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Chapter 14: Introduction to the Region. While it is often convenient to divide European music into folk, popular, and art music, music in Vienna, Austria, as elsewhere was a panorama of overlapping styles and social functions.
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Chapter 14: Introduction to the Region • While it is often convenient to divide European music into folk, popular, and art music, music in Vienna, Austria, as elsewhere was a panorama of overlapping styles and social functions. • Cafés, salons, homes, concert halls and night clubs all required types of music to fit each social activity. • The depth and breadth of musical styles, from folk to popular to classical, fulfilled these many occasions.
Chapter 14: Introduction to the Region • Geography • This chapter explores three countries that represent a small part of the musical diversity and richness found throughout western Europe: • Austria, Ireland and Spain.
Chapter 14: Elements of Western European Music • Harmony: harmony based on standard chords (a collection of simultaneous pitches) accompanying a melody in a homophonic texture has become pervasive in many genres. • Notation: musicians often read a carefully prescribed part while performing rather than extemporaneously creating their own as in some other traditions. • Tuning system: all instruments now use a standard tuning system of twelve pitches per octave, called equal temperament . • Diatonic modes: Most Western European music uses diatonic modes, usually the two known as major and minor.
Chapter 14: Elements of Western European Music • Goal-directed phrases: Unlike the cyclic forms of some cultures, European forms often emphasize a progression toward the phrase ending, and these phrases may be hierarchically combined to form larger structures. • Regular phrase lengths: Phrases are very often made up of four groups of four beats or four groups of three beats, and is considered pulsatile. • Strophic folk songs: Folk songs usually consist of a repeating melody with different words on each repetition, a form described as strophic.
Chapter 14: Elements of Western European Music • Harmony and Notation: • Some of the key concepts include- • Consonance and dissonance • Counterpoint • Triads • Harmonic progression
Chapter 14: Elements of Western European Music • Folk Music: • Key concepts include:- • Ballad • Broadside • Major and minor modes
Chapter 14: The Rise of Popular Music • While there were many different genres of Western popular music, nearly all of them retained some of the most distinctive characteristics of Western European music, including harmonic progressions, relatively simple rhythms, phrases based on metrical units of four groups of four or three, and the use of European instruments.
Chapter 14: The Rise of Popular Music • The availability of recordings, along with the wide dissemination of Western European culture beginning with the period of colonialism through radio, television, and the Internet, helped spread Western popular music throughout the world.
Chapter 14: Music in Austria Chapter 58: Characteristics of Traditional Latin American Music • Ländler, like the waltz, a triple-meter couple dance, but sometimes faster. • Hackbrett, a dulcimer or zither with strings struck with hammers, like the Hungarian cimbalom. • The first accordion (at least so named) was invented in Vienna in 1829.
Chapter 14: Music in Austria Chapter 58: Characteristics of Traditional Latin American Music • Schrammel ensemble: • Near the end of the nineteenth century, two brothers, Johann and Joseph Schrammel, organized such an ensemble consisting of two violins, accordion or sometimes clarinet, and harp-guitar (a guitar with extra bass strings plucked without stopping). • The Schrammel ensemble became so popular that it lent its name to what became a whole genre of music for this ensemble.
Chapter 14:Traditional Music of Ireland • Reel, a duple-meter dance. There are no others playing, and the performance is monophonic. • When more than one musician is playing, the texture is usually heterophonic, with every musician playing his or her own ornamented version of the melody. • Ceili bands largely replaced solo or small group heterophonic performances in the 1930s and '40s. • Fleadh are festivals supporting more traditional playing and singing.
Chapter 14: Irish Musical Instruments • Irish harp or cruit is smaller than the modern European concert harp and is tuned diatonically. • Uilleann pipes,or bagpipes are found in many European countries and most often consist of a bag air reservoir filled by blowing through a valve, a double-reed pipe with holes known as the "chanter" to play melodies, and one or more other double-reed pipes without holes to play drones. • Tin Whistle, a version of the recorder, a type of duct flute, fashioned very cheaply from a metal body, so cheaply that these six-holed flutes were often called "pennywhistles."
