VI on Music Theory Print

Video game music

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

Early video game technology and computer chip music#

At the time video games had emerged as a popular form of entertainment in the late 1970s, music was stored on physical media in analog waveforms such as cassette tapes and phonograph records. Such components were expensive and prone to breakage under heavy use, making them less than ideal for use in an arcade cabinet, though in rare cases such as Journey, they were used. A more affordable method of having music in a video game was to use digital means, where a specific computer chip would change electrical impulses from computer code into analog sound waves on the fly for output on a speaker. Sound effects for the games were also generated in this fashion. While this allowed for the inclusion of music in early arcade video games, it was usually monophonic, looped or used sparingly between stages or at the start of a new game, such as the Namco titles Pac-Man (1980) composed by Toshio Kai or Pole Position (1982) composed by Nobuyuki Ohnogi. The first such game to use a continuous background soundtrack was Tomohiro Nishikado’s Space Invaders, released by Taito in 1978. The first video game to feature continuous, melodic background music was Rally-X, released by Namco in 1980, featuring a simple tune that repeats continuously during gameplay. The decision to include any music into a video game meant that at some point it would have to be transcribed into computer code. Some music was original, some was public domain music such as folk songs. Sound capabilities were limited; the popular Atari 2600 home system, for example, was capable of generating only two tones at a time. As advances were made in silicon technology and costs fell, a definitively new generation of arcade machines and home consoles allowed for great changes in accompanying music. In arcades, machines based on the Motorola 68000 CPU and accompanying various Yamaha YM programmable sound generator sound chips allowed for several more tones or “channels” of sound, sometimes eight or more. The earliest known example of this was Sega’s 1980 arcade game Carnival, which used an AY-3-8910 chip to create an electronic rendition of the classical 1889 composition “Over The Waves” by Juventino Rosas. Konami’s 1981 arcade game Frogger introduced a dynamic approach to video game music, using at least eleven different gameplay tracks, in addition to level-starting and game over themes, which change according to the player’s actions. This was further improved upon by Namco’s 1982 arcade game Dig Dug, where the music stopped when the player stopped moving. Dig Dug was composed by Yuriko Keino, who also composed the music for other Namco games such as Xevious (1982) and Phozon (1983). several later computer games also covered the song, such as Trooper Truck (1983) by Rabbit Software as well as Daley Thompson’s Decathlon (1984) and Stryker’s Run (1986) composed by Martin Galway. Home console systems also had a comparable upgrade in sound ability beginning with the ColecoVision in 1982 capable of four channels. However, more notable was the Japanese release of the Famicom in 1983 which was later released in the US as the Nintendo Entertainment System in 1985. It was capable of five channels, one being capable of simple PCM sampled sound. The home computer Commodore 64 released in 1982 was capable of early forms of filtering effects, different types of waveforms and eventually the undocumented ability to play 4-bit samples on a pseudo fourth sound channel. Its comparatively low cost made it a popular alternative to other home computers, as well as its ability to use a TV for an affordable display monitor. Early games used simple tone generation and/or frequency modulation synthesis to simulate instruments for melodies, and used a “noise channel” for simulating percussive noises. PCM samples were limited to short sound bites (Monopoly), used in place of percussion sounds (Super Mario Bros. 3) or used for basslines (Gimmick!). Home consoles often shared music channels with sound effects. For example, a spaceship’s 1400 Hz square wave laser beam sound effect would interrupt any music on that channel. The mid-to-late 1980s software releases for these platforms had music developed by more people with greater musical experience than before. Quality of composition improved noticeably, and evidence of the popularity of the music of this time period remains even today. Composers who made a name for themselves with their software include Koichi Sugiyama (Dragon Quest), Nobuo Uematsu (Final Fantasy), Rob Hubbard (Monty on the Run, International Karate), Koji Kondo (Super Mario Bros., The Legend of Zelda), Miki Higashino (Gradius, Yie Ar Kung-Fu, Teenage Mutant Ninja Turtles), Hiroshi Kawaguchi (Space Harrier, Hang-On, Out Run), Hirokazu Tanaka (Metroid, Kid Icarus, EarthBound), Martin Galway (Daley Thompson’s Decathlon, Stryker’s Run, Times of Lore), David Wise (Donkey Kong Country), Yuzo Koshiro (Dragon Slayer, Ys, Shinobi, ActRaiser, Streets of Rage), Mieko Ishikawa (Dragon Slayer, Ys), and Ryu Umemoto (visual novels, shoot ’em ups). By the late 1980s, video game music was being sold as cassette tape soundtracks in Japan, inspiring American companies such as Sierra, Cinemaware and Interplay to give more serious attention to video game music by 1988. The Golden Joystick Awards introduced a category for Best Soundtrack of the Year in 1986, won by Sanxion. Some games for cartridge systems have been sold with extra audio hardware on board, including Pitfall II for the Atari 2600 and several late Famicom titles. These chips add to the existing sound capabilities.

