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Incomplete Repetition
Incomplete repetition is a musical form featuring two large sections, the second being a partial or incomplete re-presentation or repetition of the first. Nettl, Bruno (1956). ''Music in Primitive Culture'', . Harvard University Press. This form is used throughout the traditional Plains-Pueblo Native American music where the first section uses vocables and the second uses meaningful words or lyrics. Typical formal schemes include ABC, BC, AABC, and ABC and each section uses a tile type melodic contour. Examples of AABC form include Tadd Dameron Tadley Ewing Peake Dameron (February 21, 1917 – March 8, 1965) was an American jazz composer, arranger, and pianist. Biography Born in Cleveland, Ohio, Dameron was the most influential arranger of the bebop era, but also wrote charts for swi ...'s " Lady Bird".Giddins, Gary (2004). ''Weather Bird: Jazz at the Dawn of Its Second Century'', p.468. . Sources Musical form {{music-theory-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Form
In music, ''form'' refers to the structure of a musical composition or musical improvisation, performance. In his book, ''Worlds of Music'', Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition (music), repetition or variation (music), variation, the arrangement of the instruments (as in the order of solo (music), solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestration, orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."Kostka, Stefan and Payne, Dorothy (1995). ''Tonal Harmony'', p.152. McGraw-Hill. . These organizational elements may be broken into smaller units called phrases, which express a musical idea but lack sufficient weight to stand alone. Musical form unfolds over time through th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Section (music)
In music, a section is a complete, but not independent, musical idea. Types of sections include the introduction or intro, exposition, development, recapitulation, verse, chorus or refrain, conclusion, coda or outro, fadeout, bridge or interlude. In sectional forms such as binary, the larger unit (form) is built from various smaller clear-cut units (sections) in combination, analogous to stanzas in poetry or somewhat like stacking Lego. Some well known songs consist of only one or two sections, for example "Jingle Bells" commonly contains verses ("Dashing through the snow...") and choruses ("Oh, jingle bells..."). It may contain "auxiliary members" such as an introduction and/or outro, especially when accompanied by instruments (the piano starts and then: "Dashing..."). A section is, "a major structural unit perceived as the result of the coincidence of relatively large numbers of structural phenomena." An episode may also refer to a section. This term is particularly ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Repetition (music)
Repetition is important in music, where sounds or sequences are often repeated. It may be called restatement, such as the restatement of a theme. While it plays a role in all music, with noise and musical tones lying along a spectrum from irregular to periodic sounds,(Moravcsik, 114)(Rajagopal, ) it is especially prominent in specific styles. Repetition A literal repetition of a musical passage is often indicated by the use of a repeat sign, or the instructions da capo or dal segno. Theodor W. Adorno criticized repetition and popular music as being psychotic and infantile. In contrast, Richard Middleton (1990) argues that "while repetition is a feature of ''all'' music, of any sort, a high level of repetition may be a specific mark of 'the popular'" and that this allows an, "enabling" of "an inclusive rather than exclusive audience"(Middleton 1990, p. 139). "There is no universal norm or convention" for the amount or type of repetition, "all music contains repetit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bruno Nettl
Bruno Nettl (14 March 1930 – 15 January 2020) was an ethnomusicologist who was central in defining ethnomusicology as a discipline. His research focused on folk and traditional music, specifically Native American music the music of Iran and numerous topics surrounding ethnomusicology as a discipline. Life and career Bruno Nettl was born in Prague, Czechoslovakia in 1930, and he was the son of Paul and Gertrude (Hutter) Nettl, who both had musical backgrounds. In 1939, Nettl and his family, which was of Jewish heritage, moved to the US to escape the Holocaust, which caused several deaths within his family. He studied at Indiana University with George Herzog and the University of Michigan and taught from 1964 at the University of Illinois, where he eventually was named Professor Emeritus of Music and Anthropology. Nettl met his wife, Wanda Maria White, while he was a student at Indiana University and the couple married in 1952. Bruno and Wanda had two children, Rebecca and Glo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Native American Music
