TO on Music Theory Print

T'ong guitar

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

External links#

Association for Korean Musical Research newsletter #2
Google cache of a UsefulReference.com page

Toasting (Jamaican music)

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

Toccata

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

Renaissance#

Little is known about the origin of the toccata other than that it was likely adapted from music for festive functions that was written for trumpet and timpani and latter transcribed for the organ or other keyboard instruments. The form first appeared in the late Renaissance in northern Italy. Several publications of the 1590s include toccatas, by composers such as Claudio Merulo, Andrea and Giovanni Gabrieli, Adriano Banchieri, and Luzzasco Luzzaschi. These are keyboard compositions in which one hand, and then the other, performs virtuosic runs and brilliant cascading passages against a chordal accompaniment in the other hand. Among the composers working in Venice at this time was the young Hans Leo Hassler, who studied with the Gabrielis; he brought the form back with him to Germany. It was in Germany where it underwent its highest development, culminating in the work of Johann Sebastian Bach more than a hundred years later.

Tombeau

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

History#

“In instrumental music, tombeau signifies a musical ’tombstone’ (French le tombeau = tomb). The musical genre of the tombeau is generally connected with music for the lute of the 17th and 18th centuries. Of some 60+ surviving pieces, most are intended for the lute or theorbo, 5 for the baroque guitar, 7 for the viola da gamba and 3 for harpsichord. The earliest example of this genre seems to be the Tombeau de Mezangeau (1638) by French lutenist Ennemond Gaultier.” “Musical predecessors are memorial pavans like those by Anthony Holborne (Countess of Pembrokes Funeralle, 1599). In France, where this musical genre emerged first, strong influence of literary models, particularly of memorial poems that were popular from the 16th to the end of the 17th centuries, may have been another important factor.”

Tonada

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

Baroque Peru#

The baroque tonada is distinct from the tono humano or tonado, secular song, a main genre of 17th-century Spanish and Portuguese music. Examples of the baroque tonada are found in the Codex Martínez Compañón.

Argentina#

The Argentine form of the tonada originates from Cuyo Region and is usually played by guitar group.

Chile#

The modern rural Chilean folk tonada is typically a simple “monotonous” slow-moving song with a melancholy theme.

Tonás

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

Tondero

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

Geographical origin of tondero and cumananas#

The Tondero is a Peruvian dance and rhythm born in the north coast adjacent to the eastern valleys of the Sierra or “yungas” of Piura, Sechura and Lambayeque. The oldest version is from the Morropón Province, approximately the center of Piura’s region, below the highlands and inland from the coast.

Description and composition of the tondero#

The classical version consists of a principal singer, a small chorus, two Criollo style guitar players (one picking up the tundete or tondero bass line); the “Peruvian cajon” (now used in Latin American commercial rhythms), modern flamenco and evolutionary jazz, and/or Peruvian spoon players. It may be accompanied by palms or an Afro-Peruvian instrument made of dried and flattened pumpkins called checo. It is also played by trumpet and drum bands.

Tongzi opera

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

Origins#

Its history can be traced back to the pre-Qin period. Tongzi opera was born over 1000 years ago near the Yangzi River. At that time, economy and technology was not developed, the residents made a living by salt making and agriculture. Therefore, residents held Buddhist meetings every year to pray for good crop weather and bumper grain harvest which was called Shangtongzi. Thereafter more than 1000 years, it mixed together with the local dialect, the culture, the custom and the public sentiment which contributed to the embryonic form of Tongzi opera. In the end of the Qing dynasty, performers modified the lines, appeared on the stage with make-up, which contributed to its prototype. Formulated in Dongzhou and popular in the Tang dynasty. In Lianyungang, Tongzi Opera also had long history. Its origin closely connected with Wu culture in China. After Ming and Qing Dynasty, it become more and more secular. In other words, it turns from making the God happy to making the population happy.

