TI on Music Theory Print

Tiento

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

Name#

The word derives from the Spanish verb tentar (meaning either to touch, to tempt or to attempt), and was originally applied to music for various instruments. In the early eighteenth century, some composers also used the term obra, originally a more general term meaning “work”, to refer to this genre.

Formal aspects#

The tiento is formally extraordinarily diverse, more a set of guidelines than a rigid structural model such as fugue or rondo. Nearly all tientos are imitative to some degree, though not as complex or developed as the fugue. This has led to their being associated with the other embryonic imitative forms cited above. Similarly, it is difficult to assign a single style to the form, since it underwent a considerable amount of evolution from its inception to its decline in the late 18th century. The earliest tientos (such as those of Cabezón) were stylistically quite close to the ricercare in their extended use of the strict, motet-style counterpoint. Later (especially in the works of Cabanilles), tientos would frequently alternate between the older style of strict counterpoint, and virtuosic, affective figuration typical of the toccata and some fantasias. The evolution of the form was in part conditioned by the evolution of the Spanish organ, and it eventually came to include several variants or sub-forms, several of which are listed below: * Tiento de medio registro: A tiento making use of the split keyboard, frequently found on Spanish organs from the mid-16th century on. The split keyboard refers to an organ manual where ranks of pipes may be engaged for half the keyboard, as opposed to the entire compass, which is the norm. This enables the player to utilize different sounds on the same keyboard, generally a solo sound and an accompaniment sound, though occasionally two sounds of equal strength. The tiento de medio registro figures prominently in the oeuvres of Correa de Arauxo, Aguilera de Heredia, and Bruna. * Tiento de lleno: The opposite of the tiento de medio registro; a tiento played on one sound (full register). * Tiento de falsas: A tiento making frequent use of dissonance, so as to achieve particularly dramatic effect. “Falsas” refers to “false notes,” or dissonant tones not part of the current mode or key. It is similar to the Italian idea of Durezze e ligature (consonance and dissonance). * Tiento pleno: an irregular tiento consisting of three sections: a prelude, fugue, and postlude. It has more in common with the German praeludium than with other tientos.

Tientos (flamenco)

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

Structure#

The structure is similar to most flamenco dances and can be broken down as follows: * Guitar intro * Song intro * Footwork intro and llamada * First letra, punctuated by a footwork during the respiro ‑ a break in the song after the second line of letra * Guitar falsetta * Escobilla (footwork section) * Second letra * Second escobilla * Subida * Macho or Tangos to close

Tierra Caliente music

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

History#

Tierra Caliente music originated in the late 20th century in Mexico’s Tierra Caliente region. The genre was influenced by the technobanda sound; essentially using the same instruments such as vocals, electric keyboards, electric bass, trumpets, trombones, saxophones and drums. Some bands also utilize accordions. Tierra Caliente emphasizes the electric keyboard, giving the genre its own signature keyboard riff. The genre’s popularity was originally limited to the region in Mexico it is named after, as well as among the Mexican population from said region living in the United States, but starting in the mid-2000s, its popularity spread to other parts of Mexico; mainly in the country’s Bajío region, as well as the Mexican community from said region residing in the United States. It also gained some popularity in the Northern Triangle of Central America.

Tifa totobuang

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

Tifa#

The tifa drums used for the tifa totobuang have been classed into five sizes. These include, from smallest to largest: *tifa jekir *tifa dasar (basic tifa) *tifa potong *tifa jekir potong *tifa bas (bass tifa) Each size of instrument has a different sound, and they are blended together in the orchestra. Different images and videos of the tifas being played show them drummed with empty hands, with sticks and with a combination of the two.

Timba

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

Etymology#

Before it became the newest Cuban music and dance craze, timba was a word with several different uses yet no particular definition, mostly heard within the Afro-Cuban genre of rumba. A timbero was a complimentary term for a musician, and timba often referred to the collection of drums in a folklore ensemble. Since the 1990s, timba has referred to Cuba’s intense and slightly more aggressive music and dance form.

Time Lord rock

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

History#

The first Doctor Who inspired songs were recorded during the Dalekmania of the mid 1960s. The most famous of these was the novelty song I’m Gonna Spend My Christmas with a Dalek, recorded by Newcastle band The Go-Go’s in 1964. Other notable songs of this time included Who’s Who? by Roberta Tovey, Frazer Hines’ album Time Traveller, and also the Third Doctor Jon Pertwee’s hit single Who is the Doctor. In 1988, The KLF released the single “Doctorin’ the Tardis” under the alternative band name The Timelords, which reached number 1 in the UK singles chart as well as charting in other countries. However, the group never released anything else under this name or with the same subject, nor did any other band follow up on the single, leaving it as a novelty rather than a genre. In the summer of 2008, Alex Day, a fan of Doctor Who, was inspired by the growing phenomenon of wizard rock (formed from Harry Potter fandom) to begin writing songs about Doctor Who, dubbing the resulting genre “Time Lord Rock” (abbreviated to “Trock”, after the “Wrock” abbreviation used for wizard rock). Charlotte McDonnell (formerly Charlie McDonnell), also a fan, did the same, and released an acoustic video performance of “Blink” on YouTube. Combined with the Scottish vloggers Liam Dryden and Chris Beattie, they formed the first Time Lord rock band, Chameleon Circuit. American band picking up the new genre and broad in range. “references to the series, while present, are subtle, with styles ranging from glam-tinged rock to a burlesque reminiscent of Kurt Weill.”

