SU on Music Theory Print

Sub-Saharan African music traditions

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

Regions#

Alan P. Merriam divided Africa into seven regions for ethnomusicological purposes, observing current political frontiers (see map), and this article follows this division as far as possible in surveying the music of ethnic groups in Africa. * Music of the northern region of Africa (red on the map), including that of the Horn of Africa (dark green on the map), is mostly treated separately under Middle Eastern and North African music traditions. * West African music (yellow on the map) includes the music of Senegal and the Gambia, of Guinea and Guinea-Bissau, Sierra Leone and Liberia, of the inland plains of Mali, Niger and Burkina Faso and also the coastal nations of Côte d’Ivoire, Ghana, Togo, Benin, Nigeria, Cameroon, Gabon and the Republic of the Congo as well as the islands of Cape Verde, São Tomé and Príncipe. * Central African Music (dark blue on the map) includes the music of Chad, the Central African Republic, the Democratic Republic of the Congo and Zambia. * The Eastern region (light green on the map) includes the music of Uganda, Kenya, Rwanda, Burundi, Tanzania, Malawi, Mozambique and Zimbabwe as well as the islands of Madagascar, the Seychelles, Réunion, Mauritius and Comoros. The eastern region has received south Asian and even Austronesian influences via the Indian Ocean. * The Southern region (brown on the map) includes the music of South Africa, Lesotho, Eswatini, Botswana, Namibia and Angola.

Sufi music

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

Musicians#

Abida Parveen, a Pakistani Sufi singer is one of the foremost exponents of Sufi music, considered the finest Sufi vocalists of the modern era. Sanam Marvi, another Pakistani singer has recently gained recognition for her Sufi vocal performances. Asrar Shah a Lahore based Sufi singer who gained popularity in Coke Studio Pakistan and now is owner of his music producing company Soul Speaks. A. R. Rahman, the Oscar-winning Indian musician, has several compositions which draw inspiration from the Sufi genre; examples are the filmi qawwalis Piya Haji Ali in the film Fiza, Khwaja Mere Khwaja in the film Jodhaa Akbar, Arziyan in the film Delhi 6, Kun Faya Kun in the film Rockstar and Maula Wa Salim in the film O Kadhal Kanmani. He has performed many Sufi concerts in The Sufi Rout at Delhi. He performed Light Upon Light in Dubai with Sami Yusuf. Bengali singer Lalan Fakir and Bangladesh’s national poet Kazi Nazrul Islam scored several Sufi songs. Junoon, a band from Pakistan, created the genre of Sufi rock/Sufi Folk Rock by combining elements of modern hard rock and traditional folk music with Sufi poetry. In 2005, Rabbi Shergill released a Sufi rock song called “Bulla Ki Jaana,” which became a chart-topper in India and Pakistan. Madonna, on her 1994 record Bedtime Stories, sings a song called “Bedtime Story” that discusses achieving a high unconsciousness level. The video for the song shows an ecstatic Sufi ritual with many dervishes dancing, Arabic calligraphy and some other Sufi elements. In her 1998 song “Bittersweet”, she recites Rumi’s poem by the same name. In her 2001 Drowned World Tour, Madonna sang the song “Secret” showing rituals from many religions, including a Sufi dance. Singer/songwriter Loreena McKennitt’s record The Mask and Mirror (1994) has a song called “The Mystic’s Dream” that is influenced by Sufi music and poetry. The band mewithoutYou has made references to Sufi parables, including the name of their album It’s All Crazy! It’s All False! It’s All a Dream! It’s Alright (2009). Tori Amos makes a reference to Sufis in her song “Cruel”. Mercan Dede is a Turkish composer who incorporates Sufism into his music and performances. Shohreh Moavenian is an Iranian singer who sings Rumi’s poems. She has produced two albums by the title “Molana & Shora 1 and 2” in which she incorporates elements of pop and traditional Persian music.

Sufi rock

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

History#

It is mostly based on the poetry of famous sufi poets such as Rumi, Hafez, Shah Abdul Latif Bhittai, Bulleh Shah, Waris Shah and even Kabir and is mostly sung in languages such as Urdu, Pashto, Punjabi, Sindhi, Persian and Turkish.

