TU on Music Theory Print

Tulsa sound

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

History#

The first appearance of note by a Tulsa sound musician was Rocky Frisco’s Columbia Harmony vinyl album, The Big Ten, under the name “Rocky Curtiss and the Harmony Flames”. The album was recorded in New York City at Columbia’s studio at 33rd Street and 3rd Avenue in 1959, during a time when Frisco lived in Pennsylvania. Rockabilly musician Clyde Stacy was one of the first, if not the first, Tulsa sound musicians to score a nationally charted record, “Hoy Hoy” b/w “So Young”, backed by his band the NiteCaps. This was a double-sided hit released by Candlelight Records in 1957. Members of the NiteCaps during that period were guitarist John D. Levan and others. Levan was inducted into the Rockabilly Hall of Fame in August 2004 along with Tulsa Radio Personality “Rockin” John Henry. Marvin & Johnny recorded “Cherry Pie” in 1954. In 1958, another Tulsan, Billy Reynolds Eustise, and the Tri-Lads scored a hit with “Cherry Pie”. Rocky Frisco published blues musician Flash Terry ’s photo on his website. J. J. Cale’s “After Midnight” was covered by Eric Clapton. Leon Russell was the first member of the Tulsa scene to make inroads into the Los Angeles music scene, playing for Ricky Nelson along with James Burton. He then joined Phil Spector’s Wrecking Crew and then produced Gary Lewis and Jan & Dean. He joined Joe Cocker’s Mad dogs and Englishmen. Russell performed “Jumpin’ Jack Flash/Young Blood” at Bangladesh concert. Leon Russell wrote “Super Star” and “A Song for You”, which The Carpenters covered. Russell recorded his “Carney” album, and had a hit with “Tight Rope” in 1972. He brought many Tulsans out to Los Angeles, including Carl Radle and Larry Bell , and was later co-owner of the historic The Church Studio in Tulsa and home to Shelter Records, which signed a number of significant Tulsa sound artists including Tom Petty and the Heartbreakers. The Church Studio was purchased in 2016 by husband and wife Ivan Acosta and Teresa Knox, who have said they intend to renovate the building, seek registration on the National Register of Historic Places, and use it as a recording studio and community facility. Elvin Bishop gained hit “Fooled Around and Fell in Love” in 1976. Jesse Ed Davis and Jim Keltner were from Oklahoma State. The Tractors released first album “The Tractors” in 1994.

Tumba francesa

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

Characteristics#

Tumba francesa combines musical traditions of West African, Bantu, French and Spanish origin. Cuban ethnomusicologists agree that the word “tumba” derives from the Bantu and Mandinka words for drum. In Cuba, the word tumba is used to denote the drums, the ensembles and the performance itself in tumba francesa.

Instrumentation#

Tumbas francesas are directed by a mistress of ceremonies called mayora de plaza. Performances generally begin with improvised solo singing in a mixture of Spanish and French patois termed kreyol cubano or patuá cubano by the lead vocalist (composé). After the introduction, the catá (a wooden cylindrical idiophone struck with two sticks) is played, and the composé alternates call and response singing with a group of female vocalists (tumberas).

Tuna (music)

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

History#

The name tuna may come from French roi de Thunes, king of Tunis , a title used by leaders of vagabonds. But there is also a legend of a real King of Tunis, known for his love of music and partying, who liked to walk around the streets at night playing and singing. That explains why the term roi de Thunes was applied. In the old times (medieval days) the Sopistas (a sarcastic title meaning soup beggars) would use their musical talents to entertain people in exchange for a coin and a bowl of soup (sopa, in Portuguese and Spanish, hence the name sopistas). They would also play their music under the windows of the ladies they wished to court. From its origins to the present day, the Tunas have continued the cultivation of popular instruments such as the bandurria, lute, guitar and tambourine, instruments which are named in the Spanish book Libro del Buen Amor by Juan Ruiz (c. 1283 - c. 1350). For these occupations, they took their guitars and bandurrias and sang popular songs. The tunos or sopistas also showed abilities for music, and in courting ladies that they had been wooing to. The sopistas were poor students who, with their music, friendly personality and craftiness, scoured for cheap eats for a few coins in the eating-houses, convents, streets and squares.

