as the time “before the two scenes separated”.

Straight-ahead jazz

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

Musical style#

A study conducted by Anthony Belfiglio at the University of Texas, Austin analyzed the music of Oscar Peterson, Wynton Kelly, Wynton Marsalis, and Marcus Roberts in order to determine key features of straight-ahead jazz that distinguish it from other genres. Belfiglio concluded that the walking bass, a 4/4 bass pattern in which a bassist plays one note to each beat, synchronized with a ride-based drum pattern was a defining component of straight-ahead jazz.

Strathspey (dance)

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

Printed collections#

Among printed collections of Strathspeys, Keith MacDonald’s “The Skye Collection of the Best Reels and Strathspeys” (1887) has over 400 tunes. It is mentioned on the website “The Session” under the article for “Clark’s Strathspey”. Peter Wyper recorded a version of “Lord Lynedoch” on cylinder in the period 1901 - 1907. (see “The Session” article referenced above). It is not easy to determine the most frequently recorded strathspey but “Monymusk” has been recorded 24 times. (see “The Session” again). The “tunearch” website has 21 transcriptions of “Money Musk”, originally dated to 1789.

Street cries

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

History#

Street vendors and their cries were known in antiquity. Claire Holleran has noted the difficulty locating evidence of street cries due to their ephemeral nature. Nevertheless, she has examined literary, legal and pictorial sources to provide insights into the presence of hawkers and their cries in antiquity, especially ancient Rome and Pompeii. Collectively these sources suggest that street vendors and their cries were part of street life. She found numerous written references to the cries used by street vendors: * Pliny the Younger likens Regulus’ oratory to that of a seller in the forum (circulator in foro) * The Roman poet, Martial, compares poor oratory to the sales patter of street vendors * Quintilian’s Guide to Oratory instructs readers to aim for forceful oratory rather than the rapid speech of street hawkers * Seneca describes a disturbance caused by a group of noisy hawkers and refers to the distinctive intonation used by pastry cooks, sausage dealers and confectioners * Cicero describes the loud cries of a fig seller which soldiers embarking for Parthia interpreted as a bad omen * Calpurnius Siculus describes the loud cries of a milk hawker Literary references and images of hawkers and peddlers during the medieval period are relatively rare. Hawkers, hucksters and peddlers occupied a different social position to merchants and were regarded as marginal in society. However, English narratives from the 12th and 13th centuries suggest that hardworking hawkers could advance to positions as packmen and ultimately wealthy wholesalers or merchants. The number of street vendors working in European cities increased markedly from the 17th century. In London, street vendors began to fill the streets in the decades following the Great Fire when a major rebuilding programme led to the removal of London’s main produce market, Stocks Market, in 1773. The displacement of the open market prompted large numbers of street vendors and itinerant traders to fill the gap in food distribution by providing inexpensive produce in small quantities to the working classes, who for their part, worked long hours in arduous occupations leaving them no time to attend markets situated away from the city centre. This led to a large increase in the informal and unregulated trade carried out by street vendors. The number of street vendors increased again in the early 18th century, following the industrial revolution, as many dislocated workers gravitated to the larger urban centres in search of work. As the city population increased, the number of street vendors also increased. Throughout the 18th and 19th centuries, the streets of London filled with street vendors, stimulating intense competition between them. To stand out amid the crowd, street vendors began to develop distinctive, melodic cries. Around the same time, these criers or street vendors filled the streets of other European cities including Paris, Bologna and Cologne. The 19th century social commentator Henry Mayhew describes a Saturday night in the New Cut, a street in Lambeth, south of the river; Lit by a host of lights … the Cut was packed from wall to wall… The hubbub was deafening, the traders all crying their wares with the full force of their lungs against the background din of a horde of street musicians. Each trade developed its own unique type of street cry; a distinctive set of words or a unique tune. This operated as a means of identifying each type of seller and the goods sold, giving each trade its own “verbal and aural space”. During the 19th century, street traders came under increasing attack from the clergy and the authorities who wanted to rid the streets of the unruly and unregulated street trade. Initiatives to eradicate street trading had occurred intermittently in the past; various attempts to curtail street-based trading had been known during the reigns of Elizabeth I (1558–1603) and Charles I (1625–1649). These constant attacks contributed to a sense of group identity amongst vendors and inculcated an air of open defiance. Street traders composed their own broadsides in which they asserted their own political identity in songs. Historians have argued that the cries of the city were far from annoying, rather they were an essential form of transmitting important information prior to the modern period of mass communications. The term, Street Cries, is written with a capital “C” to distinguish the vendors’ melodic sounds from the general noise of the street. Street Cries began to disappear from the mid-20th century as permanent markets supplanted the informal and itinerant street trade.