Vietnamese diasporic music

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

Origin#

This branch of music was generated from the yellow music in Vietnam. Yellow music (nhạc vàng) refers to music produced in South Vietnam during the Vietnam War, named in opposition to red music (nhạc đỏ) endorsed by the socialist government of North Vietnam during the era of the Vietnamese War. Oftentimes, yellow music is also referred to as new music (tân nhạc), or sugary music (nhạc sến). These terms are reserved for songs that could be considered as popular music, opposed to ritual (like chầu văn), classical or folk music. Most yellow music has been associated with the bolero genre. The term continues to be used by Communist officials in Vietnam to describe songs that they find too sentimental, for example, love songs, that “lead people into a state of suffering over love, the opposite of the ideal happiness that people expect to find in it.” For Communist revolutionaries, the term “yellow music” has always had a pejorative meaning. However, some music sellers in Saigon, used it as a positive term, stamping “yellow music” on their tape and records to identify the sentimental music they were peddling.

Vigilante rap

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

Viking metal

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

Vikings#

Viking metal features the Vikings as its subject matter and for evocative imagery. The Vikings were Northern European seafarers and adventurers who, during the Middle Ages, relied on sailing vessels such as longships, knerrir, and karvi to explore, raid, pirate, trade, and settle along the North Atlantic, Baltic, Mediterranean, Black Sea, and Caspian coasts and Eastern European river systems. The Viking Age is generally cited as beginning in 793, when a Viking raid struck Lindisfarne, and concluding in 1066, with the death of Harald Hardrada and the Norman conquest of England. During this two-hundred-year period, the Vikings ventured west as far as Ireland and Iceland in the North Atlantic and Greenland and what is now Newfoundland in North America, south as far as the Kingdom of Nekor (Morocco), Italy, Sicily, and Constantinople in the Mediterranean, and southeast as far as what are now Belarus, Russia, and Ukraine in Eastern Europe, Georgia in the Caucasus, and Baghdad in the Middle East. The Vikings originated from the Nordic countries and the Baltic states, and consisted mostly of Scandinavians, though Finns, Estonians, and Curonians, went on voyages as well. Sámi people also closely interacted with the Scandinavian Norse and engaged in widespread trade expeditions. While otherwise disparate peoples, they shared some commonalities in that they were not considered “civilized” and were not, at first, adherents to Christianity, instead following their indigenous Nordic and Finnic religions. They often adopted Christianity upon settling in an area, intermixing the faith with their own pagan traditions, and by the end of the Viking Age, all Scandinavian kingdoms were Christianized and what remained of Viking cultures was absorbed into Christian Europe.

Viking rock

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

List of notable Viking rock bands#

Glittertind
Hel
Ultima Thule

External links#

Vikingarock.se - Sweden’s largest homepage about Viking rock nl:Vikingarock

Villancico

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

Portuguese type#

This type of poem has a mote—the beginning of the poem, which functions, when in music, as a refrain—followed by one or more intervening stanzas—the volta, copla or glosa—each one with 7 lines. The difference between the vilancete and the cantiga depends on the number of lines in the mote: if there are 2 or 3 it is a vilancete, if there are 4 or more it is a cantiga. Each line of a vilancete is usually divided in five or seven metric syllables (“old measure”). When the last line of the mote is repeated at the end of each stanza, the vilancete is “perfect”. Here is an example of a Portuguese vilancete, written by Luís de Camões: Original (Mote:) Enforquei minha Esperança; Mas Amor foi tão madraço, Que lhe cortou o baraço. (Volta:) Foi a Esperança julgada Por setença da Ventura Que, pois me teve à pendura, Que fosse dependurada: Vem Cupido com a espada, Corta-lhe cerce o baraço. Cupido, foste madraço. English Translation (Mote:) I hanged my Hope; But Love was so knavish He cut off the noose. (Volta:) Hope was condemned By verdict of Fate To be hanged for having me Hanging out with her Then comes Cupid with the sword And cuts the noose short. O Cupid, you were knavish. This poem has a common rhyme scheme, ABB CDDC CBB. The theme of this type of villancico was usually about the saudade, about the countryside and the shepherds, about ’the perfect woman’ and about unrequited love and consequent suffering. Iberian poets were strongly influenced by Francesco Petrarca, an Italian poet.

Villanelle

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

Etymology#

The word villanelle derives from the Italian villanella, referring to a rustic song or dance, Villano derives from the Medieval Latin , meaning a “farmhand”. The etymology of the word relates to the fact that the form’s initial distinguishing feature was the pastoral subject.

