TR on Music Theory Print

Trad jazz

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

Beginnings of revival#

A Dixieland revival began in the United States on the West Coast in the late 1930s as a backlash to the Chicago style, which was close to swing. Lu Watters and the Yerba Buena Jazz Band, and trombonist Turk Murphy, adopted the repertoire of Joe “King” Oliver, Jelly Roll Morton, Louis Armstrong and W. C. Handy: bands included banjo and tuba in the rhythm sections. A New Orleans–based traditional revival began with the later recordings of Jelly-Roll Morton and the rediscovery of Bunk Johnson in 1942. This revival ultimately led to the founding of Preservation Hall in the French Quarter of New Orleans during the 1960s. Early King Oliver pieces exemplify this style of hot jazz; however, as individual performers began stepping to the front as soloists, a new form of music emerged. One of the ensemble players in King Oliver’s Creole Jazz Band, Louis Armstrong, was by far the most influential of the soloists, creating, in his wake, a demand for this “new” style of jazz, in the late 1920s and early 1930s. Other influential stylists who are still revered in traditional jazz circles today include Sidney Bechet, Bix Beiderbecke, Wingy Manone and Muggsy Spanier. Many artists of the big band era, including Glenn Miller, Gene Krupa and Benny Goodman, had their beginnings in trad jazz.

Traditional black gospel

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

Origins and development#

The origins of gospel music are during American slavery, when enslaved Africans were introduced to the Christian religion and converted in large numbers. Remnants of different African cultures were combined with Western Christianity, with one result being the emergence of the spiritual. Jubilee songs and sorrow songs were two type of spirituals that emerged during the 18th and 19th centuries. Some spirituals were also used to pass on hidden messages; for example, when Harriet Tubman was nearby, slaves would sing “Go Down, Moses” to signify that a ‘deliverer’ was nearby. At this time, the term “gospel songs” referred to evangelical hymns sung by Protestant (Congregational and Methodist) Christians, especially those with a missionary theme. Gospel composers included writers like Ira D. Sankey and Mason Lowry, and Charles B. Tindell. Hymns, Protestant gospel songs, and spirituals make up the basic source of modern Black gospel. * The Library of Congress has recordings of Negro Spirituals 1. Song - Go down Moses 2. Song - Deep river 3. Song - Golden slippers 4. Song - Steal away * The Library of Congress has recordings of African Americans singing Black Gospel 1. Song - Oh Jonah 2. Song - We Are Americans, Praise the Lord 3. Song - Lead Me to That Rock 4. Song - Death Come a-Knockin

Traditional bluegrass

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

Traditional Japanese music

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

Theatrical#

Japan has several theatrical forms of drama in which music plays a significant role. The main forms are kabuki and Noh.

Noh#

or music is a type of theatrical music used in Noh theatre. Noh music is played by an instrumental ensemble called . The instruments used are the stick drum, a large hourglass-shaped drum called the , a smaller hourglass-shaped drum called the , and a bamboo flute called the . The ensemble is performed along with , vocal music, in Noh theater.