External links#

*The New Sufiana – Indian Express

Sugama Sangeetha

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

Origin and development#

It is unclear when exactly Bhavageethe started but in 1920s and 30s there were many attempts to set tunes to poetry. By the 1950s it started taking a more defined shape and a highly talented musicianP. Kalinga Rao was instrumental in spreading this art form. He set tunes to the poems of many famous Navodaya poets, and gave performances on All India Radio as well as public gatherings. The art form started gaining popularity through his rendering of Udayavaagali Namma Cheluvu Kannada Naadu, Yaaru Hitavaru Ninage, Anathadim Digantadim, Baarayya Beladingale, Brahma Ninge Jodistheeni etc., He laid the foundation of Sugama Sangeetha and hence is considered to be the father of this form. The 60s and 70s saw many emerging musicians contributing to this field. H.R.Leelavathi, Padmacharan, H. K. Narayana in South Karnataka and Balappa Hukkeri in North Karnataka played a significant role in popularising the art across Karnataka. They also contributed to the field through their own compositions. The next major personality in the field was Mysore Ananthaswamy. Till then, though there were a lot of compositions, they remained as more or less a subset of classical music from the musical perspective. It was Ananthaswamy who could think out of the box. He not only crossed the barrier of classical music, but was instrumental in adding its own subtleties to Bhaavageethe. With instrumentation also taking different shape by that time, he introduced a number of changes to orchestration. By that time, Bhavageethe was quite popular and businessmen began to publish it in cassette form. With that, ‘Nithyotsava’ became the first Bhavageethe album to be released. There were a lot of popular albums to his credit. ‘Nithyotsava’, ‘Bhava Sangama’, ‘Minchu’, ‘Rathnana Padagalu’ to mention a few. Another young and dynamic talent emerged in the 70s: C. Aswath. Highly talented and a great visionary, his way of blending the lyrical and musical dynamics was hard to match. His way of rendering a song, with emphasis on lyrical dynamics and word power was distinctive. He also brought about a number of changes to the art. Dramatic elements, virtual picturization and other innovations could be observed in abundance in his compositions. He was instrumental in making Shishunala Sharif’s poems popular across Karnataka. His popular albums are ‘Mysooru Mallige’, ‘Shishunala Sharif Sahebara Geethegalu’, ‘Chaitra’, ‘Kannadave Satya’ etc., P.Kalinga Rao, Mysore Ananthaswamy and C.Aswath are considered to be the trinity of Sugama Sangeetha. The mid 70s to mid 90s were probably the golden age since, in this period, the major exponents Ananthaswamy and Aswath were at the peak of their careers. The art form had matured enough to be considered an independent genre, and it started adding its own theories through experiments, while commercialisation due to increasing popularity and subsequent dilution of the art had not yet started.

Suite (music)

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

History#

Estienne du Tertre published suyttes de bransles in 1557, giving the first general use of the term “suite” ‘suyttes’ in music, although the usual form of the time was as pairs of dances. The first recognizable suite is Peuerl’s Newe Padouan, Intrada, Dantz, and Galliarda of 1611, in which the four dances of the title appear repeatedly in ten suites. The Banchetto musicale by Johann Schein (1617) contains 20 sequences of five different dances. The first four-movement suite credited to a named composer, Sandley’s Suite, was published in 1663.

Sulukan

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

Etymology#

The etymology of the term is unclear. Arps relates it to the gamelan practice of cêluk (“calling out”), an introduction to a piece with a sung phrase, rather than an instrumental introduction. It is also possible that the word derives from the Sanskrit term sloka, a verse form consisting of octosyllabic couplets. This is plausible considering that the metrical structure of sulukan verses does indeed generally conform to the pattern of octosyllabic couplets, the etymology may have passed into Javanese lore from the work of 19th century Dutch scholars. This verse form is in sharp contrast to the normal metres of Javanese poetry. Sulukan which follow the normal Javanese metres are specified as such in their titles, e.g. Kawin Sekar Sinom, which follows the sekar (macapat verse form) named sinom. If no specification is made, the text will be in octosyllabic couplets - either wêtah (a number of complete couplets), jugag (in couplets but with a truncated final line) or cêkak (a single complete couplet).