History#

The villanelle originated as a simple ballad-like song—in imitation of peasant songs of an oral tradition—with no fixed poetic form. These poems were often of a rustic or pastoral subject matter and contained refrains. According to Julie Kane, the refrain in each stanza indicates that the form descended from a “choral dance song” wherein a vocal soloist—frequently female—semi-improvised the “unique” lyrics of each stanza, while a ring of dancers—all female, or male and female mixed—chimed in with the repetitive words of the refrain as they danced around her in a circle." The fixed-form villanelle, containing the nineteen-line dual-refrain, derives from Jean Passerat’s poem “Villanelle (J’ay perdu ma Tourterelle)”, published in 1606. The New Princeton Encyclopedia of Poetry and Poetics (1993) suggests that this became the standard “villanelle” when prosodists such as César-Pierre Richelet based their definitions of the form on that poem. This conclusion is refuted by Kane, however, who argues that it was instead Pierre-Charles Berthelin’s additions to Richelet’s Dictionnaire de rimes that first fixed the form, followed a century later by the poet Théodore de Banville; his creation of a parody to Passerat’s “J’ay perdu …” would lead Wilhelm Ténint and others to think that the villanelle was an antique form. Despite its classification and origin as a French poetic form, by far the majority of villanelles have been written in English. Gosse, Dobson, Oscar Wilde, Andrew Lang, and John Payne were among the first English practitioners—theirs and other works were published in Gleeson White’s Ballades and Rondeaus, Chants Royal, Sestinas, Villanelles, &c. Selected (1887), which contained 32 English-language villanelles composed by 19 poets. Most modernists disdained the villanelle, which became associated with the overwrought formal aestheticism of the 1890s, i.e., the decadent movement in England. In his 1914 novel A Portrait of the Artist as a Young Man, James Joyce includes a villanelle written by his protagonist Stephen Dedalus. and his contemporaries and friends W. H. Auden and Dylan Thomas also picked up the form. Dylan Thomas’s “Do not go gentle into that good night” is perhaps the most renowned villanelle of all. Theodore Roethke and Sylvia Plath wrote villanelles in the 1950s and 1960s, Since then, many contemporary poets have written villanelles, and they have often varied the form in innovative ways; in their anthology of villanelles (Villanelles), Annie Finch and Marie-Elizabeth Mali devote a section entitled “Variations on the Villanelle” to such innovations.

Vinahouse

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

Viola concerto

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

Early history of the viola concerto#

Early examples of violas taking solo roles in orchestral settings include Johann Sebastian Bach’s Brandenburg Concerto No. 6, scored for two solo violas, Georg Philipp Telemann’s Concerto in G major, and Carl Stamitz’s Viola Concerto in D major. Arguably, one of the first concertante works to use the viola without caution was Wolfgang Amadeus Mozart’s Sinfonia Concertante, scored for solo violin and viola. Although not much work was written for the viola alone in the Classical or Romantic periods, with only a few example concerto-like pieces emerging such as Max Bruch’s Romanze, Hector Berlioz’s Harold en Italie, or Johann Nepomuk Hummel’s Potpourri, the viola concerto would see significant growth from the late 1800s.