Street punk

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

Characteristics#

Street punk lyrics commonly address topics such as fighting, drinking, partying, inner-city turmoil, gang violence, blue-collar issues, union or organized labor issues. Punk veteran Felix Havoc said:

Origins (late 1970s and early 1980s)#

Street punk grew out of working class young people who disliked the first wave of punk’s more artistic nature. The AllMusic guide credits Sham 69 as the band which brought street punk to prominence around 1978–1979, while an article by the i hailed the U.K. Subs and their 1979 debut album Another Kind of Blues as one of the first examples of street punk. Writer Ian Glasper credited the Cockney Rejects 1980 single “Bad Man” as setting a “new standards for what was to become known as street punk” due to its “melodic lead guitar, belligerent vocal delivery and gang backup chants”. However, as the sound began to form, it was quickly split between two separate punk scenes: the anarcho-punk scene, which saw the sound as inherently political due to its working class ties; and the oi! scene, which was largely apolitical.

Stride (music)

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

Technique#

Stride employed left hand techniques from ragtime, wider use of the piano’s range, and quick tempos. Compositions were written but were also intended to be improvised. The left hand characteristically plays a four-beat pulse with a single bass note (or an octave, major seventh, minor seventh or major tenth interval) on the first and third beats, and a chord on the second and fourth beats. Occasionally this pattern is reversed by placing the chord on the downbeat and bass notes on the upbeat. Compared to the ragtime style popularized by Scott Joplin, stride players’ left hands travel greater distances on the keyboard. Stride piano is highly rhythmic because of the alternating bass note and chord action of the left hand while the right hand plays syncopated melody lines with harmonic and riff embellishments and fill patterns. Proper playing of stride jazz involves a subtle rhythmic tension between the left hand which is close to the established tempo, and the right hand, which is often slightly anticipatory. Unlike ragtime pianists, stride pianists were not concerned with ragtime form and played pop songs of the day in the stride style. Ragtime was composed, but many stride pianists improvised. Some stride players didn’t read music. Stride used tension and release and dynamics. Stride can be played at all tempos, slow or fast depending on the underlying composition and treatment the pianist is performing. On occasion a stride jazz pianist might have the left hand shift into double time. Some pianists have transcribed display pieces note for note from early recordings. However, this practice only illustrates a small part of stride jazz musical adventures. James P. Johnson (1894–1955), known as the “Father of Stride”, created this style of jazz piano along with fellow pianists Willie “The Lion” Smith (1893–1973), Thomas “Fats” Waller (1904–1943) and Luckey Roberts (1887–1968). One of Johnson’s contributions was to recast the “straight” feeling of ragtime with a more modern, swinging beat, sophisticated harmonies and dynamics. He discovered and employed the tenth or “broken tenth” interval. The pianist could not only substitute tenths for single bass notes but could also play broken (staggered) tenths up and down the keyboard. Stride pianist Art Tatum (1909–1956) (a fan of Fats Waller and Lee Sims, who was himself a fan of the European “Impressionist” pianists such as Claude Debussy and Erik Satie, and hosted a radio program Tatum enjoyed) introduced more complex harmonies into his playing, and, like Fats Waller, would start songs with legato explorations of chordal intricacies before launching into swing. Tatum was given a posthumous Grammy Award in 1974.

String band

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

History of African American old-time string band music#

Although African American old-time string bands recorded history is that of the early 20th century, the beginnings of the music started much earlier. Many people once believed that the role African Americans played in the upcoming of old-time string band music was either nonexistent or to interest the Middle Ages or medieval times. The genre of African American folk music actually began with the use of percussion instruments, which were used to create music in form of encouragement to keep the slaves exercising on slave ships. Furthermore, that then sparked the usage of stringed instruments such as banjos and violins that the slaves played as a way of entertainment.