Tunisian underground music

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

Heavy metal#

The most active scene is arguably that of Tunisian heavy metal bands, most notably Myrath, but also Persona, Nawather https://www.metal-archives.com/bands/Nawather/3540405982 , Carthagods and Ymyrgar. Most of these bands sing in English and sometimes include Arabic sentences in the chorus of their songs. While several bands compose their own music, many of them perform covers.

Rap#

In contrast to Tunisian heavy metal bands, most Tunisian rappers perform in Tunisian (the local Arabic dialect). The Tunisian rap scene is widely based on self-producing MCs such as Wled Bled Crew (Balti…), T-man (Nizar…), Arab Clan (Karoura…), Warda Crew (Wistar), Zomra (El Castro, A.L.A, ZOUfree, Black T, Djappa Man, Bamboucha), Psyco-M, Vipa, Massi, Katybon, Klay BBJ, Hamzaoui Mohamed Amine, NASTYSH!!T, XIIVI, Wingz, Slim Larnaaout, AMYNE, WELD EL 15, Kamel Zmen, La Masse, BmG ,Samara, Joujma, Tchiggy, BadBoy 7low, JenJoon plus a growing number of music producers such as Dj Killer and Dj Momo.

Tuồng

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

History#

The origin of tuồng is still unclear. It is believed that it was imported from China around the 13th century when Vietnam was warring against the Mongol Yuan Dynasty. A famous actor named Lý Nguyên Cát (Li Yuanji; ) was imprisoned by the Vietnamese. The imperial court asked him to spread his knowledge of Chinese theatre to the children of the elite, thus explaining how tuồng had first had its beginnings in Vietnam in the royal court. Later on, it was adapted to travelling troupes who entertained commoners and peasants. However, the first person to lay the foundations for the art of tuồng in Vietnam was Dao Duy Tu. Under the Nguyen dynasty, under which he served, tuồng reached its highest point and was favored by Nguyen kings. Many great playwrights, including Đào Tấn, also lived during this period. Along with hát chèo, tuồng was one of the highly popular art forms for commoners until the 20th century. With the arrival of cải lương and modern theatrics, tuồng gradually lost its position.

Turbo-folk

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

Croatia#

Turbo-folk grew in Croatia in part due to the popularity of the Croatian singer Severina’s style of fusion music. Turbo-folk is purportedly seen as a “part of everyday life in Croatia and serves a means of social release and reaction to the effects of globalisation in Croatia” according to contemporary art professor Urosh Cvoro of UNSW Sydney. Upon introduction of Billboard Croatia Songs chart on 15 February 2022, it became apparent that mainstream music from Serbia and other former Yugoslav republics (which is all described as turbo-folk or by a derogatory term "" (plural: cajke) by its critics in Croatia) dominated the music taste of the people of Croatia, as the only Croatian artists featured on the chart were Eni Jurišić, Matija Cvek, 30zona, Kuku$ Klan, Jelena Rozga and Grše, and the only Western artists featured on the chart were Glass Animals and Red Hot Chili Peppers.