Viola sonata

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

Work list#

Malcolm Arnold
Sonata for Viola and Piano, Op. 17 (1947)
Granville Bantock
Sonata in F for Viola and Piano “Colleen” (1919)
Jan Zdeněk Bartoš
Sonatina for Viola and Piano, Op. 46
Marion Bauer
Sonata for Viola, Op. 22 (1932)
Arnold Bax
Sonata for Viola and Piano in G (1921–1922)
Fantasy Sonata for Viola and Harp (1927)
Jack Beeson
Sonata for Viola and Piano (1953)
Arthur Benjamin
Sonata in E minor (1942)
Lennox Berkeley
Sonata in D minor for Viola and Piano, Op. 22 (1945)
Valentin Bibik
Sonata for Solo Viola No. 1, Op. 31 (1977)
Sonata for Solo Viola No. 2, Op. 136 (1999)
Sonata for Viola and Piano No. 1, Op. 72 (1988)
Sonata for Viola and Piano No. 2, Op. 137 (2000)
Easley Blackwood Jr.
Sonata No. 1, Op. 1 (1953)
Sonata No. 2, Op. 43 (2001)
Luigi Boccherini
Sonata Viola (or Cello) and Continuo in C minor, G.18
York Bowen
Sonata No. 1 in C minor, Op. 18 (1911?)
Sonata No. 2 in F major, Op. 22 (1911)
Arthur Butterworth
Sonata for Viola and Piano (1986, though sketched 1949)
Mario Castelnuovo-Tedesco
Sonata for Viola and Harp, Op. 144
Paul Chihara
Sonata for Viola and Piano (1996)
Rebecca Clarke
Sonata for Viola and Piano (1919)
Carl Ditters von Dittersdorf
Sonatas for Viola and Piano
Felix Draeseke
Sonata in C minor (1892)
Sonata in F (1901–2)
Lorenzo Ferrero
Sonata for Viola and Piano (2000)
Jacobo Ficher
Sonata for Viola and Piano, Op. 80 (1953)
Ross Lee Finney
Sonata for Viola and Piano
Lillian Fuchs
Sonata pastorale, for Solo Viola
Robert Fuchs
Sonata for Viola and Piano in D minor, Op. 86
Harald Genzmer
Sonata for Solo Viola (1957)
Sonata for Viola and Piano
Sonatine for Viola and Piano
Roberto Gerhard
Sonata for Viola and Piano (1946)
Mikhail Glinka
Sonata in D minor for Viola and Piano (incomplete) (1835)
Hilding Hallnäs
Sonata for Viola and Piano, Op. 19 (1943)
Hans Werner Henze
Sonata for Viola (1979)
Kurt Hessenberg
Sonata for Viola and Piano, Op. 94
Jennifer Higdon
Sonata for Viola and Piano (1990)
Paul Hindemith
Sonata for Solo Viola, Op. 11 No. 5 (1919)
Sonata for Solo Viola, Op. 25 No. 1 (1922)
Sonata for Solo Viola, Op. 31 No. 4 (1923)
Sonata for Solo Viola (1937)
Sonata for Viola and Piano, Op. 11 No. 4 (1919)
Sonata for Viola and Piano, Op. 25 No. 4 (1922)
Sonata for Viola and Piano (1939)
Vagn Holmboe
Sonata for Solo Viola
Arthur Honegger
Sonata for Viola (1920)
Alan Hovhaness
Campuan Sonata for Viola and Piano, Op. 371 (1982)
Sonata for Solo Viola, Op. 423
Bertold Hummel
Sonatina No.1, Op. 35b (1969)
Sonatina No.2, Op. 52b (1973)
Johann Nepomuk Hummel
Sonata in E-flat for Viola and Piano, Op. 5, No. 3
Miriam Hyde
Sonata in B minor for Viola and Piano (1937)
Gordon Jacob
Sonata No. 1 (1949)
Sonata No. 2 (1978)
David Johnstone
Sonatango for Solo Viola (2007)
Paul Juon
Viola Sonata in D, Op. 15 (1901)
Viola Sonata in F minor, Op. 82 (1923)
Aram Khachaturian