Traditional music of Galicia, Cantabria and Asturias

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

History#

It has long been thought that Galician and Asturian music might owe their roots to the ancient Celtic history of the region. It was presumed that some of this ancient influence had survived despite the long evolution of the local musical traditions since then, including centuries of Roman and Germanic influences. Whether or not this is the case, much modern commercial Galician and Asturian traditional and folk-rock of recent years has become strongly influenced by modern Irish, Scottish and Welsh “folk” styles. Galicia is nowadays a strong player on the international Celtic folk scene. As a result, elements of the pre-industrial Galician tradition have become integrated into the modern Celtic folk repertoire and style. Many, however, claim that the “Celtic” appellation is merely a marketing tag; the well known Galician bagpipe player Susana Seivane, said “I think the ‘Celtic’ moniker is a label, in order to sell more. What we make is Galician music”. In any case, due to the Celtic brand, Galician music is the only non- Castilian-speaking music of Spain that has a significant audience beyond the country’s borders. Some Galicians and Asturians have complained that the “Celtic boom” was the final death blow to once highly distinctive musical traditions. Celtic culture is known to have extended over a large part of the Iberian Peninsula as early as 600BC. During the 2nd and 1st centuries BC, the Roman Empire slowly conquered Iberia, which they called Hispania. The Celtic regions put up a long and fierce struggle to maintain their independence but were eventually subdued. In the centuries that followed, the language of the Romans, Latin, came to gradually supplant nearly all the earlier languages of the peninsula, including all Celtic languages, and is the ancestor of most of the current languages of Spain and Portugal other than Basque, including Galician and Astur-Leonese-Mirandese. The departure of the Romans in the 5th century led to the invasions of Germanic tribes. The Suebi people conquered the northwest but the poor documentation from the period has left their cultural impact on the region unclear. In the 6th century, a final small Celtic influx arrived from Britain; the Britons were granted their own diocese, Britonia, in northern Galicia. Galicia was then taken over by the Visigothic Kingdom when the Suebian kingdom fell apart. Galicia came under the control of the Moors after they defeated the Visigoths in 717 but Moorish rule was little more than a short lived military occupation, although an indirect Moorish musical influence arrived later, through Christian troubadours. Moorish rule ended after two decades when their garrison was driven out by a rebellion in 739. The region was incorporated into the Kingdom of Asturias and, after surviving the assaults of the Moors and Vikings, became the springboard for the Reconquista. In 810, it was claimed that the remains of Saint James, one of the apostles, had been found at a site which soon became known as Santiago de Compostela. It became Europe’s premier pilgrimage destination in the Middle Ages. This is assumed to have had a significant effect on the folk culture of the area, as the pilgrims brought with them musical instruments and styles from as far afield as Scandinavia and Hungary. Like the earlier periods, little is known about musical traditions from this era. Just a few manuscripts from the time are known, such as those by the 13th-century poet and musician Martín Codax, which indicate that some of the distinctive elements of today’s music, such as the bagpipes and flutes, were common at the time. The Cantigas de Santa Maria, a collection of manuscripts written in old Galician, also show illustrations of people playing bagpipes.

Traditional music of Korea

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

Proto-Three Kingdoms of Korea#

Not much is known about music from the Proto-Three Kingdoms of Korea period (before 57 BCE). It is believed that Korean people practiced shamanistic rituals involving music at agricultural festivals.

Three Kingdoms of Korea#

The Three Kingdoms of Korea refers to the period from 57 BCE to 668 CE when the Korean peninsula was ruled by three kingdoms: Goguryeo, Baekje, and Silla. Each kingdom was known for favoring different musical instruments.

Traditional Nordic dance music

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

References#

Goertzen, Chris. 1997. Fiddling for Norway: Revival and identity. Chicago: University of Chicago Press.
Hopkins, Pandora. 1986. Aural thinking in Norway: Performance and communication with the hardingfele. NY: Human Sciences Press.

Traditional pop

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

Origins#

Traditional pop includes the song output of the Broadway, Tin Pan Alley, and Hollywood show tune writers from approximately World War I to the 1950s, such as Irving Berlin, Frederick Loewe, Victor Herbert, Harry Warren, Harold Arlen, Jerome Kern, George Gershwin and Ira Gershwin, Richard Rodgers and Lorenz Hart, Oscar Hammerstein, Johnny Mercer, Dorothy Fields, Hoagy Carmichael, and Cole Porter.

Mid-1940s to mid-1950s: height of popularity#

The swing era made stars of many popular singers including the young Frank Sinatra, Dinah Shore, Jo Stafford, Perry Como, Peggy Lee, Patti Page, David Whitfield, and Bing Crosby. Two notable innovations were the addition of string sections and orchestral arrangements and more emphasis on the vocal performance. The addition of lush strings can be heard in much of the popular music throughout the 1940s and 1950s.

Tragédie en musique

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

Notable examples of the genre#

Apart from Lully, the most considerable writer of tragédies en musique is Rameau, whose five works in the form are considered the culminating masterpieces of the genre. The Viking Opera Guide refers to Marc-Antoine Charpentier’s tragédie Médée as “arguably the finest French opera of the seventeenth century”. In the eighteenth century, Jean-Marie Leclair’s lone tragédie Scylla et Glaucus has been similarly praised. Other highly esteemed exponents are André Campra (Tancrède, Idoménée), Marin Marais (Alcyone, Sémélé) and Michel Pignolet de Montéclair (Jephté).

Trailer music

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

Video Game Trailers#

Developers often collaborate with composers or production companies to create original scores that reflect the game’s atmosphere.