Turkish folk music

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

History and development#

Western music had begun to influence Ottoman music from before the early Tanzimat period. According to Degirmenci “the first westernization movement in music happened in the Army; in 1826 Giuseppe Donizetti, brother of the famous opera composer Gaetano, was invited to head the military band of Nizam-i Cedid (the Army of the New Order), which was founded by Selim III.” Sultan Abdulhamit II was said to prefer Western music, saying “To tell the truth, I am not especially fond of alaturka music. It makes you sleepy, and I prefer alafranga music, in particular the operas and operettas.” The Ministry of Education established the Bureau of Culture in 1920, which began to collect folk songs, around a hundred of which were published as Yurdumuzun Nagmeleri (Melodies of our Country) in 1926. Hungarian composer Béla Bartók was also invited to help collect folk songs in Turkey, 2000 of which were published between 1925 and 1935. A group of composers including Adnan Saygun and Ulvi Cemal who had been sent to study abroad on state scholarships, “took part in full-scale expeditions for the collection of folk music that were organized and sponsored by the Istanbul Municipal Conservatory (Istanbul Belediye Konservatuvari) between 1926 and 1929, and by the Ankara State Conservatory (Ankara Devlet Konservatuvarl) between 1936 and 1952”. Turkish ‘folk music’ was not a unified form of music until the state construction of the early Turkish Republic. Degirmenci has noted that “the history or the reconstruction of Turkish folk music reflects political aspects of the formation of the nation-state and Turkish nationalism.” The foundation of the Turkish Republic also saw attempts to collect folkloric stories, and to create a more unified and pure Turkish language by removing many Persian and Arabic words to construct a vocabulary supposedly closer to that of ordinary people. In 1937, a Turkish state radio was established and the dissemination of Turkish folk music became a priority for those in charge. Musicians were recruited by Muzaffer Sarisozen, “who acted as a talent scout, hand-picking regional performers who displayed exceptional talent.” In the 1960s, musicians like Aşık Veysel, Neşet Ertaş, Bedia Akartürk became popular folk artists. In the 1970s and 1980s, with the rising popularity of arabesque and Turkish light western, Turkish folk music lost some ground, but singers like Belkıs Akkale, İzzet Altınmeşe, Selda Bağcan, Güler Duman, and Arif Sağ made hit songs and became important representatives of the genre. By the late 1980s, proponents of a Kemalist-inspired Turkish folk music began to worry that the “Ataturk’s “musical revolution” had not been entirely successful. Its failure could be demonstrated by the fact that the cultural vacuum in Turkish society alluded to by Gokalp had been filled not with the proposed new national fusion music, but with the hated arabesk, a genre that embodied the ideals and aesthetic of a predominantly foreign Eastern element.”

Turkish hip-hop

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

History#

Before Turkish hip-hop took hold in Turkey, specifically Istanbul and Ankara, it originally grew out of Turkish ethnic enclaves in Germany. Owing its large population to the Turkish migrants that came to Germany in the 1960s as Gastarbeiter (guest-workers), 2/3 of all Turks in Germany are under the age of 35 and half are under 25. Exclusionary practices on behalf of the government, particularly in terms of citizenship status, create systematic discrimination of Turks in Germany that fuels racism against migrant workers. Although born in Germany, the children of these Gastarbeiters are not recognized as citizens by Germany or their parents’ country of origin. Often living in dilapidated neighborhoods and marked as outsiders by their “eastern” traditions and poor command of the German language, Turkish urban youth gravitate towards hip-hop as means of expressive identity construction. From the first rap vinyl recorded in the Turkish language—‘Bir Yabancının Hayatı’ (The Life of a Foreigner) by King Size Terror—to the creation of an entire subgenre—Oriental hip-hop—Turkish youth in Germany have embraced and moved beyond pure imitation of African American hip-hop culture. Localizing hip-hop, Turks in Germany have reworked it to “act as a mode of expression for a range of local issues” particularly those related racism and the problem of national identity experienced by younger members of ethnic minority groups. Turkish hip-hop had risen to prominence in Germany with the success and popularity of the Turkish rap group Cartel in the mid 1995s throughout Turkey. After the success of their first album, the members of Cartel had a fight almost killing some of their members. The group was forbidden to perform together again and the members of Cartel were jailed. Cartel’s album was banned from the music market. In Turkey, Ceza, Dr. Fuchs (formerly “Nefret”), Fuat Ergin and Sagopa Kajmer were spearheads of the genre. Sansar Salvo, Pit10, Şehinşah, Hayki, Saian, Allâme are popular figures of second wave contemporary rap music in Turkey. New generation or ‘Drill’ include Ezhel, UZI, Ben Fero and LVBEL C5.

Turkish makam

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

Geographic and cultural relations#

The Turkish makam system has some corresponding relationships to maqams in Arabic music and echos in Byzantine music. Some theories suggest the origin of the makam to be the city of Mosul in Iraq. “Mula Othman Al-Musili,” in reference to his city of origin, is said to have served in the Ottoman Palace in Istanbul and influenced Turkish Ottoman music. More distant modal relatives include those of Central Asian Turkic musics such as Uyghur “muqam” and Uzbek shashmakom. North and South Indian classical raga-based music employs similar modal principles. Some scholars find echoes of Turkish makam in former Ottoman provinces of the Balkans. All of these concepts roughly correspond to mode in Western classical music, although their compositional rules vary.

