Canada on Music Theory Print

Banjo music

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History#

Banjo music originated informally as a form of African folk music over a hundred years ago probably in the sub-Saharan region. When the Americans forced African slaves to work on the plantations, banjo music followed them, and stayed primarily a form of African folk music, up to the 1800s. It was during this time that the banjo in all probability was first introduced to Ireland, when the Virginia Minstrels toured in England, Ireland and France in 1843, 1844 and 1845. With his minstrel shows, Joel Walker Sweeney is credited with extending the popularity of the banjo as well as its music to an enormous audience all over the United States and Europe. With the spread of popularity of the banjo, it influenced different kinds of music - it gave rise to mountain string bands, and even helped give a foundation for blues music. The occurrences of hootenannies gave a house to banjo music, where it made its place in American folk music and bluegrass. American television shows such as Hee Haw have made banjo music all the more popular, and more a part of American culture.

Canadian blues

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Origins#

Due to Canada’s proximity to the United States (there is a huge shared border), and to the fact that most of the Canadian population lives close to the border, many US blues artists have played in Canadian towns and cities. As well, many Canadian musicians and bands have been able to play in US towns, particularly Canadians who live near US cities close to the border, such as Detroit and Chicago. These two elements have given Canadian blues musicians a substantial opportunity to be directly influenced by US artists. Canadian blues is based on the major US blues styles, such as Chicago Blues and Mississippi Blues. The proximity of the two countries also facilitates collaborative projects featuring artists from both countries. For example, the Canadian bluesman JW-Jones had his third album, My Kind Of Evil (2004), produced by the US artist Kim Wilson (singer and harmonica player for The Fabulous Thunderbirds), and subsequent albums included collaborations with US saxophonist David “Fathead” Newman and US blues artists such as Little Charlie Baty, Junior Watson, Richard Innes, and Larry Taylor. Canadian harp player and band leader David Rotundo has visited many of the key US blues regions, which greatly influenced his musical development.

Canadian country music

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Canadian folk music

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Elements of Canadian folk music#

Most genres of music have their known instruments that are played to compose a song. The principal instrument for Canadian folk music is known to be the fiddle. The first record of a fiddle in Canada is in 1645 at a wedding in Quebec on the 27th of November. After this account it seems that reports of fiddles are rare for the next 100 years. However, despite this hiatus in reports, the fiddle remains a well-known instrument among folk musicians and music.

Canadian hardcore punk

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Vancouver#

The Skulls were an early Vancouver punk rock/hardcore band, whose members would later found two of the area’s notable hardcore bands: D.O.A. and The Subhumans. They toured heavily and issued a demo, but never released any albums. Joey Keithley, a.k.a. Joey Shithead, was the singer, Brian Roy Goble, a.k.a. Wimpy Roy, the bass player, Simon Werner the guitar player and Ken Montgomery, a.k.a. Dimwit, the drummer. The Skulls played the (mostly hostile) club circuit in Vancouver and recorded a few songs at Psi-chords Studios, including “Fucked Up Baby”, which would later become a D.O.A. song. After the Subhumans broke up in 1982, Wimpy joined DOA, which now featured Dimwit on drums, who had just been in the Pointed Sticks. For the next several years DOA’s lineup was a virtual copy of the Skulls lineup, but with Dave Gregg instead of Simon Werner. D.O.A. formed in Vancouver, British Columbia in 1978 and were one of the first bands to refer to its style as “hardcore”, with the release of their album Hardcore ‘81. Other early hardcore bands from British Columbia included Dayglo Abortions, the Subhumans and The Skulls. In 1988, the Dayglo Abortions became the center of national media attention when a police officer instigated a criminal investigation of the band after his daughter brought home a copy of Here Today, Guano Tomorrow. Obscenity charges were laid against the Dayglo Abortions’ record label, Fringe Product, and the label’s record store, Record Peddler, but those charges were cleared in 1990. The Subhumans are a punk band formed in Vancouver in 1978. Known by pejorative, punk rock nicknames, original members were known simply as “Useless” (Gerry Hannah), “Dimwit” (Ken Montgomery), “Wimpy” (Brian Roy Goble) and “Normal” (Mike Graham). Dimwit quit the band shortly after their first 7-inch was released to join the Pointed Sticks and was replaced by Koichi Imagawa, also known as Jim Imagawa, on drums. The band came to fruition amid the inchoate Canadian hardcore punk scene of the early 1980s. Coupling horrific and occasionally humorous lyrical imagery with a dynamic punk sound, their 1985 debut album …And No One Else Wanted to Play has remained influential in underground circuits. Brand New Unit was a Canadian hardcore punk band from Vancouver. The band formed in 1991 near Surrey, and were widely known as the acronym B.N.U. in the early years, as a band name logo was needed to post on a playbill. They were featured on Thrasher Skate Rock Vol. 11 and in 1992 they were winners of CITR-FM’s SHiNDiG live performance contest, which awarded them some studio time. Stress Factor 9 is a hardcore punk band from Vancouver, formed in 2004. SF9s members include frontman Randy Rampage (founder of the hardcore band D.O.A. The band has one CD (Brainwarp Mindspin) and last played in January 2007.