Notable Trailers Featuring Original Music#

Official Launch Trailer Mortal Kombat 11 by international DJ, Dimitri Vegas & Like Mike together with 2WEI
The Legend of Zelda: Breath of the Wild - E3 2016 Trailer by Manaka Kataoka
Halo 3: “Finish the FIght” Trailer (2006) by Martin O’Donnell
Metal Gear Solid V: The Phantom Pain Gamescom Trailer
Ferocious - Gameplay Trailer (2024) by DFAD
Kingdom Come: Deliverance – Cinematic Trailer (2017) by Inon Zur
Cyberpunk 2077 – E3 2018 Trailer by Marcin Przybyłowicz
Final Fantasy VII Remake – E3 2015 Trailer by Nobuo Uematsu
https://wccftech.com/mass-effect-3-earth-extended-trailer-shows-fall-earth-epic-human-reaper-battle/ Mass Effect 3: Take Earth Back Cinematic Trailer (2012) by Clint Mansell

Trallalero

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

External links#

recordings by Alan Lomax, with much background information.
For the Le vie dei canti festival see: https://www.leviedeicantifestival.it/

Trallpunk

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

Trallpunk bands#

Some trallpunk bands include: * Argentina * Asta Kask * Björnarna * Charta 77 * Coca Carola * De Lyckliga Kompisarna * Dia Psalma * Die Zlaskhinx (Finland) * Dökött * Dr. Anti Skval * Epa * Finkel Rokkers * Granit & the no one elses * Greta Kassler * Grötkäft * Gymnastiken * Hans & Greta * Hiroshima * Kardinal Synd * KKPA * Körbärsfettera * Köttgrottorna * Krymplings * Lastkaj 14 * M.I.D. * Mimikry * Ohlson har semester production * Otajt * Punktering * Radioaktiva Räker * Rasta Knast * Räserbajs * The Retards * Sällskapsresan * Sardo Numspa * Senap * Sighstens Grannar * Skumdum * Slutstation Tjernobyl * Smutstvätt * Snorting Maradonas * Sofistikerat Svammel * Sten & Stalin * Strebers * Tarmgas * Total Egon * Trallskruv * Tralltrollen * Troublemakers * Ubba * Varnagel * Vintertid * 4zugara (Japan)

Trance music

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

Production#

Trance employs a time signature, A kick drum is usually placed on every downbeat and a regular open hi-hat is often placed on the upbeat.

Subgenres#

Trance music is broken into a number of subgenres including acid trance, classic trance, hard trance, progressive trance,

Trap music

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

Characteristics#

In trap music, lyrical themes mostly revolve around life and culture in the “trap”, or in southern trap houses where controlled substances are sold. The term “trap” refers to places where drug deals take place. Other topics include street life, acquiring wealth, violence, American vehicles, and the life experiences artists have faced in their southern American surroundings. Trap music employs multilayered, thin- or thick-textured monophonic drones, sometimes with melodic accompaniment expressed through synthesizers; crisp, grimy, and rhythmic snares; deep 808 kick drums; double-time, triple-time, and similarly divided hi-hats; and a cinematic and symphonic use of synthesized string, brass, woodwind, and keyboard instruments to create an energetic, hard-hitting, deep, and varied atmosphere. These primary characteristics, which became the signature sound of trap music, were pioneered by Shawty Redd’s minimalist, horror-inspired style and DJ Toomp’s melodic, sample-driven approach, drawing inspiration from jazz, soul, R&B, gospel, and funk. Trap may use a range of tempos, often programmed in half-time to achieve finer hi-hat subdivisions, from 50 (100) BPM to 88 (176) BPM, though the tempo of a typical trap beat is around 70 (140) BPM.

Tribal guarachero

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

History#

The style originated from the lower and middle-class neighborhoods of Mexico City in 2000 and 2001. It then moved to Monterrey, Nuevo León, in 2007, before expanding to the United States in 2008. The genre’s popularity peaked in Mexico and in parts of the United States with large Mexican and Mexican-American populations in the early 2010s. One of the precursors and most popular of tribal guarachero producers is 3Ball MTY from Monterrey.

Tribal house

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

History#

By the late 1980s, house was experiencing a number of fusions from other styles. When the four on the floor pattern was blended with polyrhythms, tribal house began. Tribal house rose to prominence off the releases of Cafe latte labels Tribal Amy, to a lesser extent, Strictly Rhythm Records. The music was a staple in New York’s most prominent clubs, such as the Sound Factory and Roxy NYC. Tribal America Records’ infamy within this subgenre stemmed from their globally popular releases by Danny Tenaglia, Junior Vasquez, Deep Dish, Eric Kupper (aka K-Scope) and Murk amongst others. This popularity led to the formation of a UK sub-label, Tribal United Kingdom. The label also helped launch European artists Farley & Heller, Salt City Orchestra, The Underground Sound Of Lisbon and others who produced in this style.