Sundanese music

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

Traditional instruments#

In Sundanese music the term musical instrument or musical sound produced in various ways is called Waditra. In Sundanese music, there are several Waditra, namely Waditra Tiup (inflatable), Waditra Takol (beat), Waditra Tepak (tap), Waditra Keset (mat) and Waditra Geter (vibrate).

Aerophones#

Suling, are made mainly of “tamiang” bamboo (Schizostachyum blumei, Nees), a long, thin-walled bamboo tube. The mouthpiece of the suling is circled with a thin band made of rattan near a small hole.
Toleat, similar to a Suling, but the sound produced is similar to a Saxophone and differs from blowing techniques.
Tarompét, a kind of trumpet sound, a typical variant of Sundanese music, which is made of wood and has seven sound holes.
Goong Awi, a narrow open tube of bamboo about 4 cm in diameter and 110 cm long is placed inside a larger bamboo tube about 15 cm in diameter and of similar length, closed by a natural node at the lower end.

Idiophones#

Angklung, instrument consisting of two to four bamboo tubes suspended in a bamboo frame, bound with rattan cords. The tubes are carefully whittled and cut by a master craftsperson to produce certain notes when the bamboo frame is shaken or tapped. Each Angklung produces a single note or chord, so several players must collaborate in order to play melodies. On November 18, 2010, UNESCO officially recognized the Indonesian angklung as a Masterpiece of the Oral and Intangible Heritage of Humanity.
Gamelan Sunda, a multi-timbre ensemble consisting of metallophones, xylophones, flutes, gongs, voices, as well as bowed and plucked strings.
Calung, consists of multiple bamboo tubes which are struck at the base to produce a woody sound.
Karinding, a musical instrument made of a tube of bambu about one foot long and one inch in bore, at the end of which is held a small instrument with a tongue to it . This instrument is struck by the finger and blown upon, when a sound like a Jew’s harp.

Membranophones#

Kendang, instruments are to be made from the wood of jackfruit, coconuts or cempedak. Buffalo hide is often used for the bam (inferior surface which emits low-pitch beats) while soft goatskin is used for the chang (superior surface which emits high-pitch beats).
Dogdog, a wooden musical instrument in the shape of a cylinder, the center is made of a hole, with one side covered with a Goat Skin membrane, which consists of 4 sets of instruments with different beats.
Dogdog Lojor, a wooden musical instrument is in the form of an elongated cylinder. The center is made of a hollow, with one side covered with a membrane of Goatskin. This goat skin is stretched by being tied with a rope made of bamboo skin. The degree of stretching of the goat skin determines the sound produced.
Celempung, a musical instrument made of sharp cut bamboo, which utilizes the resonant waves present in the segment of the bamboo culm.

Chordophones#

Kacapi, the instrument has a resonance box with the bottom exposed to allow the sound to come out, the sides of this type of kacapi taper inward from top to bottom, which gives the instrument the shape of a boat. In ancient times, it was made directly from solid wood by means of a hole. This is on par with Guzheng.
Jentreng, a kind of lute instrument with seven strings. The size is much smaller when compared to kacapi in general. Made from flower wood (ylang) or jackfruit wood.
Tarawangsa, stringed instruments have a resonator made of wood with a long neck with the number of strings between 2 and 3 strands.

Sundanese Daminatila#

It’s a kind of numbered musical notation like the solfège, but it uses a different system: high numbers correspond to low tones, and vice versa. This system might seem to be counterintuitive to people who are already familiar with the western solfège. There are only 5 notes used in each scales: 1, 2, 3, 4, and 5, read as da, mi, na, ti, and la. The absolute tones depend on the scale used and the base frequency, which don’t adhere to western standards. Traditional angklung have some common scales: saléndro, degung/pélog, and sorog/madenda.