String orchestra

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Repertoire#

The repertoire includes several works by Mozart (including Eine kleine Nachtmusik), William Boyce (his eight symphonies are for strings only), and Haydn which dispense with the baroque basso continuo. Some of these works are problematic when it comes to deciding whether they are for orchestra or string quartet. Particularly in Haydn’s early works it is argued that the inversions of harmony from the occasional crossings of the bass and viola line imply a double bass; the question is not settled, however. Important 20th-century works have been written for string orchestra by Bartók (Divertimento for String Orchestra), Stravinsky (Apollo), Witold Lutosławski (Musique funèbre), Benjamin Britten (Simple Symphony and Variations on a Theme of Frank Bridge), Charles Wuorinen (Grand Bamboula), and Malcolm Williamson (Symphony No. 7). Sir Michael Tippett wrote a Concerto for Double String Orchestra and Ralph Vaughan Williams wrote a Partita for Double String Orchestra. Composers who have written a Serenade for string orchestra include Tchaikovsky, Dvořák, Suk and Elgar. Mendelssohn, in his youth, also wrote thirteen symphonies for string orchestra. Sometimes works originally written for string quartet, quintet, sextet etc. are arranged for string orchestra. Samuel Barber’s Adagio for Strings, Alban Berg’s 3 Pieces from his Lyric Suite, Arnold Schoenberg’s string sextet Verklärte Nacht and String Quartet No. 2, Pyotr Ilyich Tchaikovsky’s sextet Souvenir de Florence, John Corigliano’s Second String Quartet and Jean Sibelius’s Andante festivo are examples. An optional timpani part is also added in the Sibelius piece. The work Shaker Loops written in 1978 for septet then arranged in 1983 for string orchestra by the American composer John Adams has become a popular addition to the repertoire in recent times. Graham Waterhouse composed several works for string orchestra (Sinfonietta), also in combination with contrasting sounds as Great Highland bagpipe (Chieftain’s Salute).

String quintet

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

List of viola quintets#

Johann Georg Albrechtsberger – 19 String Quintets called “Sonatas” (1782–1803)
Franz Joseph Aumann – String Quintet “Divertimento” in C major (c.1760)
Arnold Bax – Quintet (1933)
Frank Bridge – Quintet in E minor (H15, 1901)
Ludwig van Beethoven – Quintet, Op. 29, sometimes called the Storm Quintet; a Fugue in D major for viola quintet, Op. 137; an arrangement of his Octet for Viola Quintet, Op. 4 (the original Octet was later published as Op.103); an arrangement of his Piano Trio Op. 1 No. 3 for Viola Quintet, Op. 104
Luigi Boccherini – twelve original Quintets, arrangements of all twelve of his Piano Quintets (Op.56 and Op.57) for Viola Quintet.
Johannes Brahms – two Quintets, Op. 88 and Op. 111; the first edition of the Clarinet Quintet Op. 115 included an alternate part for viola substituting for the clarinet
Max Bruch – Quintet in A minor
Anton Bruckner – String Quintet in F major (1879); Intermezzo in D minor (substitute for the scherzo)
Carson Cooman – Quintet (Unquiet Parables, 2009), Op 856
Brett Dean – Epitaph for string quintet (2010)
Antonín Dvořák – two Quintets, No. 1 in A minor and No. 3 in E (the American Quintet)
Victor Ewald – a Quintet Op. 4 in A major
Eduard Franck – two Quintets, Op. 15 in E minor and Op. 51 in C Major
Florian Leopold Gassmann – Op. 2 six String Quintets H 501–506 (1772)
Friedrich Gernsheim – Quintet Op. 9 in D
Roy Harris – Quintet (1940)
Franz Joseph Haydn – Hob.II:2 Divertimento in G major (c.1754)
Heinrich von Herzogenberg – Quintet in C minor, Op.77 (1892)
Franz Anton Hoffmeister Op. 2 six Quintets (c.1782)
Klaus Huber – Ecce homines (1998)
Heinrich Kaminski – Quintet in F minor (two versions, first 1916)
Franz Krommer – fifteen String Quintets
six String Quintets in F,G,B,A,E♭,C major
Bohuslav Martinů – Quintet (1927)
Felix Mendelssohn – two Quintets: No. 1 in A major, Op. 18 (1826, revised 1832) and No. 2 in B-flat major, Op.87 (1845)
Ernst Mielck – Quintet in F major (1897)
Darius Milhaud – Quintet Op. 325 (1953–1954)
Wolfgang Amadeus Mozart – six Quintets: K174, K406/516b, K515, K516, K593, K614
Carl Nielsen – Quintet in G major (1888)
George Onslow – five out of his thirty-four Quintets are with two violas; four are with double bass and the rest with two cellos (see below)
Hubert Parry – Quintet in E flat (1909 )
George Perle – Quintet (1958)
Josef Rheinberger – Quintet in A minor, Op. 82 (1874) (Carus-Verlag)
Ferdinand Ries – Seven Quintets, Op. 37 in C, Op. 68 in D minor, Op. 167 in A minor, Op. 171 in G, Op. 183 in E-flat, and two published without opus in A major and F minor (published in a series “Samtliche Streichquintette” edited by Jürgen Schmidt between 2003-5 for Accolade Musikverlag.)
Franz Schubert – “Quintet-Overture” for Quintet, D 8
Roger Sessions – Quintet (1958)
Robert Simpson – Quintet (1987)
Louis Spohr – seven Quintets
Charles Villiers Stanford – Two Quintets, Op. 85 & Op.86
Johan Svendsen – Quintet in C, Op. 5 (1868)
Sergei Taneyev – Quintet in C, Op. 16
Johann Baptist Wanhal – Six String Quintets (1774)
Ralph Vaughan Williams – Quintet (the Phantasy Quintet – 1912) and Nocturne and Scherzo (1904–1906)
Felix Weingartner – Quintet, his Op. 40
Ermanno Wolf-Ferrari - Quintet in C, Op. 24 (1939)
John Woolrich – The Death of King Renaud (1991)
Alexander von Zemlinsky – Quintet (1894–1896): 2 movements are lost