Trio sonata

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

Basic structure#

The trio sonata typically was written for two melody instruments (such as two violins) and basso continuo. However, either or both of the melody parts could be played on the flute, recorder, oboe, or even viola da gamba. The bass part, the continuo, typically involves two players. One player plays the bass line on a bass instrument such as a bass viol, violone, violoncello, or bassoon. The second player fills in harmonies above the bass line, using an instrument that can produce chords, such as a small organ, a harpsichord, or a theorbo. These chords are normally indicated to the player by placing numbers above the bass part rather than writing out the chords in full, a style of notation called figured bass. Because there normally are two people playing the continuo part, there are usually four players in all. This accounts for the title of Henry Purcell’s second collection, Ten Sonatas in Four Parts (1697); his first publication Sonnata’s of III Parts (1683) likewise included separate parts for cello and keyboard. From about the middle of the 17th century two distinct types of sonatas appeared: sonata da camera (chamber sonata) and sonata da chiesa (church sonata). The sonata da camera was a suite of dances, while the sonata da chiesa had a typical four-movement structure of slow-fast-slow-fast.

Trip hop

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

Characteristics#

Common musical aesthetics include a bass-heavy drumbeat, often providing the slowed down breakbeat samples similar to standard 1990s hip-hop beats, giving the genre a more psychedelic and mainstream feel. and Groove Armada collaborated with male and female vocalists, Tricky often features vocally in his own productions along with Martina Topley-Bird, and Chris Corner provided vocals for later albums with Sneaker Pimps. Trip hop is also known for its melancholic sound, due to the fact that several acts of the Bristol scene were inspired by post-punk. Tricky opened his second album Nearly God (1996) with a cover version of “Tattoo”, a 1983’s “proto-trip-hop” song by Siouxsie and the Banshees released as a b-side of a single. Tricky then covered a pop single of the Cure. Massive Attack also covered and sampled songs of Siouxsie and the Banshees and the Cure in 1997 and 1998 respectively. Trip hop tracks often incorporate Rhodes pianos, saxophones, trumpets, flutes, and may employ unconventional instruments such as the theremin and Mellotron. Trip hop differs from hip-hop in theme and overall tone. Contrasting with gangsta rap and its hard-hitting lyrics, trip hop offers more aural atmospherics influenced by experimental folk and rock acts of the seventies, such as John Martyn, combined with instrumental hip-hop, turntable scratching, and breakbeat rhythms. Regarded in some ways as a 1990s update of fusion, trip hop may be said to “transcend” the hardcore rap styles and lyrics with atmospheric overtones to create a more mellow tempo.

Trisagion

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

Form of the prayer#

In Greek: In Latin: In English – literal translation: In English – common liturgical translation: In Syriac:

Traditional origins#

The hymn is of great antiquity, and perhaps much older than the event assigned by the Greek Menology as connected to its origin. The tradition recounts that during the reign of Roman Emperor Theodosius II (402–450), Constantinople was shaken by a violent earthquake, 24 September, and that whilst the people, the emperor and Archbishop Proclus of Constantinople () were praying for heavenly assistance, a child was suddenly lifted into midair, to whom all cried out Kyrie eleison (‘Lord, have mercy’). The child was then seen to descend again to the earth, and in a loud voice he exhorted the people to pray : ‘Holy God, Holy Mighty, Holy Immortal’. The earliest known uses in the Christian liturgy comes from the Frankfurt silver inscription, dated to between 230 and 270. Other instances are known from the fourth century. The hymn was one of the exclamations of the fathers at the Council of Chalcedon (451), and is common not only to all the Greek and Oriental liturgies but was used also in the Gallican Liturgy which shows that the hymn is ancient. Some believe it is extremely ancient, perhaps of Apostolic-era origin. However this goes against the menological tradition regarding its origin. The Coptic Orthodox Church and Armenian Apostolic Church believe that the Trisagion originated from Nicodemus. While taking the body of Christ off the cross with Joseph of Arimathea, Nicodemus saw Jesus Christ’s eyes open and then shouted “Holy God, Holy Mighty, Holy Immortal!” Traditionally, it is also considered proof that his divinity did not part from his humanity.