Sunshine pop

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

Origins and definition#

Sunshine pop originated from California-based pop songwriters and producers. The West Coast music scene of the mid- to late 1960s had provided a fertile environment for studio-oriented pop musicians experimenting with rock, folk, and psychedelic influences. Within this milieu were numerous artists who contributed to the development of sunshine pop, including Brian Wilson, leader of the Beach Boys, and John Phillips, leader of the Mamas & the Papas, who combined idealistic themes with undercurrents of melancholy, along with lesser-known acts that achieved fleeting commercial success. A.V. Club contributor Noel Murray argued in 2011 that records by Phillips and Wilson had attained a cultural stature so large “that it’s hard today to hear them as part of any kind of trend”, in direct contrast to the less successful contemporaneous work of producer-songwriter-performer Curt Boettcher. The genre’s boundaries remain loosely defined partly due to the absence of contemporary self-identification by artists as “sunshine pop” practitioners. Many of the groups straddled multiple styles, including folk rock, bubblegum pop, garage rock, and psychedelia. In addition to receiving limited critical attention during their initial activity, many acts had existed briefly while adapting to evolving musical trends. Other rock and pop bands not normally associated with the genre occasionally produced singles or albums that integrated its sound. Music critic Richie Unterberger defined the genre as “the most ridiculously optimistic, commercial outgrowth of folk-rock that could be imagined”, adding that the style “was not so much folk-influenced rock as folk-rock-influenced pop, sometimes very much in an easy listening, Mamas-&-the-Papas mold, such as Spanky & Our Gang”. Author David Howard characterizes “soft pop” as a “harmonic, slightly psychedelic vocal music genre” that modernized “traditional pop vocals via hip lyrics, breezy harmonies, and an effervescent production style”. Associated acts usually drew elements from easy-listening, commercial jingles, and countercultural themes, often juxtaposing idyllic imagery with a subtle awareness of societal change, and bore names referencing fruits, colors, or “cosmic concepts”. While occasionally incorporating elements of psychedelia, they generally avoided overt drug-related imagery, instead drawing from what AllMusic termed the “whimsical” and “warm” aspects of psychedelic pop. Stylistically, sunshine pop also intersected with baroque pop, folk-pop, and Brill Building pop. Author and musician Bob Stanley, who identifies sunshine pop as an early soft rock variant, frames the genre as developing upon the progressive “instrumentation”, “musical complexity”, and subversion of rock traditions exemplified by the Beach Boys’ Pet Sounds (1966) and the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band (1967). Stanley additionally traces the genre’s preoccupation with exotic arrangements and unorthodox combinations of instruments to the work of Burt Bacharach and Hal David. According to AllMusic, the “star” sunshine pop acts included the Beach Boys circa Pet Sounds, the Association, and the Mamas & the Papas, among others, with later reappraisals bringing renewed attention to lesser-known groups like Sagittarius, the Yellow Balloon, and the Millennium. While Wilson’s production techniques substantially influenced subsequent sunshine pop developments, the Beach Boys’ output largely diverged from the genre’s core characteristics. Murray states that Phillips, to a clearer extent than Wilson, “practically created the blueprint for sunshine pop, with little of Wilson’s uncommercial weirdness.” Howard traces the genre to Boettcher and his collaborations with Gary Usher—especially Boettcher’s reconfigurations of the “California sunshine sound” originally formulated by Wilson and Terry Melcher. Compilation albums and retrospectives have since anthologized works from the genre, though some recordings appear interchangeably across “bubblegum pop” collections. Murray felt that while sharing superficial similarities with bubblegum, the latter’s repetitive structures and superficial themes contrast with the “emotional richness” of the “best” examples of sunshine pop. In Bubblegum Music Is the Naked Truth (2001), contributor Chris Davidson writes that the “most blinding sunshine pop matches bubblegum’s oomph”, although “where bubblegum says, ‘I got love in my tummy,’ s-pop exclaims: ‘I love the flower girl.’”

