Ethnomusicology
Main article: Ethnomusicology
In the West, much of the history of music that is taught deals with the Western civilization's art music. The history of music in other cultures ("world music" or the field of "ethnomusicology") is also taught in Western universities. This includes the documented classical traditions of Asian countries outside the influence of Western Europe, as well as the folk or indigenous music of various other cultures.
Popular styles of music varied widely from culture to culture, and from period to period. Different cultures emphasised different instruments, or techniques, or uses for music. Music has been used not only for entertainment, for ceremonies, and for practical and artistic communication, but also for propaganda in totalitarian countries.
There is a host of music classifications, many of which are caught up in the argument over the definition of music. Among the largest of these is the division between classical music (or "art" music), and popular music (or commercial music - including rock and roll, country music, and pop music). Some genres don't fit neatly into one of these "big two" classifications, (such as folk music, world music, or jazz music).
As world cultures have come into greater contact, their indigenous musical styles have often merged into new styles. For example, the United States bluegrass style contains elements from Anglo-Irish, Scottish, Irish, German and African instrumental and vocal traditions, which were able to fuse in the United States' multi-ethnic society. Genres of music are determined as much by tradition and presentation as by the actual music. Some works, like George Gershwin's Rhapsody in Blue, are claimed by both jazz and classical music, while Gershwin's Porgy and Bess and Leonard Bernstein's West Side Story are claimed by both opera and the Broadway musical tradition. Many current music festivals celebrate a particular musical genre.
Indian music, for example, is one of the oldest and longest living types of music, and is still widely heard and performed in South Asia, as well as internationally (especially since the 1960s). Indian music has mainly 3 forms of classical music, Hindustani, Carnatic, and Dhrupad styles. It has also a large repertoire of styles, which involve only percussion music such as the talavadya performances famous in South India.
Tuesday, September 30, 2008
Thursday, September 25, 2008
Academia
Musicology is the study of the subject of music. The earliest definitions defined three sub-disciplines: systematic musicology, historical musicology, and comparative musicology or ethnomusicology. In contemporary scholarship, one is more likely to encounter a division of the discipline into music theory, music history, and ethnomusicology. Research in musicology has often been enriched by cross-disciplinary work, for example in the field of psychoacoustics. The study of music of non-western cultures, and the cultural study of music, is called ethnomusicology.
Graduates of undergraduate music programs can go on to further study in music graduate programs. Graduate degrees include the Master of Music, the Master of Arts, the Doctor of Philosophy (PhD) (e.g., in musicology or music theory), and more recently, the Doctor of Musical Arts, or DMA. The Master of Music degree, which takes one to two years to complete, is typically awarded to students studying the performance of an instrument, education, voice or composition. The Master of Arts degree, which takes one to two years to complete and often requires a thesis, is typically awarded to students studying musicology, music history, or music theory. Undergraduate university degrees in music, including the Bachelor of Music, the Bachelor of Music Education, and the Bachelor of Arts (with a major in music) typically take three to five years to complete. These degrees provide students with a grounding in music theory and music history, and many students also study an instrument or learn singing technique as part of their program.
The PhD, which is required for students who want to work as university professors in musicology, music history, or music theory, takes three to five years of study after the Master's degree, during which time the student will complete advanced courses and undertake research for a dissertation. The DMAis a relatively new degree that was created to provide a credential for professional performers or composers that want to work as university professors in musical performance or composition. The DMA takes three to five years after a Master's degree, and includes advanced courses, projects, and performances. In Medieval times, the study of music was one of the Quadrivium of the seven Liberal Arts and considered vital to higher learning. Within the quantitative Quadrivium, music, or more accurately harmonics, was the study of rational proportions.
Zoomusicology is the study of the music of non-human animals, or the musical aspects of sounds produced by non-human animals. As George Herzog (1941) asked, "do animals have music?" François-Bernard Mâche's Musique, mythe, nature, ou les Dauphins d'Arion (1983), a study of "ornitho-musicology" using a technique of Nicolas Ruwet's Language, musique, poésie (1972) paradigmatic segmentation analysis, shows that bird songs are organised according to a repetition-transformation principle. Jean-Jacques Nattiez (1990), argues that "in the last analysis, it is a human being who decides what is and is not musical, even when the sound is not of human origin. If we acknowledge that sound is not organised and conceptualised (that is, made to form music) merely by its producer, but by the mind that perceives it, then music is uniquely human."
Music theory is the study of music, generally in a highly technical manner outside of other disciplines. More broadly it refers to any study of music, usually related in some form with compositional concerns, and may include mathematics, physics, and anthropology. What is most commonly taught in beginning music theory classes are guidelines to write in the style of the common practice period, or tonal music. Theory, even that which studies music of the common practice period, may take many other forms. Musical set theory is the application of mathematical set theory to music, first applied to atonal music. Speculative music theory, contrasted with analytic music theory, is devoted to the analysis and synthesis of music materials, for example tuning systems, generally as preparation for composition.