Canadian heavy metal

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Canadian punk rock

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1970s–1990s#

Early Toronto punk bands included the Viletones, the Diodes, the Poles, the Ugly, Cardboard Brains, the Dents, the Mods, the Secrets, ARSON and the Scenics, and these were followed by the Demics, Crash Kills Five, Stark Naked and the Fleshtones and L’Étranger, plus Hamilton’s Forgotten Rebels and Teenage Head. Formed in Montreal in 1978, the all female band Blue Oil was part of Quebec’s early punk scene. In Vancouver D.O.A. and the Subhumans led a 1978-79-80 scene that included Pointed Sticks, Braineaters, Young Canadians, and the Modernettes. A few years later and many bands across Canada were carrying the punk torch, including Young Lions, Youth Youth Youth, Bunchofuckingoofs, SNFU, Dayglo Abortions, the Nils, Direct Action, APB, Nomeansno and Chronic Submission. Two of the biggest early punk shows in Toronto were The Last Pogo at the Horseshoe tavern in 1978, featuring Teenage Head, the Viletones, the Scenics, the Cardboard Brains, the Secrets, the Mods, and the Ugly, and the Rock Against Radiation concert July 19, 1980, at Nathan Phillips Square, featuring DOA, Stark Naked and the Fleshtones, the Viletones, the Forgotten Rebels, plus Joe College (promoter of the show) and the Rulers. Canadian hardcore punk also originated in the early 1980s. D.O.A. are known as the first Canadian hardcore band, and with the release of their album Hardcore ‘81 they set the standards for the style of music. That album title is considered to be the origin of the term hardcore punk. The punk tradition has carried on in Canada right up to modern bands like Fucked Up, The Salads, Alexisonfire, PUP, Cancer Bats.

Cape Breton fiddling

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Playing style#

Cape Breton- Scottish playing is accented, characterized by driven up-bowing. The tunes of other music origins (Irish, Canadian, French-Canadian, etc.) sound different when performed by Cape Breton- Scottish players. The downbeat pulse is driven by the fiddler’s heel into the floor. The pattern tends to be heel-and-toe on reels, the heel on strathspeys. Cape Breton fiddle music is influenced by the intonations of the Scots-Gaelic language, especially Puirt a Beul (mouth music) and strathspeys. The ornaments are adapted from those used on the Great Highland bagpipe. The ornamentation (cuts aka. trebles, drones and doubling) brings out the feeling of Cape Breton fiddle. A century ago the violin and pump organ were the common instruments; the latter has been supplanted by piano to provide a rhythmic accompaniment. Guitar is also used for accompaniment but it’s less prominent than piano.

Caribbean music in Canada

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1960s and 1970s#

Beginning in the mid-1960s, a wave of Caribbean musicians, especially but not exclusively from Jamaica, began to move to Toronto. Some of these, such as Jay Douglas, Jo Jo Bennett and Jackie Mittoo, pioneered the development of a reggae scene in the city, while others, such as Wayne McGhie, performed rhythm and blues, soul and funk in accordance with the dominant Toronto sound of the era.