Sonata for Solo Viola
Friedrich Kiel
Sonata, Op. 67 in G minor
Luigi von Kunits
Sonata for Viola and Piano (1917)
Ernst Krenek
Sonata for Solo Viola
Libby Larsen
Sonata for Viola and Piano (2001)
Victor Legley
Sonata for Viola and Piano, Op. 13 (1943)
Lowell Liebermann
Sonata for Viola and Piano, Op.13 (1984)
György Ligeti
Sonata for Solo Viola (1991–94)
Bohuslav Martinů
Sonata for Viola and Piano (1955)
Felix Mendelssohn
Sonata for Viola and Piano in C minor (1824)
Darius Milhaud
Sonata No. 1 for Viola and Piano, Op. 240 (1941)
Sonata No. 2 for Viola and Piano, Op. 244 (1944)
José Pablo Moncayo
Sonata for Viola and Piano (1934)
Paul Müller-Zürich
Sonata for Solo Viola (1979)
Jacques Murgier
Sonata for Solo Viola
Ernst Naumann
Sonata in G minor for Viola and Piano, Op. 1 (1854)
Ludvig Norman
Sonata in G Minor for Viola and Piano, Op. 32 (1869)
George Onslow
Three sonatas for Viola (or cello), Op. 16
George Perle
Sonata for Viola Solo, Op. 12
Max Reger
Sonatas in A major and F minor for Viola and Piano, Op. 49 Nos. 1 and 2 (1900)
Sonata in B major for Viola and Piano, Op. 107 (1908-9)
George Rochberg
Sonata for Viola and Piano (1979)
Alessandro Rolla
Sonatas for Viola with Continuo
Johannes Röntgen
Sonata for Viola and Piano
Julius Röntgen
Sonata in C minor for Viola and Piano (1924)
Sonata in A major for Viola and Piano (1925)
Sonata in A minor for Viola and Piano (1925)
Nino Rota
Viola Sonata in G (1934–35, revised 1970)
Viola Sonata in C major (1945)
Anton Rubinstein
Sonata in F minor for Viola and Piano, Op. 49 (1855)
Philipp Scharwenka
Sonate fantasia in G minor for Viola and Piano, Op. 106 (1899)
Peter Sculthorpe
Sonata for Viola and Percussion
José Serebrier
Sonata for Solo Viola (1955)
Alexander Shchetynsky
Sonata for Solo Viola (1987)
Vissarion Shebalin
Sonata for Viola and Piano
Dmitri Shostakovich
Sonata for Viola and Piano, Op. 147 (1975)
David Stanley Smith
Viola Sonata, Op. 72 (1934)
Carl Stamitz
Sonata for Viola
Constantinos Stylianou
Sonata for Viola and Piano No. 1 in F minor (2019)
Sonata for Viola and Piano No. 2 in E flat major (2020)
Eduard Tubin
Viola Sonata (1965)
Four Sonatas for Viola and Piano, Op. 5 (in C major, D, F and C)
Octavio Vazquez
Sonata for Viola and Piano No. 1 (1992)
Sonata for Viola and Piano No. 2 (2002)
Henri Vieuxtemps
Sonata in B major for Viola and Piano, Op. 36 (1862)
Sonate inachevée (Allegro et scherzo) for Viola and Piano, Op. 60 (Op. 14 posthumous) (1884)
Andrei Volkonsky
Sonata for Viola and Piano, Op. 8 (1955–56)
Johann Baptist Wanhal
Viola Sonata in E
Graham Waterhouse
Sonata ebraica (2013)
Mieczysław Weinberg
Sonata for Solo Viola No. 1, Op. 107 (1971)
Sonata for Solo Viola No. 2, Op. 123 (1978)
Sonata for Solo Viola No. 3, Op. 135 (1982)
Sonata for Solo Viola No. 4, Op. 136 (1983)
George Balch Wilson
Sonata for Viola and Piano (1952)
Richard Edward Wilson
Sonata for Viola and Piano (1989)