Turkish music (style)

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

History#

An important impetus for Turkish music occurred in 1699, when Austria and the Ottoman Empire negotiated the Treaty of Karlowitz. To celebrate the treaty, the Turkish diplomatic delegation brought a Janissary band along with other performers to Vienna for several days of performances. Although the Janissary sound was familiar in Europe during the 18th century, the Classical composers were not the first to make use of it; rather, the first imitators were military bands. The cultural influence at first involved actual importation of Turkish musicians, as Henry George Farmer relates: :The credit for having introduced this battery of percussion and concussion into Europe usually goes to Poland which, in the 1720s, had received a full Turkish band from the Sultan. Russia, not to be outdone, sought a similar favour of the Sublime Porte in 1725, Prussia and Austria following suit, and by the 1770s most other countries had fallen under the sway of Janissary Music. The importation of actual musicians was only a temporary phenomenon, and the later custom was to assign the Turkish instruments in European military bands to other performers. Thus, Turkish music in Europe had two connotations—Eastern and military—for 17th- and 18th-century European composers. The Turkish association did not evaporate soon. Even during the 1820s, in planning the last movement of the Ninth Symphony, Beethoven made a note to himself specifically stating that it would contain “Turkish” music. The use of the slang term “Turkish section” to describe the percussion section of an orchestra apparently persisted into modern times. Eventually it became possible to write music with bass drum, triangle, cymbals, and piccolo without evoking a Turkish atmosphere, and in the later 19th century symphonic composers made free use of these instruments. Thus, in the long run, the Turkish instruments are a gift to Western classical music from the Ottoman military music tradition.

Turlutte (music)

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

Quebec popular music#

A skilled proponent of the turlutte is La Bolduc, whose satirical and sometimes racy songs were based on the Quebec and Irish folk traditions. She is considered an expert turlutte.

Song#

Turlutte is also the name of a fiddle tune in Quebec. It lends itself well to group playing and percussive use of feet and hands, as in the performance at Kyneton, central Victoria, where the Celtic Southern Cross Summer School produced this ethnomusicologically notable clip. It has also been rendered on guitar.

Turntablism

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

Precursors#

The use of the turntable as a musical instrument has its roots dating back to the 1930s, 1940s, and 1950s when musique concrète composers did experiments with audio equipment. Experimental composers (such as John Cage, Halim El-Dabh, and Pierre Schaeffer) used them to sample and create music that was entirely produced by the turntable. Cage’s Imaginary Landscape No. 1 (1939) is composed for two variable speed turntables, frequency recordings, muted piano and cymbal. Edgard Varèse experimented with turntables even earlier in 1930, though he never formally produced any works using them. Though this school of thought and practice is not directly linked to the 1970s–2010 definition of turntablism within hip hop and DJ culture, it has had an influence on modern experimental sonic/artists such as Christian Marclay, Janek Schaefer, Otomo Yoshihide, Philip Jeck, and Maria Chavez. Turntablism as it is known today, however, did not surface until the advent of hip hop in the 1970s. Examples of turntable effects can also be found on popular records produced in the 1960s and 1970s. This was most prominent in Jamaican dub music of the 1960s, among deejays in the Jamaican sound system culture. Dub music introduced the techniques of mixing and scratching vinyl, which Jamaican immigrants introduced to American hip hop culture in the early 1970s. Beyond dub music, Creedence Clearwater Revival’s 1968 self-titled debut album features a backspin effect in the song “Walk on the Water”.

Tuvan throat singing

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

Khorekteer#

Khorekteer refers to the “chest voice”. This is the voice that throat singers use when using khoomei, kargyraa, or any other harmonic-inducing style. The term can also be used to refer to all styles of Tuvan throat singing, much like khoomei. It can also refer to the feeling of chest resonance or pressure that one experiences when throat singing. Khorekteer is often used as a launching pad into the khoomei, sygyt, or kargyraa styles of throat singing. Ethnomusicologist Zoya Kyrgys, on the other hand, defines the term khorekteer as a designation for all Tuvan throat singing.