Torah reading

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

Origins and history of the practice#

The introduction of public reading of the Torah by Ezra is described in Nehemiah 8. However, the reading of the Torah in sections three times a week is said to date back to the time of Moses, according to the Mishneh Torah, Hilchot Tefillah 12:1. The mitzvah of Torah reading was based on the Biblical commandment of Hakhel in Deuteronomy 10–13, by which once every seven years the entire people was to be gathered, “men, women and children,” and hear much of Deuteronomy, the final volume of the Torah, read to them by the king. Torah reading is discussed in the Mishna and Talmud, primarily in tractate Megilla. It has been suggested that the reading of the Torah was due to a desire to controvert the views of the Samaritans with regard to the various Jewish festivals, for which reason arrangements were made to have the passages of the Torah relating to those festivals read and expounded on the feast-days themselves.

Toronto sound (hip-hop)

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

Beginnings#

Drake’s So Far Gone (2009), Thank Me Later (2010) and Take Care (2011) and The Weeknd’s trio of mixtapes House of Balloons, Thursday and Echoes of Silence (2011) played pivotal roles in popularizing this sound. So Far Gone introduced a blend of rap and R&B with introspective lyrics and atmospheric production, while Take Care further refined this style, with Drake collaborating with The Weeknd on several songs. The Weeknd’s early mixtapes complemented this evolution with its dark, ethereal production. Together, these releases defined the Toronto sound, influencing global music trends and artists to integrate its elements into their own work. The city’s cultural diversity, particularly its Caribbean and African communities, has also shaped the sound, incorporating elements of dancehall, reggae, afrobeat and downtempo. This fusion, combined with a minimalist production style that emphasizes atmosphere over complexity, has contributed to the character of style. Neighbourhoods such as Regent Park, Jane and Finch, Lawrence Heights, Chester Le, Alexandra Park, and Rexdale have been identified as centers of the scene, producing artists such as Smoke Dawg, Robin Banks, Top5, Pengz, K Money, and Moula1st.

Totalism

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

Early 1980s#

In the early 1980s, many young composers began writing music within the static confines of minimalism, but using greater rhythmic complexity, often with two or more simultaneous tempos (or implied tempos) audible at once. The style acquired a name around 1990, when it became evident to composers working in New York City that a number of them, including John Luther Adams, Glenn Branca, Rhys Chatham, Kyle Gann, Michael Gordon, Arthur Jarvinen, Bernadette Speach, Ben Neill, Larry Polansky, Mikel Rouse, and Evan Ziporyn, were employing similar types of global tempo structures in their music. Others include Eve Beglarian, Allison Cameron, Nick Didkovsky, David First, Phil Kline, and Lois V. Vierk. The term totalist refers to the aims of the music, in trying to have enough surface rhythmic energy, but also to contain enough background complexity. There is also an echo in the term of serialism’s “total organization,” here drawn not from the 12-tone row, but from Henry Cowell’s theories about using the same structuring devices for rhythm that have been traditionally used for pitch. For instance, the traditional ratio between frequencies of a major second interval is 9:8, and 9-against-8 is an important tempo contrast in many totalist pieces, achieved by having some instruments play dotted eighth notes while others play triplet half notes. In practice, totalist music can be consonant, dissonant, or both, but generally restricts itself to a small number of sonorities within any given piece.

Tough guy hardcore

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

Characteristics#

Over time, many New York hardcore bands developed a unique style that was based more around rhythm and less around the influence of punk. The palm muting guitar technique was a key aspect of this sound, Punknews.org described tough guy as “heavy breakdowns, growly vocals” and “the occasional metal riff”. The sound is particularly indebted to thrash metal. Lyrics in the genre often discuss being macho, unity, vigilance and interpersonal relationships, particularly betrayal. According to writer Brian J. Kochan, the genre “embraces the mystique of the gritty and hard working class lives of those in America’s big cities”. NoEcho writer Chris Suffer defined the genre as “Lyrics fueled by hatred and personal struggles bred some of the most violent live shows in the world turning clubs… into battlegrounds for a few hours.” One notable element of the genre is the use of shouted, “sing-along” choruses, an aspect originally influenced by English oi! bands. Jake Tiernan of webzine Heavy Blog Is Heavy criticized tough guy hardcore for its perceived hypermasculinity, writing that it encourages a herd mentality and causes physical violence, which defies what punk, hardcore’s roots, is about because punk is about individuality. Tiernan believed the genre hypermasculinity and socially mandatory mosh pits caused exclusion when the scene was initially intended to be about individuality and inclusion.