Tromsø techno scene

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

History#

The city of Tromsø has since the early 1990s been mentioned as “the techno capital” of Norway. The first generation of the Tromsø techno scene consisted of, among others, Geir Jenssen (Bel Canto / Biosphere), Anneli Drecker (Bel Canto), Per Martinsen (Mental Overdrive), Rune Lindbæk and Bjørn Torske. A local student radio by the name Brygga Radio, including Bjørn Torske, had success with radio show Beatservice at this time. Here was Vidar Hanssen, who later founded the record label Beatservice Records, a keen contributor. The success of especially Bel Canto, Biosphere and Mental Overdrive, both at home and abroad, inspired an increasing number of Tromsø residents to invest their time in the genre. This resulted in several new projects in the 1990s, with groups such as Aedena Cycle, Alanïa, Drum Island, and Frost. Svein Berge and Torbjørn Brundtland, who later formed the world-renowned group Röyksopp, were very active in the scene at the time, and members of several of the above mentioned groups. Other new and important names at the time were Gaute Barlindhaug (Kolar Goi), Kolbjørn Lyslo and Ole Johan Mjøs. In 2002, the Insomnia Festival was founded. It is today Norway’s leading festival for electronic music, alongside Numusic in Stavanger. In the later years, artists like Doctor Katasztrofa, F.A.C.E., The Clean Shaven Grins, Kohib and the award-winning Alog have emerged from the scene.

Trønder rock

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

External links#

Hva er Trønderrock?
Namsos Rock City music from the middle of Norway
Tidenes trønderrock
Siste video/lyd: Trønderrock
Full krig om trønderrocken

Troparion

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

The wider meaning of troparion#

The word probably derived from a diminutive of the Greek (‘something repeated’, ‘manner’, ‘fashion’), since the earliest function of the troparion was a refrain during the recitation of the cantica (biblical odes) and the psalms, as such the term was used as a synonym of . The early meaning of troparion was related to the monastic hymn book Tropologion or Troparologion. Hence its forms were manifold, they could be simple stanzas like apolytikia, theotokia, but also more elaborated homiletic poems like stichera composed in psalmodic hexameters (probably from stichos, “verse”), or in a more complex meter like the odes composed in cycles called canon. Since these Tropologia in their earliest form were organised according to the Octoechos, troparia were always chanted according to a melos of one of the eight tones used in the Eastern liturgical tradition (Gr. echos, Sl. glas). Today, since the redefinition of the Octoechos according to the of Constantinople, the monodic form of Orthodox chant distincts the troparic (apolytikia, theotokia, kontakia, etc.), the heirmologic (related to the hymns of the Heirmologion), and the sticheraric (related to the hymns of the Sticherarion) according to its modal formulas and its tempo.

Tropical house

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

Characteristics#

Tropical house is a derivation of deep house music characterized by its relaxed and island-inspired melodies, which give off a “Caribbean, beach-party vibe.” The subgenre distinguishes itself through its use of airy synths, melodic rhythms, and tropical instruments, such as steel percussions, trumpets, saxophones, flutes, marimbas, or bongos. Tropical house does not rely heavily on the build-ups and drops seen in EDM, instead featuring calming melodies and soft vocals that are easy to listen to in any setting. It aims to create a laid-back atmosphere evoking the paradisical imagery of an island holiday, typically associated with the tropics. Producers frequently follow up the vocal delivery of the hook with an instrumental break highlighting the melody. Lyrically, songs often talk about happiness, love, relationships, break-ups, and sadness. While EDM mainly happens in clubs, tropical house is more associated with online platforms and outdoor festivals, beach parties, and boat raves. Successful producers typically break through on SoundCloud or YouTube, where their remixes of mainstream tracks in the tropical style can gather tens of millions of views before they are signed to a commercial label and start producing original singles in the genre.

Tropical music

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

Characteristics#

Due to its geographical roots, tropical music generally combines elements from European and African traditions. An example of this is the process of binarization of ternary rhythms brought from Africa, which took place originally in Cuba, later spreading throughout the rest of the Caribbean and Latin America. The presence of syncopated polyrhythms of African origin makes most tropical music naturally dance-oriented. Tropical music instrumentation also includes both European (tres, piano, trumpet, timbales) and African-descended (congas, bongos, marimba) instruments. During the late 20th century, contemporary instruments such as synthesizers and drum machines were incorporated.