Suomisaundi

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

History#

In the early 90s, a party collective Ruskababa introduced Goa trance to a handful of enthusiasts through their covert summertime party activities. The party music was typically played from DAT tapes or even from cassette tapes and included mostly Goan hits from the previous season’s parties. Pepe Kosminen was one of the DJs playing these new psychedelic tunes to the Finnish audience in Ruskababa parties. New party collectives emerged as DJs drew more inspiration from Goa. The first new collective was Smooth Underground which organised the last of its parties in a warehouse in Herttoniemi, with Ville Tikkanen playing Goa trance for the first time in Finland in a more conventional trance setting. After the dismantling of Smooth Underground, another group, Löyhä was formed. Löyhä was the first party collective to put a special focus on promoting locally made music. Inspired by the covert party tradition of Ruskababa and Smooth Underground, the group was determined to push the boundaries of organising unlicensed parties in an urban environment. It was not uncommon for the early organisers to experience issues with the authorities related to the parties. The first time Suomisaundi reached global circulation was during the 95-96 season in Goa, when DAT tape recordings of early songs produced by Tim Thick became an overnight sensation within the gatekeepers of the underground Goa trance DJ scene. The sounds and themes found in these short FastTracker 2 songs, and the inspiring response they had received globally, became the basic building blocks of the Suomisaundi phenomena. Arguably the genre-defining Suomisaundi album is the self-published compilation, ‘Flippin Bixies’, in 1996. It was the first album to directly answer to the rapidly growing need for a new localised sound, that had been created over the previous years by the party collectives and the general popularization of electronic music. The album was named after a private recording studio that was located near Kurvi in Helsinki around mid 90s. In 1997 Exogenic Records became the first record label to focus on Suomisaundi and approximately during the same time Midiliitto was founded as an association focusing on the advancement of production and commercialisation of Suomisaundi. Pepe Kosminen was the founding Chairman of Midiliitto. Together with Flippin Bixies, Midiliitto counted within its members many of the future international stars of Suomisaundi, including the members of groups like Texas Faggott and Squaremeat.

Surf music

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

Form#

Surf music emerged in the late 1950s as instrumental rock and roll music, tone than the “built-in” amp reverb, due to different circuitry. Guitarists also made use of the vibrato arm on their guitars to bend the pitch of notes downward, electronic tremolo effects and rapid (alternating) tremolo picking. Guitar models favored included those made by Fender (particularly the Jazzmaster, Jaguar and Stratocaster), Mosrite, Teisco, or Danelectro, usually with single coil pickups (which had high treble in contrast to double-coil humbucking pickups). Surf music was one of the first genres to universally adopt the electric bass, particularly the Fender Precision Bass. Classic surf drum kits tended to be Rogers, Ludwig, Gretsch or Slingerland. Some popular songs also incorporated a tenor or baritone saxophone, as on the Lively Ones’ “Surf Rider” (1963) and the Revels’ “Comanche” (1961). Often an electric organ or an electric piano featured as backing harmony.

Surrealist music

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

Early surrealist music#

In the 1920s several composers were influenced by surrealism, or by individuals in the surrealist movement. The two composers most associated with surrealism during this period were Erik Satie, who wrote the score for the ballet Parade, causing Guillaume Apollinaire to coin the term surrealism, and George Antheil who wrote that, “The Surrealist movement had, from the very beginning, been my friend. In one of its manifestos it had been declared that all music was unbearable—excepting, possibly, mine—a beautiful and appreciated condescension.” Early surrealist music was also linked to film; according to Hannah Lewis: perhaps one of the most famous early film scores was Satie’s music for René Clair’s film Entr’acte. Shown between the acts of Satie’s ballet Relâche performed by the Ballets suédois in 1924, the film, featuring a scenario by Dadaist artist Francis Picabia, was an important precursor to surrealist cinema. The film, too, featured unusual juxtapositions and dream logic, and some have considered the film, and by extension Satie’s score, to be surrealist." Adorno cites as the most consequent surrealist compositions those works by Kurt Weill, such as The Threepenny Opera and Rise and Fall of the City of Mahagonny, along with works by others drawn from the middle-period music of Igor Stravinsky—most particularly that of L’Histoire du soldat—and defines this surrealism as a hybrid form between the “modern” music of Arnold Schoenberg and his school, and the “objectivist” neoclassicism/folklorism of the later Stravinsky. This surrealism, like objectivism, recognizes alienation but is more socially alert. It thereby denies itself the positivist notions of objectivism, which are recognised as illusion. Its content deals instead with “permitting social flaws to manifest themselves by means of flawed invoice, which defines itself as illusory with no attempts at camouflage through attempts at an aesthetic totality”, thereby destroying aesthetic formal immanence and transcending into the literary realm. This surrealism is further differentiated from a fourth type of music, the so-called Gebrauchsmusik of Paul Hindemith and Hanns Eisler, which attempts to break through alienation from within itself, even at the expense of its immanent form. The early works of musique concrète by Pierre Schaeffer have a surrealist character owing to the unexpected juxtaposition of sound objects, such as the sounds of Balinese priests chanting, a barge on the River Seine, Sacha Guitry’s singing and coughing, and rattling saucepans in Étude aux casseroles (1948). The composer Olivier Messiaen referred to the “surrealist anxiety” of Schaeffer’s early work in contrast to the “asceticism” of the later Etude aux allures of 1958. After the first concert of musique concrète (Concert de bruits, 5 October 1948) Schaeffer received a letter from one member of the audience (identified only as G. M.) describing it as “the music heard, by themselves alone, by Poe and Lautréamont, and Raymond Roussel. The concert of noises represents not only the first concert of surrealist music, but also contains, in my view, a musical revolution.” Schaeffer himself argued that musique concrète, in its initial phase, tended either towards atonality or surrealism, or both, rather than, as it subsequently became, the starting point of a more general musical procedure.