Tovareća mužika

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

Origins and traditions#

The Tovareća mužika traces its roots back to the maritime culture of Sali. Originally, the ox horn (rog) was an essential communication tool for coordinating bluefish fishing. Every household possessed this instrument, which was believed to have magical virtues capable of protecting against the “evil eye” during nights at sea. The symbolic importance of this instrument is now embodied by a five-meter-high bronze sculpture, named Rog, erected on one of the harbor’s squares (Porat) to celebrate this tradition.

Tower music

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

History#

Many English cities in the 1500s had town waits, as did rich individuals and institutions. In 1571, London ordered its waits to play “upon their instruments upon the turret at the Royal Exchange every Sunday and holiday toward the evening”, (with winter break, between September and late March, excepted). These may have been London’s first regularly scheduled public concerts. London’s waits also played from its walls. These civic wind bands of town pipers had been a feature of larger German towns and cities since well before the beginning of the sixteenth century, similar to the employment of waits with their sackbuts and shawms in England. Martin Luther, one of the chief figures of the Reformation, encouraged music-making in the service of God, and by around 1570 town councils were employing musicians specifically to take part in church services to supplement the organ playing. One of the most popular forms of outdoors public music-making in the 17th century in Germany and central Europe was tower music (German: Turmmusik), organised by the town piper (Stadtpfeifer) or tower master (Turmmeister). He and his band of musicians, also called Stadtpfeifer (the German plural is the same as the singular) played music for loud and penetrating wind or brass instruments from church towers and town hall balconies. Generations of the Bach family in Erfurt filled the office of Stadtpfeifer or Ratsmusiker (German: ’town council musician’). By 1600 Halle, Dresden, Berlin, Cologne, Stettin, Nordhausen and even Eisenach (J. S. Bach’s birthplace) with only 6,000 inhabitants, all had Stadpfeifers, whose job it was to sound the hours (Stundenblasen) in the days before striking clocks were common in towers and churches. They started around 3 or 4 o’clock in the morning to start the working day, sounded (German: blasen, lit. ‘blew’) the mid-morning break around 10 o’clock (Latin: decima hora) and the afternoon break around three or four o’clock in the afternoon. Finally, at around 9 or 10 o’clock, there was an Abendsegen, or evening blessing. Well known pieces by and for Stadtpfeifer include Johann Schein’s Banchetto musicale (1617) and Samuel Scheidt’s Ludi Musici (1621). In Nuremberg and Leipzig and there was a particular penchant for antiphonal tower music: three verses of a hymn would be echoed back and forth three times between the bands stationed in the towers of the Neukirche, St. Thomas Church and St. Nicholas Church, Leipzig. The Leipzig Stadtpfeifer and tower master (‘Turmmeister’) of the St. Nicholas Church from 1669 was Johann Pezel (or Petzold, etc.) whose Hora decima musicorum Lipsiensium (‘Leipzig 10 o’clock music’) was published the following year, as well as Fünff-stimmigte blasende Music (1685) with five-part intradas and dance pieces for brass instruments. Another Leipzig Stadtpfeifer and virtuoso trumpet player Gottfried Reiche (1667–1734) described tower music in his preface to Vier und zwanzig Neue Quatricinia (1696) for cornett and three trombones, as “a sign of joy and peace”, an embodiment of the spiritual-cultural life of the city “certainly whenever the whole country is in mourning, or in war, or when other misfortune is to be lamented.” Although the revival of music in churches was a particularly Lutheran initiative, Catholic areas like Vienna and Salzburg were just as keen to promote tower music. Among the most popular of tunes were the Heilig-Leider, paraphrases in German of the Sanctus from the Latin Mass, which came into fashion after the enlightened reforms of the Holy Roman Emperor Joseph I promoted the use of the vernacular in church services. According to one Stadtpfeifer named Hornbock, quoted in Johann Kuhnau’s Quack-Salber: “We know from experience that when our city pipers in the festive season play a religious song with nothing but trombones from the tower, then we are greatly moved, and imagine that we hear the angels singing.”. In Austria, trombones were typically played from church towers (German Turmblasen, lit ’tower blowing’) or in cemeteries on All Souls’ Day and the previous day (Hallowe’en in England). Their use is mentioned in a handbook explaining the multitude of church music regulations, Kirchenmusik-Ordnung (1828), by the Linz Stadtpfeifer Franz Glöggl. Glöggl commissioned the Three Equals from Beethoven in 1812. They were both pupils of Johann Albrechtsberger (d. 1807), who wrote one of the first trombone concertos. Tower music reached a peak in around 1750, and thereafter declined towards the end of the 18th century. From around 1800 official civic concerts began to replace those given by the nobility, and what has been termed “Saint Culture” (St.-Kultur’) suffered a split, leading on one side to the growth of professional symphony orchestras, and on the other to amateur Stadtkapellen conducted by professional or semi-professional town music directors. Modern tower music is common in German-speaking areas. File:Mendel I 006 r.jpg A c. 1425 picture showing a “Turner” (Türmer, in modern German) named Peter. File:Matthäikirche Leipzig 1749 Foto H.-P.Haack.JPG The Neukirche (New Church), Leipzig in 1749 File:Die Gartenlaube (1890) b 169.jpg Tower music on Easter morning, 1890 illustration