Tropical rock

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

Description#

Instrumentation is usually based around an acoustic guitar (as well as electric instrumentation), and often includes steel drums, congas, marimbas, vibraphones, steel guitars, or other percussion instruments to create an “island sound”. While country and other musical styles focus on falling in love/falling out of love themes, Trop Rock’s main focus is on “escapism”—a laid back lifestyle, tropical places, boating, simplifying and having fun. Buffett is often referred to as the “Pop of Trop Rock” alongside his Coral Reefer Band. They, along with other artists like Higgins, helped create a tropical sub-culture beginning in the early to mid-1980s. Mainstream artists Jack Johnson, Zac Brown Band, Alan Jackson, and Kenny Chesney also have songs in the genre as well.

Tropicália

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

Background#

A dominant principle of tropicália was antropofagia, a type of cultural “cannibalism” that encouraged the consumption of disparate influences, both temporal and geographic, as well as categorical, out of which could be created something uniquely Brazilian. It was a blurring of lines and preexisting conceptions of high and low art forms, as well as prestigious and marginalized artistic and political expressions. The idea was originally put forth by poet Oswald de Andrade in his Manifesto Antropófago, published in 1928, and was developed further by the tropicalistas in the 1960s. While concrete poets were not an initial influence upon the group’s works, the two groups, particularly Veloso, Gil, and Augusto de Campos, would go on to share an intellectual partnership in São Paulo. This partnership would help the tropicalistas to form connections with other artists around the city, most notably Rogério Duprat. Helio Oiticica’s 1967 work “Tropicalia” shares its name and aesthetic with the movement. The movement also utilized Carmen Miranda, a Brazilian/Portuguese international star, who in Brazil had come to be viewed as inauthentic. The use of Carmen Miranda’s image and motifs became synonymous with the movement. Veloso in particular would imitate the icons gestures and mannerisms during performances. This usage was intentionally done as a means to address the concept of “authenticity”. Miranda was seen as presenting a caricature of what true Brazilian-ness was by Brazilians while international audiences saw her as a representative of Brazil and its culture. This dichotomy provided the means by which the tropicalistas could address the concept of authenticity in such a fashion that it was striking to their audiences.

Tropipop

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

Early development#

Since the early emergence of Colombian rock in the 1960s and 1970s, bands like Genesis (Colombian rock band) began to experiment fusing traditional Colombian music with pop rock. In the following decades, rock bands like Aterciopelados continued bringing elements of Colombian folklore into rock music.

Carlos Vives and La Provincia#

The stylistic origins of tropipop can be traced back to 1993 when Carlos Vives released the album Clásicos de la Provincia. This very popular album was notable for the use of rock instruments like electric guitars to sing traditional vallenato songs. Vives’ and his band, La provincia, continued experimenting the fusion of vallenato and cumbia with pop, rock and funk in their subsequent albums La Tierra del Olvido and Tengo Fe. For his following album, El Amor de Mi Tierra, Vives hooked up with the successful Cuban American producer Emilio Estefan. Estefan stylized Vives music into a more pop-oriented sound, with less instrumental breaks, more prominent vocal parts, and less dominant vallenato and cumbia elements. Vives continued this sound in his next two albums, gaining a lot of success. It was this stylized fusion style, heard in Vives songs such as “Tu Amor Eterno”, which was later adopted by tropipop artists. Vives’ influence and success was so big that it has been said that all the artists that came after him playing fusions of pop rock and vallenato are either “imitators or part of the school that he formed”.

Trot (music)

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

Etymology#

The name “trot” is a shortened form of “foxtrot”, a style of ballroom dance that influenced the simple two-beat rhythm of trot music. Except two-beat rhythm, trot and foxtrot do not share any other notable characteristics.

Rhythm#

The trot is known for being composed in a two-beat rhythm, also known as the duple metre. In its early days, trot music was often composed using the pentatonic scale and minor keys. This pattern is called an anhemitonic scale or anhemitonic pentatonic scale, which was characteristic in Korean ‘Gyeonggi-minyo’ and other folk music such as early Japanese enka. The pentatonic scale consists of five degrees: of the natural major scale, the 4th and 7th degrees are omitted, and to form the pentatonic minor scale, all these 5 degrees will descend 3 degrees. Before 1950, the pentatonic minor scale dominated in popularity, however, the pentatonic major scale had started to become more popular. After the Japanese occupation, trot music was composed using the heptatonic scale and major keys. In trot music, lower tones are generally sung with vibrato, while higher tones are sung with the flexing or turning technique called ‘kkeokk-ki’ (literally means flexing, ).