1980s#

Caribbean music began to actively break through into the Canadian cultural mainstream in the 1980s when Parachute Club, a band who incorporated reggae and soca rhythms into a mainstream new wave dance-pop style, broke through to mass popularity with their 1983 hit single “Rise Up”. Their success in turn paved the way for reggae and dub poetry artists such as Leroy Sibbles, Lillian Allen, Messenjah, Clifton Joseph and Sattalites to break through to larger audiences; the Juno Awards, Canada’s primary music award, introduced an award for Reggae Recording of the Year in 1985. Parachute Club percussionist Billy Bryans, whose interest in Caribbean music had been influential in the introduction of reggae and soca elements into the band’s sound, also went on to become Canada’s first prominent and influential promoter and producer of homegrown Caribbean and Latin American music, producing albums for and managing numerous artists and acting, according to Brazilian Canadian singer-songwriter Aline Morales, as “a bridge between world music and the Canadian music scene”.

Celtic music in Canada

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Newfoundland#

There are very strong connections between Newfoundland folk music and Irish music, however elements of English folk music and French-Canadian and Acadian music can be heard within the style. A very traditional strain of Irish music exists in Newfoundland, especially in the primarily Irish-Catholic communities along the southern shore. The instrumentation in Newfoundland music includes the button accordion, guitar, violin, tin whistle and more recently the bodhrán. Many Newfoundland traditional bands also include bass guitar and drum kit. Other folk instruments such as the mandolin and bouzouki are common especially among Newfoundland bands with an Irish leaning. Because Newfoundland is an island in the North Atlantic, many of the songs focus on the fishery and seafaring. Many songs chronicle the history of this unique people. Instrumental tune styles include jigs, reels, two steps, and polkas.

Drill music

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Lyrics#

Drill lyrics tend to be adversarial and aggressive, sometimes with a “combative energy”. Drill lyrics strongly contrast with the subject matter of earlier Chicago rappers and contemporary mainstream hip hop which at the time of drill’s emergence tended to glorify and celebrate a rise to wealth. Drill rappers use a grim, deadpan delivery, often filtered through Auto-Tune, influenced by the “stoned, aimless warbling of Soulja Boy (one of the earliest non-local Keef collaborators) and Lil Wayne before him.” Atlanta-based rappers Gucci Mane and Waka Flocka Flame were important influences on the early drill rappers.

Emo

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Characteristics#

Emo originated in hardcore punk and is considered a form of Early emo bands used melody and emotional or introspective lyrics and that were less structured than regular hardcore punk, differentiating them from the aggression, anger, and structures of traditional hardcore punk. According to Chris Payne, author of Where Are Your Boys Tonight?: The Oral History of Emo’s Mainstream Explosion, emo is “often more melodic, more vulnerable than traditional hardcore — and often really over the top. There are also really performative aspects in emo.” Sandra Song of CNN describes emo as a “softer approach to hardcore punk, with warbly vocals and evocative lyrics that have other bands derisively calling it the sound of ’teen angst.’” Em Casalena of American Songwriter stated that the genre is characterized by an “angsty yet kind of miserable vibe”. Despite being rooted in hardcore punk, emo has also been associated with other related genres, such as alternative rock, indie rock, punk rock, and pop punk. During the 2000s, it became common for bands to fuse emo with harder styles such as heavy metal and metalcore to varying degrees by incorporating metallic riffs, guitar solos and breakdowns into their songwriting. Bands who have released songs in this style include From First To Last, Bullet for My Valentine, Escape the Fate, Underoath and My Chemical Romance. Andrew Sacher of Brooklyn Vegan has expressed his belief that the year 2001 was a “crossroads” of sorts for the genre, stating that “emo came in a lot of different varieties” during that year. He said: “There were bands who were still playing the style of second wave emo that was prominent in the 1990s, as well as bands beginning to define the sound of the third wave. Some bands leaned more towards post-hardcore, others more towards pop punk, others towards indie rock, and others towards softer, acoustic guitar and piano-based music.” The New York Times described emo as “emotional punk or or That is, punk that wears its heart on its sleeve and tries a little tenderness to leaven its sonic attack. If it helps, imagine Ricky Nelson singing in the Sex Pistols.” Author Matt Diehl called emo a “more sensitive interpolation of punk’s mission”. Lyrics, a focus in emo music, are typically personal and confessional, Themes usually deal with topics such as failed romance, self-loathing, pain, insecurity, suicidal thoughts, love, and relationships. Emo guitar dynamics use both the softness and loudness of punk rock music. According to AllMusic, most 1990s emo bands “borrowed from some combination of Fugazi, Sunny Day Real Estate, and Weezer”. Some emo leans toward the characteristics of progressive music with the genre’s use of complex guitar work, unorthodox song structures, and extreme dynamic shifts.