List of cello quintets#

Arnold Bax – Quintet in G major (1908), the second movement of which was rescored by the composer for Viola Quintet and published as the Lyrical Interlude (1923);
Wilhelm Berger – Quintet in E minor, Op. 75 (1911)
Darius Milhaud – Quintet Op. 350 (1956)
George Onslow – twenty-five of his thirty-four string quintets are Cello Quintets; five are with two violas and four are with double bass
Carl Vine – String Quintet (2009)

String quintets for 3 violins, viola and cello#

Johann Georg Albrechtsberger, String Quintet (1798)
Franz Clement, Introduction and Polonaise in E major (Polonaise für die Violine mit Begleitung von 2 Violinen, Viola und Violonzello)
Heinrich Wilhelm Ernst, Polonaise, Op.17
Morton Feldman, Violin and String Quartet (1985)
Charles Martin Loeffler – one Violin Quintet (three violins, viola and cello)
Joseph Mayseder, Polonaise No.1, Op.10; Polonaise No.3, Op.12
Alessandro Rolla, Divertimento for Violin and String Quartet, BI 429
Franz Schubert, Rondo in A major for Violin and Strings, D 438
Louis Spohr, Potpourri No.2 in B major (Potpourri on themes by Mozart for violin and string quartet (with bass ad libitum))

List of double bass quintets#

Leslie Bassett – Quintet (1957)
Luigi Boccherini – three Quintets.
Antonín Dvořák – Quintet Op. 77 in G (1875)
Brian Ferneyhough – Christus Resurgens (2017)
Alistair Hinton – String Quintet (1969–77)
Vagn Holmboe – Quintet, Op. 165/M.326 (1986)
Darius Milhaud – Quintet Op. 316
Wolfgang Amadeus Mozart - Serenade No. 13, K. 525, “Eine kleine Nachtmusik”
George Onslow – four out of his thirty-four String Quintets are with double bass; five with two violas and the rest with two cellos
Robert Paterson – I See You (2015) (for string quintet with double bass and recording)

String quintets for other combinations#

*Felix Draeseke – one Quintet in A for Two Violins, Viola, Violotta, and Cello (the Stelzner-Quintett; 1897); Draeseke also composed one Cello Quintet- in F, Op. 77 (1901)

String sextet

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Notable string sextets#

Among the earliest works in this form are the nine string sextets Op. 23 by Luigi Boccherini, written in 1776. Other notable string sextets include the String Sextets Op. 18 and 36 by Brahms, Dvořák’s Op. 48, Tchaikovsky Souvenir de Florence, Op. 70, Schoenberg’s Verklärte Nacht, Op. 4, Erich Wolfgang Korngold Op. 10, Erwin Schulhoff’s String Sextet of 1924, and Charles Wuorinen’s String Sextet of 1989.