External links#

The history of Draeseke’s Viola Alta Sonatas
A Mendelssohn Chamber Worklist with Dates
Schott’s page for Nino Rota
A Viola Sonata Repertoire Page
Viola fan club with list of recordings and works

Violin concerto

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

List of violin concertos#

The following concertos are presently found near the center of the mainstream Western repertoire. *John Adams **Violin Concerto (1993) *Malcolm Arnold **Concerto for Two Violins and String Orchestra (1969) *Johann Sebastian Bach **Violin Concerto in A minor, BWV 1041 (1717–1723) **Violin Concerto in E major, BWV 1042 (1717–1723) **Double Violin Concerto in D minor, BWV 1043 (1723) *Samuel Barber **Violin Concerto, Op. 14 (1939) *Béla Bartók **Violin Concerto No. 1 (1908) **Violin Concerto No. 2 (1938) *Ludwig van Beethoven **Violin Concerto in D major, Op. 61 (1806) *Alban Berg **Violin Concerto (1935) *Ernest Bloch **Violin Concerto (1938) *Nimrod Borenstein **Concerto for violin and orchestra opus 60 (2013) *Johannes Brahms **Violin Concerto in D major, Op. 77 (1878) *Benjamin Britten **Violin Concerto (1939) *Max Bruch **Violin Concerto No. 1 in G minor, Op. 26 (1867) **Violin Concerto No. 2 in D minor, Op. 44 (1878) **Violin Concerto No. 3 in D minor, Op. 58 (1891) * Henri Casadesus ** Concerto in D major in the style of Luigi Boccherini *Frederick Delius ** Violin Concerto *Henri Dutilleux **L’Arbre des songes (1985) *Antonín Dvořák **Violin Concerto in A minor, Op. 53 (1879–1880) *Danny Elfman **Concerto for Violin and Orchestra “Eleven Eleven” (2017) *Edward Elgar **Violin Concerto in B minor, Op. 61 (1910) *Eduard Franck **Violin Concerto in E minor, Op. 30 (1855/1861) **Violin Concerto in D major, Op. 57 (1875) *Richard Franck **Violin Concerto in D major, Op. 43 (1906) *Hans Gal **Violin Concerto Op. 39 (1932) **Concertino for Violin and Orchestra Op. 52 (1939) *Philip Glass **Concerto for Violin and Orchestra, No. 1 (1987) **Concerto for Violin and Orchestra, No. 2, “The American Four Seasons” (2009) *Alexander Glazunov **Violin Concerto in A minor, Op. 82 (1904) *Karl Goldmark **Violin Concerto No. 1 in A minor, Op. 28 (1877) *Georg Friedrich Händel **Violin Concerto in B flat major, HWV 288 (ca. 1707) *Joseph Haydn **Violin Concerto No. 1 in C major, Hob. VIIa:1 (ca. 1765) **Violin Concerto No. 2 in D major, Hob. VIIa:2 (1765, lost) **Violin Concerto No. 3 in A major, Hob. VIIa:3 “Melker Konzert” (ca. 1770) **Violin Concerto No. 4 in G major, Hob. VIIa:4 (1769) *Jennifer Higdon **Violin Concerto (2008) *Paul Hindemith **Violin Concerto (1939) *Robin Holloway **Violin Concerto Op. 70 (1990) *Akira Ifukube **Rhapsodia Concertante for Violin and Orchestra (1948) **Violin Concerto No. 2 (1978) *Shin’ichiro Ikebe **Violin Concerto, (1981) *Joseph Joachim **Violin Concerto No. 2 in D minor *Mieczysław Karłowicz **Violin Concerto in A major, Op. 8 (1902) *Aram Khachaturian **Violin Concerto in D minor, Op. 46 (1940) *Ståle Kleiberg **Violin Concerto no. 1 (2005) **Violin Concerto no. 2 (2017) *Erich Wolfgang Korngold **Violin Concerto in D major, Op. 35 (1945) *Édouard Lalo **Violin Concerto in F major, Op. 20 (1874) **Symphonie Espagnole (1874) *Jean-Marie Leclair ** 12 concertos for violin and orchestra op.7 & op.10 *Marian Lejava **Vertigo - Concerto for Violin and Ensemble Op. 23 (2018) *Lowell Liebermann **Concerto for Violin and Orchestra Op. 74 (2001) *Avrohom Leichtling **Concerto for Violin and Orchestra Op. 95 (1988–1991) *György Ligeti **Violin Concerto (1992) *Karol Lipiński **Violin Concerto No. 1 Op. 14 in F minor (1822) **Violin Concerto No. 2 “Militaire” Op. 21 in D major (1826) **Violin Concerto No. 3 Op. 24 in E minor (1830–33) **Violin Concerto No. 4 Op. 32 in A major (1844) *Wynton Marsalis **Violin Concerto (2019) *Henri Marteau **Violin Concerto in C Major, Op. 18 (1916) *Bohuslav Martinů **Violin Concerto No 1 H 232b (1933) **Violin Concerto No. 2 H 293 (1943) *Felix Mendelssohn **Violin Concerto in D minor (1822) **Violin Concerto in E minor, Op. 64 (1844) *Edgar Meyer **Violin Concerto (2000) *Nikolai Myaskovsky **Violin Concerto in D Minor, Op. 44 (1938) *Wolfgang Amadeus Mozart **Violin Concerto No. 1 in B major, K. 207 (1773), with alternative Rondo in B, K. 269/261a (added 1775–1777) **Violin Concerto No. 2 in D