French-Canadian music

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Grunge

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Etymology#

The term “grunge” is American slang for “someone or something that is repugnant” and also for “dirt”. In 1988, it was first recorded as being applied to Seattle musicians in a Sub Pop mail order catalog, when Bruce Pavitt described Green River’s Dry as a Bone EP as “Gritty vocals, roaring Marshall amps. Ultra-loose GRUNGE that destroyed the morals of a generation”. Although the phrase “grunge” has been used to describe bands since the 1960s, this was the first association of grunge with the sound of a Seattle rock band. Nirvana’s frontman Kurt Cobain, in one of his final interviews, credited Jonathan Poneman, cofounder of Sub Pop, with coining the term “grunge” to describe the music. The term “Seattle sound” became a marketing ploy for the music industry. Seattle musician Jeff Stetson states that when he visited Seattle in the late 1980s and early 1990s as a touring musician, the local musicians did not refer to themselves as “grunge” performers or their style as “grunge” and they were not flattered that their music was being called “grunge”. Robert Loss acknowledges the challenges of defining “grunge”; he stated that, while he can recount stories about grunge, they do not serve to provide a useful definition. Roy Shuker states that the term “obscured a variety of styles.” Stetson states that prominent bands considered to be grunge (Nirvana, Pearl Jam, Soundgarden, Alice in Chains, Mudhoney and Hammerbox) all sound different.

Hardvapour

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Beginnings#

On 29 November 2015, Canadian vaporwave producer Wolfenstein OS X (or WosX for short) released End of World Rave, the earliest notable hardvapour release, The album featured music that intentionally opposed aspects that were typically associated with the vaporwave sound. which announced the “death” of vaporwave and a “new era.” The album features a spoken word track with the lyrics, “Now, in the beginnings of the end of the world, vaporwave is dead. From now on, it will only be… the hardvapour.”

Montreal DIY music scene

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Background and early history#

In 2007, many artists including Sebastian Cowan, Alexander Cowan, Ezra Gray and Jeff Boyd, as well as video director Emily Kai Bock, formed the artist collective and venue space Lab Synthese in Mile End, Montreal, Quebec. In 2008, Sebastian Cowan was influenced by the concept of Constellation Records to form Arbutus Records as part of the Lab Synthese art collective; the intention of the label was to release music by artists that each had their own individual style of music instead of focusing on issuing records of only one type. In the words of Dazed, the music that has been distributed by Arbutus include the “luminous lullaby techno” works of Blue Hawaii, the “provocative cabaret confessionals” by singer-songwriter Sean Nicholas Savage, energetic sample-heavy music by Airick Woodhead’s project Doldrums, and indie group TOPS’ “hazy” dream pop; however, they all feel “enchantingly disparate.” Silly Kissers, a defunct group whose members included Savage and all the people who would later form TOPS, were labeled by Dazed as an inspiration for the Arbutus acts to experiment with pop music, as well as the ethos of the Montreal scene.

Northwestern hip-hop

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1980–1986#

1982 marked the year “The King Crewsade” radio show started on KBOO based in Portland Oregon. Host Chris Blanchard, aka “King Vitamin” hosted this call in rap show with rudimentary scratch mixes featuring Sugarhill Records and songs like Planet Rock.