Suyá music

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

Performance context and history#

Some of the Suyá Indians’ singing occurs in the men’s house. Suyá music, like that of most Ge-speaking Indians, is vocal—sometimes accompanied by rattles, but very rarely. Throughout Suyá history, singing and vocal music has been one part of a larger oral tradition and oral expression. The Suyá people decorate their earlobes and lower lips with heavy disks; this is believed to signify the importance of vocalization and listening. Suyá music is ceremonial. Their songs were originally learned by a few special men and women, based on age, sex, and whichever group they belong to. These oral expressions are usually mostly masculine in sound. Suyá music exists in different forms: *Speech refers to all kinds of speech that are used by the Suyá people. *Instruction is used tell how to do a task, such as cooking something; the grammar in this case is that of everyday speech. Instruction has different types, for example recitative. *Song: the Suyá used songs obtained from outsiders whom they brought in to teach the village a myth or a song from their own tribe. Songs were also introduced by “men without spirits”, who claim that they can hear new songs from animals in the wild. *Invocation is a private verbal form meant to be heard by only a few people. The Suyá probably learned their invocations from the Upper Xingu Indians, most likely when the western and eastern Suyá groups began living together. These invocations were used for healing and were more important to the Suyá than herbal medicine. Each specific invocation referred to a special attribute of either an animal, a plant or another natural object. They were based on animal metaphors. For example, the invocation for an easy birth was named “small fish” because of how a fish can slip out of one’s hands very easily.

Suzhou Pingtan

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

Origin and development#

It originated in Suzhou about four hundred years ago. From the middle of the 19th century to the beginning of the 20th century, it was performed in Shanghai. At that time, Shanghai was one of the five treaty ports. Shanghai’s economy was booming and various cultures arrived there. Pingtan absorbed some elements from various cultures and was well developed under the circumstances. The rise of records and radio stations also played an important role in popularizing Pingtan art. Another positive factor was the expansion of performing halls, which were decorated well and spacious. As a result, people like writers, painters, professors gradually became loyal fans. After the founding of People’s Republic of China, 18 performers organized Shanghai People’s Pingtan Troupe, which was the first official troupe. Based on traditional long story-telling, shorter and medium-sized stories were created, reflecting modern life. The form of performance is not limited in Shuchang, which was the traditional performing stage, however, in 1961 Pingtan concert was held which attracted nearly one thousand people to watch in each performance. While its traditional repertoire was banned during the Cultural Revolution, Pingtan still enjoyed a special status as a preferred medium for singing poems by Mao Zedong, making Pingtan known and appreciated throughout China, despite the dialectal barrier. Since the late 1970s, the traditional repertoire has been revived. The old artists undertook the task of passing the tradition on to the new generation. Pingtan is popularized by radio, television and Internet. Meanwhile, it faces challenges as a result of the popular entertainment industry.

SU on Music Theory Print

Sub-Saharan African music traditions

Regions#

Sufi music

Musicians#

Sufi rock

History#

See also#

External links#

Sugama Sangeetha

Origin and development#

Suite (music)

History#

Sulukan

Etymology#

Sundanese music

Traditional instruments#

Aerophones#

Idiophones#

Membranophones#

Chordophones#

Sundanese Daminatila#

Sunshine pop

Origins and definition#

Suomisaundi

History#

Surf music

Form#

Surrealist music

Early surrealist music#

Suyá music

Performance context and history#

Suzhou Pingtan

Origin and development#