Chapter 14: Irish Musical Instruments • The accordion consists of an air reservoir which the player can push or pull to suck or push air through a series of reeds controlled by buttons or keys. • The bodhran (pronounced "bow-rahn") is a medium-size circular frame drum whose original function may have been as a kitchen tray occasionally beaten for certain religious rituals.
Chapter 14: Irish Genres • The oldest form of nonpulsatile singing may be in songs of laments, or keening, sung at funerals even in the times of the bards. • Dance music is related to the repeating structure found in strophic forms. Nearly all dance tunes are in two-part, or binary form, the second half forming a contrast to the first. These dances include the reel, jig, slide, slip jig and hornpipe.
Chapter 14: An Irish Instrumental Performance • Nonpulsatile or slow instrumental pieces are called slow airs, and their intricate and expressive ornamentation makes them the instrumental counterpart to sean nós singing. • Very often, musicians will follow a performance of a slow air with a dance, in this case "O'Farrell's Welcome to Limerick," named after a famous piper. This tune is a slip jig, that is, a dance in compound triple meter, and is in the Mixolydian mode. • Very often, musicians will follow a performance of a slow air with a dance, in this case "O'Farrell's Welcome to Limerick," named after a famous piper. This tune is a slip jig, that is, a dance in compound triple meter, and is in the Mixolydian mode.
Chapter 14: Spain • In the middle of the fifteenth century a new group settled in southern Spain, today known as the Roma (see Chapter 13), often known as "gypsies" to other Europeans, and known in Spain as gitanos. • In the area known as Andalucía, a vast underclass formed of nominally converted Muslims and Jews together with gitanos. Their music forged by this upheaval sang of experiences as minority outcasts, who endured repression, prison, and other tragedies. • In contrast, by the end of the fifteenth century, the newly rich elite heard grand polyphonic religious music in their churches and zarzuelas, a kind of opera, in their theaters.
Chapter 14: Spain’s Folk Traditions • The diversity and historical isolation of Spain's regions makes it difficult to generalize about its folk music. • Stanzas in folk songs are known as coplas, a term which originally meant couplet. The musical structure of stanzas often retains the binary form this term implies, as in the frequently back-and-forth or repeating cycles of harmonic progressions played on guitars. • Contrasting refrains are called estribillos.
Chapter 14: Spain’s Folk Traditions • One of the most common of Spanish folk songs is the ronda, the song of the roving bands of musicians known as rondallas or tuna that serenade the inhabitants of towns throughout Spain. • One of the forms rondallas play is the jota, a couple dance in a quick triple meter often accompanied by song. • The jota, like many Spanish dances, often has a heavy rhythmic emphasis provided in part by strumming guitars, but more particularly by percussion sounds made by the dancers themselves. • Dancers also create their own percussion by the rhythmic stamping of their feet, known in Spain as zapateado.
Chapter 14: Spain’s Folk Traditions • Cante hondo or "deep song,” is the most traditional category of songs of the Andalucian region. • García Lorca, the famous poet, called the cante hondo a "gored, Dionysian cry" of raspy timbre, elaborate ornamentation, use of melismas (many notes to a syllable), but above all a passionate ferocity. • Cante hondo were the core repertory of what by the end of the eighteenth century became known as flamenco. • Flamenco is at its core an art of song, sung by both men and women.
Chapter 14: Spain’s Folk Traditions • As important as the guitar in accompanying flamenco song is the practice of palmas, or rhythmic hand clapping. This practice does not simply mean any audience participation in clapping along, but rather clapping of specific and complicated rhythms, known as compás, often by a single specialist. Another important element is the cries of the audience, known as jaleo, including the well-known ¡olé!, a shout equivalent to "bravo!" but probably originating in the Arabic wa-Allah! or "by God!"
Chapter 14: Spain’s Folk Traditions • A Flamenco Performance • A soleá is one of the oldest forms of flamenco song, often danced by women and sung by a man with guitar accompaniment. Each of these phrases has a certain pattern of emphasized beats within the meter called the compás. These patterns are one of the main characteristics which distinguish one flamenco song form from another. • The guitarist accompanies each 12-beat phrase with variations on standard patterns, called falsetas, appropriate for the form and compás.