1986–1992#

In 1986, the first radio show in Spokane to play rap and hip-hop on commercial radio was The Power Switch on POWER 104 FM (KXVO). Hosted by TJ Collins, Collins also featured local rappers and began airing mixes by GrandMixer GMS (who was a young teenager at the time). Nastymix Records, the Northwest’s first hip-hop label was founded with the local release of Sir Mix-A-Lot’s “Square Dance Rap”. Def American released Sir Mix-A-Lot’s 1992 No. 1 hit “Baby Got Back”, which won a Grammy Award for Best Rap Solo Performance. This award came after Nastymix’s last release, Criminal Nation’s 1992 album Trouble in the Hood.

Pop screamo

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Characteristics#

Pop screamo builds upon the template of traditional screamo, but differentiates itself by incorporating melodic, sung vocals and metal influenced riffs. It additionally embraces elements of emo pop, and the dissonant metalcore style of Deadguy, Botch, Converge and Coalesce. Some bands in the genre also incorporated elements from other 2000s post-hardcore styles. Oftentimes, verses feature unclean vocals, while choruses use clean singing. breakdowns are also frequently used, oftentimes during a song’s bridge. Alternative Press Magazine described it as a subgenre of post-hardcore, while Ultimate Guitar editor Jorge Martins called it a subgenre of the post-hardcore subgenre screamo.

Post-hardcore

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Characteristics#

Hardcore punk typically features very fast tempos, loud volume, and heavy bass levels, as well as a “do-it-yourself” ethic. Post-hardcore generally incorporates more complex chord shapes and progressions. According to SiriusXM, “tempos could be slow, or as fast as metal, and singing was allowed to be inventive.” British post-punk of the late 1970s and early 1980s has been seen as influential on the musical development of post-hardcore bands.

Origins (1980s)#

Groups such as Minutemen, Naked Raygun, and The Effigies, Los Angeles’ Saccharine Trust mixed Minutemen’s sound with that of post-punk acts The Fall and Gang of Four on early releases like their EP Paganicons, helping to further the burgeoning genre. During the early- to mid-1980s, the desire to experiment with hardcore’s basic template expanded to many musicians that had been associated with the genre or had strong roots in it. David Grubbs-related bands Bastro and Bitch Magnet, and Steve Albini’s Big Black, Rapeman, are also associated with post-hardcore. made themselves known for their strict DIY ethic, After the issuing of the “Il Duce” single and between the release of their only two full-length studio albums, Big Black left Homestead for Touch and Go Records, that, according to Stephen Thomas Erlewine, “laid the groundwork for much of the distorted, grinding alternative punk rockers of the ’90s”. In 1984, Minneapolis punk band Hüsker Dü released their second studio album, Zen Arcade, considered a key post-hardcore record. and Rolling Stone. Outside the United States, post-hardcore would take shape in the works of the Canadian group Nomeansno, related with Jello Biafra and his independently run label Alternative Tentacles, and that had been active since 1979. The magazine Dusted noted that the group’s 1989’s release Wrong was “one of the most aggressive and powerful opuses in post-hardcore ever made”.

Quebec fiddle

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History and development#

According to Reiner and Anick, the affinity between Anglo-Celtic and French fiddle music dates to the 17th century. Solo style predominated in the rugged frontier land where a small fiddle could be easily managed. Thus, cross tunings, drone notes and complex rhythms evolved to fill the gaps left in unaccompanied playing and this resulted in a highly developed style. Clogging was often the only available accompaniment, and, much like the Indigenous Metis fiddle style, percussive and rhythmic playing is notably developed in this style. As with the French-speaking Cajun fiddle style, German button accordion created a fad which temporarily influenced the form, as did the eventual introduction of piano in the urban center Montreal.

Reel (dance)

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History#

The reel is indigenous to Scotland. The earliest reference was in a trial of 1590, where the accused was reported to have “daunced this reill or short dance.” However, the form may go back to the Middle Ages. The name may be cognate with or relate to an Old Norse form, with Suio-Gothic rulla, meaning “to whirl.” This became Anglo-Saxon hreol and Gaelic ruidhle or ruidhleadh, which is the origin of the word now. Later it was introduced to North America by English, Scottish, and Irish colonists and immigrants. In the United States, reels remain central in the traditions of Anglo and African-American Old-time music and square dancing, as well as Cajun and Zydeco. In Canada, they are important parts of Cape Breton, Acadian, Québécois, and Métis repertoires.