Township music

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

History#

The origins of township music in South Africa began from the formation of townships, which are urban residential areas where Africans were authorized to rent houses built by the government during the 1950s. Binns and Nel state in their article that townships were the poor, black residential areas created under apartheid, explicitly revealing that these townships were not for the wealthy Westerners living in South Africa, but for the lower class of South Africa. According to Ballantine, legislation was passed during the 1950s to further consolidate the apartheid state, and violent methods of implementation also assisted this along. In fact, the most serious legislation that was passed for urban black music was the Group Areas Act of 1950, which separated all racially mixed neighborhoods by removing black communities and relocating them on the peripheries into townships. To those who tried to suppress the lower-class Africans, jazz aspired to (among other things) musical and social equality, which was viewed as a form of rebellion during the time, hence its suppression. According to Ballantine, “the white and racist South African state” was forming an ideology and program for separating and turning black South Africans against one another.

Toytown pop

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

Characteristics#

Toytown pop has been described as a microgenre and noted for appearing on the British singles chart between 1967 and 1974. According to writer Ian Rushbury of PopMatters, “If the band had a cute, lengthy name and the song had the word ’toy’ in the title or was named after a missing chapter in The Wind in the Willows, it was a safe bet you were in the ballpark.” Hann remarked that the shortcomings of pretending to be children would have been “evident to musicians,” though labels, producers and artists capitalized on the growing trend in British pop while groups who had previously performed rough British rhythm and blues switched to songs evoking “childlike whimsy”.

TO on Music Theory Print

T'ong guitar

See also#

External links#

Toasting (Jamaican music)

See also#

Toccata

Renaissance#

Tombeau

History#

Tonada

Baroque Peru#

Argentina#

Chile#

Tonás

Tondero

Geographical origin of tondero and cumananas#

Description and composition of the tondero#

Tongzi opera

Origins#

Torah reading

Origins and history of the practice#

Toronto sound (hip-hop)

Beginnings#

Totalism

Early 1980s#

Tough guy hardcore

Characteristics#

Tovareća mužika

Origins and traditions#

Tower music

History#

Township music

History#

Toytown pop

Characteristics#