Business
The music industry refers to the business industry connected with the creation and sale of music. It consists of record companies, labels and publishers that distribute recorded music products internationally and that often control the rights to those products. Some music labels are "independent," while others are subsidiaries of larger corporate entities or international media groups.
Education
Primary
The incorporation of music training from preschool to post secondary education is common in North America and Europe. Involvement in music is thought to teach basic skills such as concentration, counting, listening, and cooperation while also promoting understanding of language, improving the ability to recall information, and creating an environment more conducive to learning in other areas.[14] In elementary schools, children often learn to play instruments such as the recorder, sing in small choirs, and learn about the history of Western art music. In secondary schools students may have the opportunity to perform some type of musical ensembles, such as choirs, marching bands, concert bands, jazz bands, or orchestras, and in some school systems, music classes may be available. Some students also take private music lessons with a teacher. Amateur musicians typically take lessons to learn musical rudiments and beginner- to intermediate-level musical techniques.
At the university level, students in most arts and humanities programs can receive credit for taking music courses, which typically take the form of an overview course on the history of music, or a music appreciation course that focuses on listening to music and learning about different musical styles. In addition, most North American and European universities have some type of musical ensembles that non-music students are able to participate in, such as choirs, marching bands, or orchestras. The study of Western art music is increasingly common outside of North America and Europe, such as the Indonesian Institute of the Arts in Yogyakarta, Indonesia, or the classical music programs that are available in Asian countries such as South Korea, Japan, and China. At the same time, Western universities and colleges are widening their curriculum to include music of non-Western cultures, such as the music of Africa or Bali (e.g. Gamelan music).
Tuesday, September 23, 2008
Internet
The advent of the Internet has transformed the experience of music, partly through the increased ease of access to music and the increased choice. Chris Anderson, in his book The Long Tail: Why the Future of Business is Selling Less of More, suggests that while the economic model of supply and demand describes scarcity, the Internet retail model is based on abundance. Digital storage costs are low, so a company can afford to make its whole inventory available online, giving customers as much choice as possible. It has thus become economically viable to offer products that very few people are interested in. Consumers' growing awareness of their increased choice results in a closer association between listening tastes and social identity, and the creation of thousands of niche markets.[12]
Another effect of the Internet arises with online communities like YouTube and MySpace. MySpace has made social networking with other musicians easier, and greatly facilitates the distribution of one's music. YouTube also has a large community of both amateur and professional musicians who post videos and comments.[citation needed] Professional musicians also use YouTube as a free publisher of promotional material.
YouTube users, for example, no longer only download and listen to MP3s, but also actively create their own. According to Don Tapscott and Anthony D. Williams, in their book Wikinomics, there has been a shift from a traditional consumer role to what they call a "prosumer" role, a consumer who both creates and consumes. Manifestations of this in music include the production of mashes, remixes, and music videos by fans.[13]
Business
The music industry refers to the business industry connected with the creation and sale of music. It consists of record companies, labels and publishers that distribute recorded music products internationally and that often control the rights to those products. Some music labels are "independent," while others are subsidiaries of larger corporate entities or international media groups.
Education
Primary
The incorporation of music training from preschool to post secondary education is common in North America and Europe. Involvement in music is thought to teach basic skills such as concentration, counting, listening, and cooperation while also promoting understanding of language, improving the ability to recall information, and creating an environment more conducive to learning in other areas.[14] In elementary schools, children often learn to play instruments such as the recorder, sing in small choirs, and learn about the history of Western art music. In secondary schools students may have the opportunity to perform some type of musical ensembles, such as choirs, marching bands, concert bands, jazz bands, or orchestras, and in some school systems, music classes may be available. Some students also take private music lessons with a teacher. Amateur musicians typically take lessons to learn musical rudiments and beginner- to intermediate-level musical techniques.
At the university level, students in most arts and humanities programs can receive credit for taking music courses, which typically take the form of an overview course on the history of music, or a music appreciation course that focuses on listening to music and learning about different musical styles. In addition, most North American and European universities have some type of musical ensembles that non-music students are able to participate in, such as choirs, marching bands, or orchestras. The study of Western art music is increasingly common outside of North America and Europe, such as the Indonesian Institute of the Arts in Yogyakarta, Indonesia, or the classical music programs that are available in Asian countries such as South Korea, Japan, and China. At the same time, Western universities and colleges are widening their curriculum to include music of non-Western cultures, such as the music of Africa or Bali (e.g. Gamelan music).