Indigenous music of North America, which includes American Indian music or Native American music, is the music that is used, created or performed by Indigenous peoples of North America, including Native Americans in the United States and Aboriginal peoples in Canada, Indigenous peoples of Mexico, and other North American countries—especially traditional tribal music, such as Pueblo music and Inuit music. In addition to the traditional music of the Native American groups, there now exist pan-Indianism and intertribal genres as well as distinct Native American subgenres of popular music including: rock, blues, hip hop, classical, film music, and reggae, as well as unique popular styles like chicken scratch and New Mexico music. Characteristics Singing and percussion are the most important aspects of traditional Native American music. Vocalization takes many forms, ranging from solo and choral song to responsorial, unison and multipart singing. Percussion, especially drums ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vocable
In the broadest sense of the word, a vocable is any meaningful sound uttered by people, such as a word or term, that is fixed by their language and culture. Use of the words in the broad sense is archaic and the term is instead used for utterances which are not considered words, such as the English vocables of assent and denial, ''uh-huh'' and ''uh-uh'' , or the vocable of error, ''uh-oh'' . Such non-lexical vocables are often used in music, for example ''la la la'' or ''dum dee dum'', or in magical incantations, such as ''abra-cadabra''. Many Native American songs consist entirely of vocables; this may be due to both phonetic substitution to increase the resonance of the song, and to the trade of songs between nations speaking different languages. Jewish Nigunim also feature wordless melodies composed entirely of vocables such as ''Yai nai nai'' or ''Yai dai dai''. Vocables are common as pause fillers, such as ''um'' and ''er'' in English, where they have little formal mea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melodic Contour
Melodic motion is the quality of movement of a melody, including nearness or farness of successive pitches or notes in a melody. This may be described as conjunct or disjunct, stepwise, skipwise or no movement, respectively. See also contrapuntal motion. In a conjunct melodic motion, the melodic phrase moves in a stepwise fashion; that is the subsequent notes move up or down a semitone or tone, but no greater. In a disjunct melodic motion, the melodic phrase leaps upwards or downwards; this movement is greater than a whole tone. In popular Western music, a melodic leap of disjunct motion is often present in the chorus of a song, to distinguish it from the verses and captivate the audience. Bruno Nettl describes various types of melodic movement or contour (Nettl 1956, 51–53): *Ascending: Upwards melodic movement *Descending: Downwards melodic movement (prevalent in the New World and Australian music) *Undulating: Equal movement in both directions, using approximately the same ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tadd Dameron
Tadley Ewing Peake Dameron (February 21, 1917 – March 8, 1965) was an American jazz composer, arranger, and pianist. Biography Born in Cleveland, Ohio, Dameron was the most influential arranger of the bebop era, but also wrote charts for swing and hard bop players. The bands he arranged for included those of Count Basie, Artie Shaw, Jimmie Lunceford, Dizzy Gillespie, Billy Eckstine, and Sarah Vaughan. In 1940-41 he was the piano player and arranger for the Kansas City band Harlan Leonard and his Rockets. He and lyricist Carl Sigman wrote " If You Could See Me Now" for Sarah Vaughan and it became one of her first signature songs. According to the composer, his greatest influences were George Gershwin and Duke Ellington. In the late 1940s, Dameron wrote arrangements for Gillespie's big band, who gave the première of his large-scale orchestral piece ''Soulphony in Three Hearts'' at Carnegie Hall in 1948. Also in 1948, Dameron led his own group in New York, which included F ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lady Bird (composition)
"Lady Bird" is a sixteen-bar jazz standard by Tadd Dameron. This "celebrated" composition, "one of the most performed in modern jazz", was written around 1939, and released in 1948. Featuring, "a suave, mellow theme,"Giddins, Gary (2004). ''Weather Bird: Jazz at the Dawn of Its Second Century'', p.468. . it is the origin of the Tadd Dameron turnaround (in C: CM7 E7 AM7 D7 CM7).Coker, et al (1982). ''Patterns for Jazz: A Theory Text for Jazz Composition and Improvisation'', p.118. . An example of Dameron's interest in keys and/or roots related by thirds, the piece is in binary form ( AABC) and features, through the use of ii-V turnarounds, movement toward three keys other than the tonic; E, A, and G. The first three four-measure phrases end with secondary ii-V's, while the last ends instead with the Tadd Dameron turnaround resolving to the tonic. : IM7 , IM7 , ii7/III , V7/III , IM7 , IM7 , ii7/VI , V7/VI , VIM7 , ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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