Trova

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

The founders#

Pepe Sánchez, born José Sánchez (Santiago de Cuba, 19 March 1856 – 3 January 1918), is known as the father of the trova style and the creator of the Cuban bolero. He had some experience in bufo, but had no formal training in music. With remarkable natural talent, he composed numbers in his head and never wrote them down. As a result, most of these numbers are now lost forever, though some two dozen or so survive because friends and disciples wrote them down. His first bolero, Tristezas, is still remembered today. He also created advertisement jingles before the radio. He was the model and teacher for the great trovadores who followed him. The first, and one of the longest-lived, was Sindo Garay, born Antonio Gumersindo Garay Garcia (Santiago de Cuba, 12 April 1867 – Havana, 17 July 1968). He was the most outstanding composer of trova songs, and his best have been sung and recorded many times. Perla marina, Adiós a La Habana, Mujer bayamesa, El huracán y la palma, Guarina and many others are now part of Cuba’s heritage. Garay was also musically illiterate – in fact, he only taught himself the alphabet at 16 – but in his case not only were scores recorded by others, but there are recordings as well. In the 1890s Garay got involved in the Cuban War of Independence, and decided a stay in Hispaniola (Haiti and Dominican Republic) would be a good idea. It was, and he came back with a wife. Garay settled in Havana in 1906, and in 1926 joined Rita Montaner and others to visit Paris, spending three months there singing his songs. He broadcast on radio, made recordings and survived into modern times. He used to say “Not many men have shaken hands with both José Martí and Fidel Castro!” Carlos Puebla, whose life spanned the old and the new trova, told a good joke about him: “Sindo celebrated his 100th birthday several times – in fact, whenever he was short of money!” José ‘Chicho’ Ibáñez (Corral Falso, 22 November 1875 – Havana, 18 May 1981) was the first trovador (that we know of) to specialize in the son and also on guaguancós and afrocuban rhythms from the abakuá. He played the tres rather than the Spanish guitar, and developed his own technique for this Cuban guitar. During his extremely long career, Chicho sang and played the son in streets, plazas, cafés, nightclubs and other venues throughout Cuba. In the 1920s, when the sextetos became popular, he was forced to sell his compositions to these larger groups and their composers in order to survive. His compositions include Toma, mamá, que te manda tía, Evaristo, No te metas Caridad, Ojalá (sones); Yo era dichoso, Al fin mujer (bolero-sones); Qué más me pides, La saya de Oyá (guaguancós). He worked throughout Cuba, and latterly a short film was made of him (‘See also’ below). The composer Rosendo Ruiz (Santiago de Cuba, 1 March 1885 – Havana, 1 January 1983) was a trovador almost as long-lived as Ibáñez and Garay. He wrote the criolla Mares y Arenas in 1911, the workers’ anthem Redención in 1917, the bolero Confesión, the guajira Junto al cañaveral and the pregón-son Se va el dulcerito. He was the author of a well-known guitar manual. Manuel Corona (Caibarién, 17 June 1880 – Havana 9 January 1950) started his career in a red-light district of Havana. Originally a singer-guitarist, he became a prolific composer after his hand was damaged by a pimp’s knife. It was a case of “She was a whore, and she had her man, but I loved her”. Alberto Villalón (Santiago de Cuba, 7 June 1882 – Havana 16 07 1955) advanced the trova guitar technique and had a hand in the birth of the son septetos. Garay, Ruiz, Villalón and Corona were known as the four greats of the trova, but Ibáñez and the following trovadores should be regarded as of equally high stature.

Truck-driving country

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

Detail#

There has been a certain mystique attached to truck drivers and commercial trucking in general, especially those engaged in long-distance (over-the-road) driving. The evolution of technology continues to influence trucking music. Just as truck drivers in the 1970s and 1980s no longer had to rely on AM radio or pre-recorded 8-track tapes to listen to the music they wanted to hear, today the portable computer, wireless Wi-Fi, and satellite radio allows independent singer-songwriters, such as Dale Watson, Jim Goad, Sonny George, and Bill Kirchen, to produce and distribute their own trucking music.