Academia
Musicology is the study of the subject of music. The earliest definitions defined three sub-disciplines: systematic musicology, historical musicology, and comparative musicology or ethnomusicology. In contemporary scholarship, one is more likely to encounter a division of the discipline into music theory, music history, and ethnomusicology. Research in musicology has often been enriched by cross-disciplinary work, for example in the field of psychoacoustics. The study of music of non-western cultures, and the cultural study of music, is called ethnomusicology.
Graduates of undergraduate music programs can go on to further study in music graduate programs. Graduate degrees include the Master of Music, the Master of Arts, the Doctor of Philosophy (PhD) (e.g., in musicology or music theory), and more recently, the Doctor of Musical Arts, or DMA. The Master of Music degree, which takes one to two years to complete, is typically awarded to students studying the performance of an instrument, education, voice or composition. The Master of Arts degree, which takes one to two years to complete and often requires a thesis, is typically awarded to students studying musicology, music history, or music theory. Undergraduate university degrees in music, including the Bachelor of Music, the Bachelor of Music Education, and the Bachelor of Arts (with a major in music) typically take three to five years to complete. These degrees provide students with a grounding in music theory and music history, and many students also study an instrument or learn singing technique as part of their program.
The PhD, which is required for students who want to work as university professors in musicology, music history, or music theory, takes three to five years of study after the Master's degree, during which time the student will complete advanced courses and undertake research for a dissertation. The DMAis a relatively new degree that was created to provide a credential for professional performers or composers that want to work as university professors in musical performance or composition. The DMA takes three to five years after a Master's degree, and includes advanced courses, projects, and performances. In Medieval times, the study of music was one of the Quadrivium of the seven Liberal Arts and considered vital to higher learning. Within the quantitative Quadrivium, music, or more accurately harmonics, was the study of rational proportions.
Zoomusicology is the study of the music of non-human animals, or the musical aspects of sounds produced by non-human animals. As George Herzog (1941) asked, "do animals have music?" François-Bernard Mâche's Musique, mythe, nature, ou les Dauphins d'Arion (1983), a study of "ornitho-musicology" using a technique of Nicolas Ruwet's Language, musique, poésie (1972) paradigmatic segmentation analysis, shows that bird songs are organised according to a repetition-transformation principle. Jean-Jacques Nattiez (1990), argues that "in the last analysis, it is a human being who decides what is and is not musical, even when the sound is not of human origin. If we acknowledge that sound is not organised and conceptualised (that is, made to form music) merely by its producer, but by the mind that perceives it, then music is uniquely human."
Music theory is the study of music, generally in a highly technical manner outside of other disciplines. More broadly it refers to any study of music, usually related in some form with compositional concerns, and may include mathematics, physics, and anthropology. What is most commonly taught in beginning music theory classes are guidelines to write in the style of the common practice period, or tonal music. Theory, even that which studies music of the common practice period, may take many other forms. Musical set theory is the application of mathematical set theory to music, first applied to atonal music. Speculative music theory, contrasted with analytic music theory, is devoted to the analysis and synthesis of music materials, for example tuning systems, generally as preparation for composition.
Saturday, September 20, 2008
Notation
Notation is the written expression of music notes and rhythms on paper using symbols. When music is written down, the pitches and rhythm of the music is notated, along with instructions on how to perform the music. The study of how to read notation involves music theory, harmony, the study of performance practice, and in some cases an understanding of historical performance methods.
Written notation varies with style and period of music. In Western Art music, the most common types of written notation are scores, which include all the music parts of an ensemble piece, and parts, which are the music notation for the individual performers or singers. In popular music, jazz, and blues, the standard musical notation is the lead sheet, which notates the melody, chords, lyrics (if it is a vocal piece), and structure of the music. Scores and parts are also used in popular music and jazz, particularly in large ensembles such as jazz "big bands."
In popular music, guitarists and electric bass players often read music notated in tablature, which indicates the location of the notes to be played on the instrument using a diagram of the guitar or bass fingerboard. Tabulature was also used in the Baroque era to notate music for the lute, a stringed, fretted instrument.
Notated music is produced as sheet music. To perform music from notation requires an understanding of both the musical style and the performance practice that is associated with a piece of music or genre.
Improvisation
Improvisation is the creation of spontaneous music. Improvisation is often considered an act of instantaneous composition by composers, where compositional techniques are employed with or without preparation.
Theory
Music theory encompasses the nature and mechanics of music. It often involves identifying patterns that govern composers' techniques. In a more detailed sense, music theory (in the western system) also distills and analyzes the elements of music – rhythm, harmony (harmonic function), melody, structure, and texture. People who study these properties are known as music theorists.
Cognition
- Further information: Hearing (sense) and Psychoacoustics
The field of music cognition involves the study of many aspects of music including how it is processed by listeners. Rather than accepting the standard practices of analyzing, composing, and performing music as a given, much research in music cognition seeks instead to uncover the mental processes that underlie these practices. