Pirekua
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Pirekua
''Pirekua'' (Purépecha) is a song form of the Purépecha (Michoacán, Mexico). The singer of a ''pirekua'', a ''pirériecha'', may be male or female, solo or accompanied, and ''pirekua'' may be performed instrumentally. ''Pirériechas'' act as social mediators and "express sentiments and communicate events of importance to the Purépecha communities."Intangible Cultural Heritage:Pirekua, traditional song of the P’urhépecha, ''UNESCO.org''. ''Pirekua'' ensembles usually include, "two or three guitars, strings and winds, nda small brass band, or 'pirériecha'' areunaccompanied." Performed with "a gentle rhythm," generally in ''sones'' ( time) or ''abajeños'' ( time), the genre combines African, European, and indigenous American influences. ''Pirekua'' is related to the son and the waltz, and Henrietta Yurchenco points out that both the ''son'' and ''pirekua'' are in a slow triple meter, performed as duets, featuring rhythmic sequence against fixed patterns in the accompan ...
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UNESCO Intangible Cultural Heritage Lists
UNESCO established its Lists of Intangible Cultural Heritage with the aim of ensuring better protection of important intangible cultural heritages worldwide and the awareness of their significance.Compare: This list is published by the Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage, the members of which are elected by State Parties meeting in a General Assembly. Through a compendium of the different oral and intangible treasures of humankind worldwide, the programme aims to draw attention to the importance of safeguarding intangible heritage, which UNESCO has identified as an essential component and as a repository of cultural diversity and of creative expression. The list was established in 2008 when the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage took effect. the programme compiles two lists. The longer, Representative List of the Intangible Cultural Heritage of Humanity, comprises cultural "practices and expressio ...
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Purépecha People
The Purépecha (endonym pua, P'urhepecha ) are a group of indigenous people centered in the northwestern region of Michoacán, Mexico, mainly in the area of the cities of Cherán and Pátzcuaro. They are also known by the pejorative "Tarascan", an exonym, applied by outsiders and not one they use for themselves. The Purépecha occupied most of Michoacán but also some of the lower valleys of both Guanajuato and Jalisco. Celaya, Acambaro, Cerano, and Yurirapundaro. Now, the Purépecha live mostly in the highlands of central Michoacán, around Lakes Patzcuaro and Cuitzeo. History Prehispanic history It was one of the major empires of the Pre-Columbian era. The capital city was Tzintzuntzan. Purépecha architecture is noted for step pyramids in the shape of the letter "T". Pre-Columbian Purépecha artisans made feather mosaics that extensively used hummingbird feathers, which were highly regarded as luxury goods throughout the region. During the Pre-Colonial era, the Purà ...
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Regional Styles Of Mexican Music
Regional styles of Mexican music vary greatly from state to state. Norteño, banda, duranguense, Son mexicano and other Mexican country music genres are often known as regional Mexican music because each state produces different musical sounds and lyrics. Baja California : Baja California has a characteristic style derived from the huapango norteño, known as calabaceado. Calabaceado is a type dance that was created in the 1940s based in the fact that "norteño music" and typical cowboy cultures were being mixed and this dance shows the mixture of both styles. Other norteño forms are also popular, such as Vals Norteño, Chotis, Mazurka and mariachi. Chiapas : Chiapas has produced many marimba bands and artists, such as Marimbas de Chiapas. Chiapas has its own "son" tradition (son chiapaneco), often played on the marimba. Mexican waltzes are also particularly popular here. Chihuahua : Chihuahua norteño is unique in that it uses the saxophone in addition to the tradit ...
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Purépecha Language
Purépecha (also ''P'urhépecha'' , tsz, Phorhé or ''Phorhépecha''), often called Tarascan, which is a pejorative term coined by Spanish colonizers ( es, Tarasco), is a language isolate or small language family that is spoken by some 140,000 Purépecha in the highlands of Michoacán, Mexico. Purépecha was the main language of the pre-Columbian Tarascan State and became widespread in the region during its heyday in the late post-Classic period. The small town of Purepero got its name from the indigenous people who lived there. Even though it is spoken within the boundaries of Mesoamerica, Purépecha does not share many of the traits defining the Mesoamerican language area, suggesting that the language is a remnant of an indigenous pre-Aztec substrate that existed several thousands of years ago before the migration of speakers that contributed to the formation of the sprachbund, or alternatively is a relatively new arrival to the area. Classification Purépecha has long bee ...
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Accompaniment
Accompaniment is the musical part which provides the rhythmic and/or harmonic support for the melody or main themes of a song or instrumental piece. There are many different styles and types of accompaniment in different genres and styles of music. In homophonic music, the main accompaniment approach used in popular music, a clear vocal melody is supported by subordinate chords. In popular music and traditional music, the accompaniment parts typically provide the "beat" for the music and outline the chord progression of the song or instrumental piece. The accompaniment for a vocal melody or instrumental solo can be played by a single musician playing an instrument such as piano, pipe organ, or guitar. While any instrument can in theory be used as an accompaniment instrument, keyboard and guitar-family instruments tend to be used if there is only a single instrument, as these instruments can play chords and basslines simultaneously (chords and a bassline are easier to pla ...
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Masterpieces Of The Oral And Intangible Heritage Of Humanity
The Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity was made by the Director-General of UNESCO starting in 2001 to raise awareness of intangible cultural heritage and encourage local communities to protect them and the local people who sustain these forms of cultural expressions. Several manifestations of intangible heritage around the world were awarded the title of ''Masterpieces'' to recognize the value of the non-material component of culture, as well as entail the commitment of states to promote and safeguard the Masterpieces. Further proclamations occurred biennially. In 2008, the 90 previously proclaimed Masterpieces were incorporated into the new Representative List of the Intangible Cultural Heritage of Humanity as its first entries. Background UNESCO defines oral and intangible heritage as "the totality of tradition-based creations of a cultural community expressed by a group or individuals and recognized as reflecting the expectations of a ...
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Indigenous Culture Of Mexico
Indigenous may refer to: *Indigenous peoples *Indigenous (ecology), presence in a region as the result of only natural processes, with no human intervention *Indigenous (band), an American blues-rock band *Indigenous (horse), a Hong Kong racehorse * ''Indigenous'' (film), Australian, 2016 See also *Disappeared indigenous women *Indigenous Australians *Indigenous language *Indigenous religion *Indigenous peoples in Canada *Native (other) Native may refer to: People * Jus soli, citizenship by right of birth * Indigenous peoples, peoples with a set of specific rights based on their historical ties to a particular territory ** Native Americans (other) In arts and enterta ...
* * {{disambiguation ...
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Lyrics
Lyrics are words that make up a song, usually consisting of verses and choruses. The writer of lyrics is a lyricist. The words to an extended musical composition such as an opera are, however, usually known as a "libretto" and their writer, as a "librettist". The meaning of lyrics can either be explicit or implicit. Some lyrics are abstract, almost unintelligible, and, in such cases, their explication emphasizes form, articulation, meter, and symmetry of expression. Rappers can also create lyrics (often with a variation of rhyming words) that are meant to be spoken rhythmically rather than sung. Etymology The word ''lyric'' derives via Latin ' from the Greek ('), the adjectival form of '' lyre''. It first appeared in English in the mid-16th century in reference to the Earl of Surrey's translations of Petrarch and to his own sonnets. Greek lyric poetry had been defined by the manner in which it was sung accompanied by the lyre or cithara, as opposed to the chanted forma ...
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Modulation (music)
In music, modulation is the change from one tonality ( tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature (a key change). Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization. Requirements * Harmonic: quasi- tonic, modulating dominant, pivot chordForte (1979), p. 267. *Melodic: recognizable segment of the scale of the quasi-tonic or strategically placed leading-tone *Metric and rhythmic: quasi-tonic and modulating dominant on metrically accented beats, prominent pivot chord The quasi-tonic is the tonic of the new key established by the modulation was semi. The modulating dominant is the dominant of the quasi-tonic. The pivot chord is a predominant to the modulating dominant and a chord common to both the keys of the tonic and the quasi-tonic. For example, in a modulation to the dominant, ii/V–V/V– ...
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Minor Scale
In music theory, the minor scale is three scale patterns – the natural minor scale (or Aeolian mode), the harmonic minor scale, and the melodic minor scale (ascending or descending) – rather than just two as with the major scale, which also has a harmonic form but lacks a melodic form. In each of these scales, the first, third, and fifth scale degrees form a minor triad (rather than a major triad, as in a major scale). In some contexts, ''minor scale'' is used to refer to any heptatonic scale with this property (see Related modes below). Natural minor scale Relationship to relative major A natural minor scale (or Aeolian mode) is a diatonic scale that is built by starting on the sixth degree of its relative major scale. For instance, the A natural minor scale can be built by starting on the 6th degree of the C major scale: : Because of this, the key of A minor is called the ''relative minor'' of C major. Every major key has a relative minor, which starts ...
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Major Scale
The major scale (or Ionian mode) is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales. Like many musical scales, it is made up of seven notes: the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note (from Latin "octavus", the eighth). The simplest major scale to write is C major, the only major scale not requiring sharps or flats: The major scale had a central importance in Western music, particularly in the common practice period and in popular music. In Carnatic music, it is known as '' Sankarabharanam''. In Hindustani classical music, it is known as '' Bilaval''. Structure A major scale is a diatonic scale. The sequence of intervals between the notes of a major scale is: : whole, whole, half, whole, whole, whole, half where "whole" stands for a whole tone (a red u-shaped curve in the figure), and "half" stands for a semitone (a red angled line in the figu ...
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Primary Triad
In music, a primary triad is one of the three triads, or three-note chords built from major or minor thirds, most important in tonal and diatonic music, as opposed to an auxiliary triad or secondary triad. Each triad found in a diatonic key corresponds to a particular diatonic function. Functional harmony tends to rely heavily on the primary triads: triads built on the tonic, subdominant, and dominant degrees.Harrison, Daniel (1994). ''Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of its Precedents'', p.45. . Cited in Deborah Rifkin. "A Theory of Motives for Prokofiev's Music", p.274, ''Music Theory Spectrum'', Vol. 26, No. 2 (Autumn, 2004), pp. 265-289. University of California Press on behalf of the Society for Music Theory The roots of these triads begin on the first, fourth, and fifth degrees (respectively) of the diatonic scale, otherwise symbolized: I, IV, and V (again, respectively). Primary triads, "express function clearly and unambigu ...
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