major, K. 211 (1775) **Violin Concerto No. 3 in G major, K. 216, Strassburg (1775) **Violin Concerto No. 4 in D major, K. 218 (1775) **Violin Concerto No. 5 in A major, K. 219, Turkish (1775), with alternative Adagio in E, K. 261 (added 1776) **Violin Concerto No. 6 in E-flat major, K. 268 (Attributed to Johann Friedrich Eck, 1780–81) **Violin Concerto No. 7 in D major, K. 271a, Kolb (Doubtful, 1777) **Adélaïde Concerto (Forgery by Marius Casadesus, 1933) *Marjan Mozetich **Affairs of the Heart: Violin Concerto (1998) *Carl Nielsen **Violin Concerto, Op. 33 (1911) *Michael Nyman **Violin Concerto (2003) *Niccolò Paganini **Violin Concerto No. 1 in D major, Op. 6, MS 21 (ca. 1811–17) **Violin Concerto No. 2 in B minor, Op. 7, MS 48, La Campanella (1826) **Violin Concerto No. 3 in E major, MS 50 (ca. 1826–30) **Violin Concerto No. 4 in D minor, MS 60 (ca. 1829–30) **Violin Concerto No. 5 in A minor, MS 78 (1830) **Violin Concerto No. 6 in E minor, Op. posth., MS 75—probably the first to be written; only the solo part survives *Giovanni Battista Pergolesi **Violin Concerto in B flat major *Manuel M. Ponce **Violin Concerto (1943) *Gerhard Präsent **Violin Concerto Op. 73 (2015) *André Previn **Violin Concerto “Anne-Sophie” (2001) *Florence Price **Violin Concerto No. 1 in D major (1939) **Violin Concerto No. 2 in D minor (1952) *Sergei Prokofiev **Violin Concerto No. 1 in D major, Op. 19 (1917) **Violin Concerto No. 2 in G minor, Op. 63 (1935) *Behzad Ranjbaran **Violin Concerto (2002) * Max Reger **Violin Concerto in A major Op. 101 (1907–1908) *Miklós Rózsa **Violin Concerto, Op. 24 (1953) *Camille Saint-Saëns **Violin Concerto No. 1 in A major, Op. 20 (1859) **Violin Concerto No. 2 in C major, Op. 58 (1858) **Violin Concerto No. 3 in B minor, Op. 61 (1880) *Esa-Pekka Salonen **Violin Concerto (2009) *Alfred Schnittke **Concerto No. 1 for violin and orchestra (1957, revised 1963) **Concerto No. 2 for violin and chamber orchestra (1966) **Concerto No. 3 for violin and chamber orchestra (1978) **Concerto No. 4 for violin and orchestra (1984) *Arnold Schoenberg **Violin Concerto (1936) *Robert Schumann **Violin Concerto, WoO 23 (1853) *Laura Schwendinger **Violin Concerto “Chiaroscuro Azzurro” *Vache Sharafyan **Concerto-Serenata for violin and strings **Con-Cor-Dance Violin Concerto #2 *Dmitri Shostakovich **Violin Concerto No. 1 in A minor, Op. 77 (1948, rev. 1955 as Op. 99) **Violin Concerto No. 2 in C minor, Op. 129 (1967) *Aleksandr Shymko **Violin Concerto (2012) *Peter Seabourne **Violin Concerto (with string orchestra) (2018) *Jean Sibelius **Violin Concerto in D minor, Op. 47 (1904) *Maddalena Laura Sirmen **Six Violin Concerti *Richard Strauss **Violin Concerto (1881–82) *Igor Stravinsky **Violin Concerto (1931) *Karol Szymanowski ** Violin Concerto No. 1, Op. 35 (1916) ** Violin Concerto No. 2, Op. 61 (1932–1933) *Toru Takemitsu **Far calls. Coming, far! for Violin and Orchestra (1980) *Boris Tchaikovsky **Concerto for Violin and Orchestra (1969) *Pyotr Ilyich Tchaikovsky **Violin Concerto in D major, Op. 35 (1878) *Daniel Theaker **Violin Concerto *Henri Vieuxtemps **Violin Concerto No. 1 in E major, Op. 10 (1840) **Violin Concerto No. 2 in F minor, Op. 19 (ca. 1835–36) **Violin Concerto No. 3 in A major, Op. 25 (1844) **Violin Concerto No. 4 in D minor, Op. 31 (ca. 1850) **Violin Concerto No. 5 in A minor, Op. 37, Grétry (1861) **Violin Concerto No. 6 in G major, Op. 47/Op. posth. 1 (1865–1870) **Violin Concerto No. 7 in A minor, Op. 49/Op. posth. 3 *Antonio Vivaldi — many, particularly: **L’estro Armonico, Op. 3 (1711)—twelve concertos **La stravaganza, Op. 4 (ca. 1714) **The Four Seasons (ca. 1725)—four concertos, the first four numbers of Il cimento dell’armonia e dell’inventione, Op. 8 *Giovanni Battista Viotti **Violin Concerto No. 22 in A Minor *William Walton **Violin Concerto (1939) *Henryk Wieniawski **Violin Concerto No. 1 in F minor, Op. 14 (1853) **Violin Concerto No. 2 in D minor, Op. 22 (1862) *John Williams **Concerto for Violin and Orchestra (1976) **TreeSong: for Violin and Orchestra (2000) *Malcolm Williamson **Violin Concerto (1963–1964) * Felix Woyrsch ** Skaldische Rhapsodie in D minor, Op. 50 (1904) * Pēteris Vasks ** Tālā Gaisma (“Distant Light”) (1996-7) * He Zhanhao and Chen Gang ** Butterfly Lovers’ Violin Concerto (1959)