Less usual combinations#

More unusual combinations for a string sextet: * three violins, viola and two cellos: Ferdinand David (1810–1873), op. 38, Gaetano Brunetti (1744–1798), op. 1, Eugene Goossens (1893–1962), op. 37 * three violins, two violas and cello: Jan Brandts Buys (1868–1933), op. 40 * two violins, two violas, cello, double bass: Ignaz Pleyel (1757–1831) B.261, and others * two violins, viola, two cellos, double bass: including works by Auguste Franchomme (1808–1884) and Ignacy Feliks Dobrzyński (1807–1867)

String trio

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

Early history#

The earliest string trio, found during the mid 18th century, consisted of two violins and a cello, a grouping which had grown out of the Baroque trio sonata. Over the course of the late 18th century, the string trio scored for violin, viola, and cello came to be the predominant type. String trios scored for two violins and viola were also used, although much less frequently. The term “string trio” was not used until the late 19th century. The genre was previously referred to as divertimento a tre, sonate a tre, and terzetto. The early classical string trio generally consisted of three movements, although four, five and six movement trios were later written. Most movements were in binary form, although some of Joseph Haydn’s trios were written as theme and variations. The violins shared the important thematic material, while the cello maintained an accompanimental role.

Stringed music in China

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Guqin#

Guqin is commonly made of paulownia wood, which makes the guqin lighter and its tone sweeter than other woods. In the past, rich families and royalties preferred to use rare woods to make the guqin, such as nanmu, Pterocarpus santalinus, or mahogany

Erhu#

Erhu first appeared during the Tang dynasty. At the beginning, erhu were called huqin since they were invented by an ethnic group that lived in northern China. Their original role was for soldiers in frontier regions. Its timbre is strong, and songs for erhu always describe wars, desert, and for people far from home to tell their how much they miss their families. Erhu have two strings. Modern instruments use more durable metal strings, rather than silk.

Stronda

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Styles of house music

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

A#

: Emphasizes a repetitive, hypnotic and trance-like style, often with samples or spoken lines instead of lyrics. It has core electronic “squelch” sounds that were developed around the mid-1980s, particularly by DJs from Chicago who experimented with the Roland TB-303 electronic synthesizer-sequencer. : Afro house is the South African subgenre of house music that started as a niche underground genre involving elements of kwaito, tribal house, deep house, and soulful house music. : Afro tech is a subgenre of house music which originates and is predominantly made in South Africa. It is a combination of classic techno sounds, led by African percussion and various indigenous African instruments. : Amapiano is a popular style of house originating in Gauteng, South Africa in mid to late 2010s. Amapiano is a sophisticated hybrid of deep house, jazz and lounge music characterized by synths, airy pads, wide (log drum) basslines, and deep low pitched kicks. : Ambient house is a subgenre of house music that first emerged in the late 1980s, combining elements of acid house and ambient music.

Styles of pop music

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

Traditional pop#

Traditional pop (also known as classic pop and pre-rock and roll pop) is Western popular music that generally pre-dates the advent of rock and roll in the mid-1950s. The most popular and enduring songs from this era of music are known as pop standards or American standards. The works of these songwriters and composers are usually considered part of the canon known as the “Great American Songbook”. More generally, the term “standard” can be applied to any popular song that has become very widely known within mainstream culture. AllMusic defines traditional pop as “post-big band and pre-rock & roll pop music”.

ST on Music Theory Print

St. Louis Bounce

Stadium anthem

Association football#

Australian Rules football#

Versatile#

See also#

Stadium house

Starogradska muzika

In Serbia#

In North Macedonia#

Stile antico

History#

Stile concertato

Composers of music in stile concertato#

Sources#

Stile concitato

History#

Stoner rock

Characteristics#

Stotra

Etymology and definition#

Example#

Straight edge

1970s and early 1980s#

Straight-ahead jazz

Musical style#

Strathspey (dance)

Printed collections#

Street cries

History#

Street punk

Characteristics#

Origins (late 1970s and early 1980s)#

Stride (music)

Technique#

String band

History of African American old-time string band music#

String orchestra

Repertoire#

String quintet

List of viola quintets#

List of cello quintets#

String quintets for 3 violins, viola and cello#

List of double bass quintets#

String quintets for other combinations#

String sextet

Notable string sextets#

Less usual combinations#

String trio

Early history#

Stringed music in China

Guqin#

Erhu#

Stronda

Styles of house music

A#

Styles of pop music

Traditional pop#