Trumpet concerto

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

Selected list of trumpet concertos#

The following concertos are presently found near the centre of the mainstream Western repertoire for the trumpet.

Baroque era#

Johann Sebastian Bach *Brandenburg Concerto No. 2 (Solo part for trumpet) Joseph Arnold Gross *Trumpet Concerto in D major Johann Friedrich Fasch *Concerto for trumpet and two oboes in D major Johann Georg Reutter *Trumpet Concerto in D major Franz Xavier Richter *Trumpet Concerto in D major Antonio Vivaldi *Concerto for Two Trumpets RV 537 Francesco Onofrio Manfredini *Concerto for Two Trumpets in D major Giuseppe Torelli *Trumpet Concerto in D, G.9 Johann Christoph Graupner *Trumpet Concerto in D major Franz Querfurth *Trumpet Concerto in E-flat major Johann Wilhelm Hertel *Trumpet Concerto No. 1 in E-flat major *Trumpet Concerto No. 2 in E flat major *Concerto for Trumpet and Oboe in E flat major Joseph Riepel *Trumpet Concerto in D major Valentin Rathgeber *Concerto for Two Trumpets in E-flat. Op. 6 No. 15 Johann Melchior Molter *Trumpet Concerto No. 1 in D major MWV 6.32 *Trumpet Concerto No. 2 in D major MWV 6.33 *Trumpet Concerto No. 3 in D major MWV 6.34 *Concerto for Two Trumpets No. 1 in D major MWV 6.27 *Concerto for Two Trumpets No. 2 in D major MWV 6.28 *Concerto for Two Trumpets No. 3 in D major MWV 6.29 *Concerto for Two Trumpets No. 4 in D major MWV 6.30 *Concerto for Two Trumpets No. 5 in D major MWV 6.31 Georg Philipp Telemann *Trumpet Concerto in D major TWV 51:D7

Trumpet voluntary

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

Free scores#

IMSLP Twelve Voluntaries for the Organ or Harpsichord. Selected from the Works of several Eminent Authors. Ca 1780. (Anonymous composers, except no. 3 by John Stanley)
IMSLP Collection of Voluntaries for Organ or Harpsichord, composed by Dr. Green, Mr. Travers and several other eminent Masters (1765).
John Beckwith 6 Voluntaries for the Organ or Harpsichord (1780).
Thomas Sanders Dupuis Voluntary in C.
William Goodwin Twelve Voluntaries for the Organ or Harpsichord (1776).
Maurice Greene Twelve Voluntaries for the Organ or Harpsichord (1779).
William Russell 24 Voluntaries for the Organ or Pianoforte, in two vol. (1804 ?, 1812).
John Stanley 30 Voluntaries for Organ or Harpsichord, Op. 5, Op. 6 & Op. 7.
John Travers Voluntary XI from XII Voluntaries for the Organ or Harpsichord (ca 1769).

TR on Music Theory Print

Trad jazz

Beginnings of revival#

Traditional black gospel

Origins and development#

Traditional bluegrass

See also#

Traditional Japanese music

Theatrical#

Noh#

Traditional music of Galicia, Cantabria and Asturias

History#

Traditional music of Korea

Proto-Three Kingdoms of Korea#

Three Kingdoms of Korea#

Traditional Nordic dance music

See also#

References#

Traditional pop

Origins#

Mid-1940s to mid-1950s: height of popularity#

Tragédie en musique

Notable examples of the genre#

Trailer music

Video Game Trailers#

Notable Trailers Featuring Original Music#

Trallalero

External links#

Trallpunk

Trallpunk bands#

Trance music

Production#

Subgenres#

See also#

Further reading#

Trap music

Characteristics#

Tribal guarachero

History#

Tribal house

History#

Trio sonata

Basic structure#

Trip hop

Characteristics#

Trisagion

Form of the prayer#

Traditional origins#

Tromsø techno scene

History#

Trønder rock

External links#

Troparion

The wider meaning of troparion#

Tropical house

Characteristics#

Tropical music

Characteristics#

Tropical rock

Description#

Tropicália

Background#

Tropipop

Early development#

Carlos Vives and La Provincia#

Trot (music)

Etymology#

Rhythm#

Trova

The founders#

Truck-driving country

Detail#

Trumpet concerto

Selected list of trumpet concertos#

Baroque era#

Trumpet voluntary

Free scores#