Violin in music

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

Classical music#

Since the Baroque era, the violin (Baroque violin) has been one of the most important of all instruments in classical music, for several reasons. The tone of the violin stands out above other instruments, making it appropriate for playing a melody line. In the hands of an adept player, the violin is extremely agile, and can execute rapid and difficult sequences of notes. The violin is also considered a very expressive instrument, which is often felt to approximate the human voice. This may be due to the possibility of vibrato and of slight expressive adjustments in pitch and timbre. Many leading composers have contributed to the violin concerto and violin sonata repertories. Violins make up a large part of an orchestra, and are usually divided into two sections, known as the first and second violins. Composers often assign the melody to the first violins (who are often given more technically difficult music), while second violins play harmony, accompaniment patterns or the melody in a lower range than the first violins. A string quartet similarly has parts for first and second violins, as well as a viola part, and a bass instrument, such as the cello or, rarely, the double bass. Some modern classical violinists are returning to the art of improvisation as an integral part of their classical music performance, with their own improvisations and embellishments in cadenzas, and even entire concerts through improvisation. These include Algerian-French violinist Gilles Apap, Finnish violinist-composer Pekka Kuusisto and Australian violinist-composer Rupert Guenther.

Violin sonata

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

The early violin sonata#

In the earliest violin sonatas a bass instrument and the harpsichord played a simple bass line (continuo) with the harpsichord doubling the bass line and fixed chords while the violin played independently. The music was contrapuntal with no fixed format. Georg Philipp Telemann wrote many such sonatas as did Johann Sebastian Bach. Bach also wrote sonatas with harpsichord obbligato, which freed the keyboard instrument from playing only a bass line accompaniment and allowed in to enhance the part of the soloist. He also wrote sonatas for solo violin without any kind of accompaniment.

Virelai

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

Musical virelai#

The virelai as a song form of the 14th and early 15th century usually has three stanzas, and a refrain that is stated before the first stanza and again after each. Within each stanza, the structure is that of the bar form, with two sections that share the same rhymes and music (Stollen), followed by a third (Abgesang). The third section of each stanza shares its rhymes and music with the refrain. Thus, it can be schematically represented as AbbaA, where “A” represents the repeated refrain, “a” represents the verse set to the same music as the refrain, and “b” represents the remaining verses set to different music. Within this overall structure, the number of lines and the rhyme scheme is variable. The refrain and Abgesang may be of three, four or five lines each, with rhyme schemes such as ABA, ABAB, AAAB, ABBA, or AABBA. The structure often involves an alternation of longer with shorter lines. Typically, all three stanzas share the same set of rhymes, which means that the entire poem may be built on just two rhymes, if the Stollen sections also share their rhymes with the refrain. “Douce Dame Jolie” by Guillaume de Machaut is an example of a virelai with rhymes AAAB in the refrain, and AAB (with a shortened second verse) in each of the stollen sections. : : : : :: :: :: :: :: :: :: :: :: :: : : : :

Visayan pop

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

Definitions and etymology#

The term “Vispop” is derived from Visayan pop or Visayan popular music. Lorenzo “Insoy” Niñal, a member of the Visayan Pop Songwriting Campaign committee, said in 2019, “We have different languages in the Visayas. We accept that. We are sensitive to nuances, that’s why it is called Bisaya, not Cebuano pop.” However, various sources still use the term Vispop in reference to popular music written specifically in Cebuano. Many artists and songs from the Mindanao region are associated with Vispop, due to their use of Cebuano. Examples include the band Oh! Caraga, whose members hail from Caraga, as well as Maris Racal, KZ Tandingan, who are all from Davao. Writing for Nusasonic, Dominic Zinampan noted that “most” budots songs were written in Cebuano, although the musical style originated in Davao. He explained that its history was “deeply rooted in Bisaya culture”. In an article published on February 18, 2025, The Philippine Daily Inquirer ’s Gabriel Pabico Lalu identified budots as a “Visayan pop dance craze”. In the late 2010s, distinct pop music movements emerged in Iloilo and Mindanao. The former was called Ilonggo Pop and focused on songs written in the Hiligaynon language. The latter, called Mindanao Pop or Minpop, aimed to “hyper-localize” pop songs to Mindanao, although some Minpop songs still feature Cebuano lyrics. Founders of both movements have acknowledged Vispop as their inspiration.

Visual kei

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

Etymology#

The term “visual kei” was derived from one of X Japan’s slogans, “Psychedelic Violence Crime of Visual Shock”, seen on the cover of their second studio album Blue Blood (1989). This derivation is credited as being coined by Seiichi Hoshiko, the founding editor of Shoxx magazine, which was founded in 1990 as the first publication devoted to the subject. However, he explained in a 2018 interview with JRock News that visual kei was technically coined, or at least inspired by, X Japan’s lead guitarist Hide. Hoshiko also said that at the time they were called , “but it simply felt… too cheap… Even though X Japan was a big band and people used the term ‘Okeshou kei’ to describe them, the term was still lacking substance, I didn’t like the term at all! Because of this, I tried to remind all the writers to not use this term as ‘They are not okeshou kei, they are visual-shock kei’. From there, it went from ‘Visual-shock kei’ to ‘Visual-kei’ to ‘V-kei’. After we spread the word, fans naturally abbreviated it to ‘V-kei’. The Japanese love to abbreviate everything as a matter of fact.” Hoshiko considers visual kei a distinctive Japanese music genre and defined it “as the music itself along with all the visual aspects of it.”

VI on Music Theory Print

Video game music

Early video game technology and computer chip music#

Vietnamese diasporic music

Origin#

Vigilante rap

Viking metal

Vikings#

Viking rock

List of notable Viking rock bands#

External links#

Villancico

Portuguese type#

Villanelle

Etymology#

History#

Vinahouse

Viola concerto

Early history of the viola concerto#

Viola sonata

Work list#

See also#

External links#

Violin concerto

List of violin concertos#

Violin in music

Classical music#

Violin sonata

The early violin sonata#

Virelai

Musical virelai#

Visayan pop

Definitions and etymology#

Visual kei

Etymology#