Tin Pan Alley

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

Origin of the name#

There are conflicting explanations regarding the origins of the term “Tin Pan Alley”. The most popular account holds that it was originally a derogatory reference made by Monroe H. Rosenfeld in the New York Herald to the collective sound made by many “cheap upright pianos” all playing different tunes being reminiscent of the banging of tin pans in an alleyway. The Grove Dictionary of American Music also cites Rosenfeld as originator of the term, dating its first use from 1903. However, while an article on Tin Pan Alley can be found in the St. Louis Post-Dispatch from May of that year, this is unattributed and no piece by Rosenfeld that employs the phrase has been discovered. Simon Napier-Bell quotes an account of the origin of the name published in a 1930 book about the music business. In this version, popular songwriter Harry von Tilzer was being interviewed about the area around 28th Street and Fifth Avenue, where many music publishers had offices. Von Tilzer had modified his expensive Kindler & Collins piano by placing strips of paper down the strings to give the instrument a more percussive sound. The journalist told von Tilzer, “Your Kindler & Collins sounds exactly like a tin can. I’ll call the article ‘Tin Pan Alley’.” In any case, the name was firmly attached by the fall of 1905, when The Evening World published an article titled “The Song Claque Nuisance” about 28th Street. According to the Online Etymology Dictionary, “tin pan” was slang for “a decrepit piano” (1882), and the term came to mean a “hit song writing business” by 1907. With time, the nickname came to describe the American music publishing industry in general. The term then spread to the United Kingdom, where “Tin Pan Alley” was also used to describe Denmark Street in London’s West End. In the 1920s the street became known as “Britain’s Tin Pan Alley” because of its large number of music shops.

Tinku

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

History#

The Bolivian tradition began with the indigenous belief in Pachamama, or Mother Nature. The combat is in praise of Pachamama, and any blood shed throughout the fighting is considered a sacrifice, in hopes of a fruitful harvest and fertility. Because of the violent nature of the tradition there have been fatalities, but each death is considered a sacrifice which brings forth life, and a donation to the land that fertilizes it. The brawls are also considered a mean of release of frustration and anger between the separate communities. Tinkus usually last two to three days. During this time, participants will stop every now and then to eat, sleep, or drink.

Tintinnabuli

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

Pärt’s own comments on his style#

“Tintinnabulation is an area I sometimes wander into when I am searching for answers – in my life, my music, my work. In my dark hours, I have the certain feeling that everything outside this one thing has no meaning. The complex and many-faceted only confuses me, and I must search for unity. What is it, this one thing, and how do I find my way to it? Traces of this perfect thing appear in many guises – and everything that is unimportant falls away. Tintinnabulation is like this. . . . The three notes of a triad are like bells. And that is why I call it tintinnabulation.”
“I could compare my music to white light which contains all colours. Only a prism can divide the colours and make them appear; this prism could be the spirit of the listener.” – from the essay White Light by Hermann Conen, as translated into English by Eileen Walliser-Schwarzbart (found in the liner notes of the ECM release of Alina).
“Tintinnabuli is the mathematically exact connection from one line to another…..tintinnabuli is the rule where the melody and the accompaniment accompanying voice …is one. One and one, it is one – it is not two. This is the secret of this technique.” – from a conversation between Arvo Pärt and Antony Pitts recorded for BBC Radio 3 at the Royal Academy of Music in London on 29 March 2000, as printed in the liner notes of the Naxos Records release of Passio.

External links#

A Windows PC tool which can be used to generate tintinnabuli voicings in real-time: Arv-o-mat 1.10

Tizita

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

Etymology and origin#

The term tizita is distinctly Tigrinya, and Amharic, there’s no Ge’ez equivalent, as opposed to the term nafkot which belongs to both languages with the same meaning (regret, emotion linked to a remembrance). Tizita folk songs developed in the countryside by the Amhara peasantry and the village musicians called the Azmaris.

Tizita music genre#

Tizita songs are a popular music genre in Ethiopia and Eritrea. It’s named after the Tizita Qañat mode/scale used in such songs. Western sources often compare tizita to the blues. Other musical equivalent are the Portuguese Saudade, Assouf for the Tuareg people, or Dor in Romania. In Slovakia, the closest word is clivota or cnenie, Sehnsucht in German, and “կարոտ” (phonetically karōt) in Armenian. Modern Ethiopian artists who have performed tizita songs include Aster Aweke, Hailu Mergia, Bezawork Asfaw, Teddy Afro, Mulatu Astatke, Meklit Hadero, Seyfu Yohannes and Mahmoud Ahmed.

TI on Music Theory Print

Tiento

Name#

Formal aspects#

Tientos (flamenco)

Structure#

Tierra Caliente music

History#

Tifa totobuang

Tifa#

Timba

Etymology#

Time Lord rock

History#

Tin Pan Alley

Origin of the name#

Tinku

History#

Tintinnabuli

Pärt’s own comments on his style#

Further reading#

External links#

Tizita

Etymology and origin#

Tizita music genre#