Rock music of Canada

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Background#

Since before Canada’s emergence as a nation in 1867, the country has produced its own composers, musicians and ensembles. From the 17th century onward, Canada has developed a music infrastructure that includes concert halls, conservatories, academies, performing arts centres, record companies, radio stations and national music video television channels. The success of the gramophone at the beginning of the 20th century allowed Canadian songwriters to broaden their potential audiences. Following quickly on the gramophone’s spread came World War I. The war was the catalyst for the writing and recording of large numbers of Canadian-written popular songs, some of which achieved lasting international commercial success. The 1920s saw Canada’s first radio stations, this allowed Canadian songwriters to contribute some of the most famous popular music of the early 20th century. Canada has produced a number of notable international recording artists who appeared on the Billboard record sales chart called Hit Parade first published in 1936. Among them was the World War II era bandleader, Guy Lombardo, who with his brother has sold an estimated 250 million phonograph records during their lifetimes. Over the course of his career, which began in 1944, Montreal’s jazz virtuoso Oscar Peterson released over 200 recordings, won seven Grammy Awards, and received many other awards and honors. Oscar Peterson is considered to have been one of the greatest pianists of all time. Nova Scotia-born and raised Hank Snow who signed with RCA Victor in 1936 and went on to become one of America’s most innovative country music superstars.

Toronto sound (hip-hop)

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Beginnings#

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

Turlutte (music)

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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.

Western music (North America)

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Characteristics#

Western music covers an array of styles and experiences that reflect the various communities that were present along the 19th century U.S frontier. Some songs were developed by cowboys working on isolated cattle ranches. The mundane, lonely life on the ranches gave way to musical expression and cowboys would often make use of repurposed folk and popular songs to further convey their lifestyle through music. In addition to portraying life on the cattle ranches and trails, the genre of western music also encompasses songs about Texas Rangers, pioneers, outlaws, Native Americans, nature, Mexican/American experiences, and miners rushing for gold. Otto Gray, an early cowboy band leader, stated authentic western music had only three rhythms, all coming from the gaits of the cow pony: walk, trot, and lope. Gray also noted the uniqueness of this spontaneous American song product, and the freedom of expression of the singers. The choruses of cowboy songs often contained various cries, whoops, and yells that were infused with lyrics. The more waltz-like nature of these songs differs from the actual rhythms found in cowboy life, and instead, works to embellish the sentimental, humorous, and mythologized nature of popular frontier stories. Oftentimes, such influences derived from older European folk songs and traditions. Accordions brought to North America by German and Bohemian immigrants were utilized by Mexican musicians to adapt waltzes and polkas into a style of dance music associated with the Old West. Other instruments that would have been used on the frontier and incorporated into western music include the fiddle, harmonica, banjo, guitar, and mandolin.

Canada on Music Theory Print

Banjo music

History#

Canadian blues

Origins#

Canadian country music

See also#

Canadian folk music

Elements of Canadian folk music#

Canadian hardcore punk

Vancouver#

Canadian heavy metal

Canadian punk rock

1970s–1990s#

Cape Breton fiddling

Playing style#

Caribbean music in Canada

1960s and 1970s#

1980s#

Celtic music in Canada

Newfoundland#

Drill music

Lyrics#

Emo

Characteristics#

French-Canadian music

See also#

Grunge

Etymology#

Hardvapour

Beginnings#

Montreal DIY music scene

Background and early history#

Northwestern hip-hop

1980–1986#

1986–1992#

Pop screamo

Characteristics#

Post-hardcore

Characteristics#

Origins (1980s)#

Quebec fiddle

History and development#

Reel (dance)

History#

Rock music of Canada

Background#

Toronto sound (hip-hop)

Beginnings#

Turlutte (music)

Quebec popular music#

Song#

Western music (North America)

Characteristics#