YU on Music Theory Print

Yu-Mex

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

History#

In the immediate post-war period, Yugoslavia did not have much of a film industry and the majority of films were imported from the Soviet Union. Following the Tito–Stalin split of 1948, Soviet films were no longer shown in the country. At the same time, due to ideological differences, Yugoslav president Josip Broz Tito did not want his country to import American films. As a result, he turned to importing Mexican films. The fact that many Mexican films of the “Golden Age” glorified the Mexican Revolution and depicted ordinary Mexicans rising up against the oppressive Mexican state made Mexican films “revolutionary” enough to be shown in Yugoslavia. Many parallels were drawn between the struggle waged by the Yugoslav Partisans in World War II and the guerrillas who fought in the Mexican Revolution. The first Mexican film to premiere in Yugoslavia was the 1950 drama Un día de vida (One Day of Life, Jedan dan života), which became a huge hit when it appeared in Yugoslav theaters in 1952. The plot of Un día de vida, which dealt with the execution of a rebel during the Mexican Revolution, brought many Yugoslav audiences to tears, as they saw a parallel with their own experiences in World War II. Other, less political Mexican films, such as comedies and romances, also became popular. It was common for many young Yugoslavs to imitate the styles of Mexican film stars, who were seen as embodying everything that was “cool”. Because many of the films shown in Yugoslavia in the 1950s–1960s were Mexican, everything Mexican became very popular in Yugoslavia and many musicians started to don sombreros to perform Mexican music, either singing in Serbo-Croatian or in the original Spanish. The interest slowly faded after the 1970s. Some of the well-known Yu-Mex performers of the era were Nikola Karović, Slavko Perović, Ljubomir Milić and his ensemble Paloma ( Palomci, among them Rade Todosijević ), Miroslava Mrđa, Đorđe Masalović, Ana Milosavljević, Trio Tividi, Manjifiko, Nevenka Arsova, and others. Other famous singers and musicians, such as Predrag Cune Gojković and Mišo Kovač, also performed Yu-Mex songs.

Yuanben

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

Role types#

There were five role types in : * (), derived from the role type in , a clown * (), derived from the role type in , a jester * (), a playleader * (), an actor-director * (), a mandarin

Yue opera

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

Pre-history#

Prior to 1906, the antecedent to Yue opera was story-singing. It was initially an entertainment for people in Sheng County. Its lyrics are mostly collected from conversations between farmers while they were working. Audiences loved these ballads because of their vivid description of daily life. The Second Opium War interfered with the local economy of Sheng County, located in the Jiangnan area, near Shanghai. Since Sheng County agriculturalists were experiencing difficulty earning their livelihoods, they started to turn this folk art into a second source of income. Over years, the accumulation of lyrics built up the fundamental source materials for Yue opera, and the folk music gradually developed its own style. Performers also began to integrate simple acting and accompanying instruments into the folk music. It gradually became well known, both in Sheng County and neighboring counties.

Yugoslav new wave

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

Decline#

As new wave perished in the late-1980s, some of the bands split or took different musical directions. The period around 1982 is considered especially crucial concerning the decline of new wave in Yugoslavia. There were several other reasons why Yugoslav new wave started to fade beside the notable general decline of new wave around the world: the economical crisis in Yugoslavia in the first half of the 1980s and the political instability, especially in the Socialist Autonomous Province of Kosovo in 1981 after Josip Broz Tito’s death. Also, the musical genres such as post-punk, dark wave and gothic rock, as well as New Romantic and synth-pop already saw a great expansion around the world, including Yugoslavia too. Šarlo Akrobata changed from its initial ska and reggae-inspired period, embracing a deeper post-punk sound. They were also a support act of Gang of Four in Zagreb, before they finally split in 1981. Milan Mladenović, the band’s notable vocalist and guitarist in 1982 formed the cult band Ekatarina Velika which was noted for its dark poetic post-punk style and intellectual attitude. In the same year, his bandmate Dušan “Koja” Kojić formed the group Disciplin A Kitschme (), a band influenced by a variety of music styles, which later rose to international prominence. Idoli, Prljavo kazalište and Film (the latter under the moniker Jura Stublić i Film) later became pop or pop rock and all of them respectively achieved great mainstream success. During the 1980s, Azra gradually moved to more conventional rock with occasional use of folk rock elements. Johnny Štulić’s poetic trademarks were still notable throughout their lyrics; Električni Orgazam soon became a successful mainstream rock band inspired mostly by the 1960s including artists such as The Rolling Stones.

Yuka (music)

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

Drumming#

The Bantu word yuka means “to beat” and is also used to refer to the drums used in yuka performances. According to Fernando Ortiz, yuka drums were known in the Kongo language as ngóma bobóla mámbu, where ngóma means “drum”, bobóla “deep sound” and mámbu “collective business”. These drums are made from hollowed-out trunks of the avocado tree. Leather is nailed to one of the open ends, and the player hits the skin with both hands, the drum being slanted between his legs. The drums come in three sizes: *caja, the largest and lowest-pitched yuka drum; *mula, medium sized; *cachimbo, the smallest and highest-pitched drum, it is also known as tumba, tumbador, llamador or tahona. The yuka accompanied by this guataca bell plays a variation of the commonly used tresillo pattern.

Yukar

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

Translation history#

Professor Kyōsuke Kindaichi collected and translated them into Japanese. In August 2006, the reported in its article that Japan’s Agency of Cultural Affairs () would discontinue funding by fiscal year 2007 of the project to translate and transcribe the compilations of Imekanu, , which consists of 92 stories written in romaji with the tenth story lost and 49 stories left untranslated. It is said that the stoppage was because of Shigeru Kayano’s death in May 2006. The Ainu epic is a major example of the style.

Yuman music

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

Singing#

The songs are sung in particular cycles. Among Mohave people, a cycle could consist of 50–200 songs. Together thirty song cycles exists, all of which were initially dreamed by singers. A complete song cycle took an entire night to perform, which would be accompanied by gourd rattles or beating on baskets.

Instruments#

While singing is the focus of Yuman music, it can be accompanied by rattles, which can be made of gourd or tin cans.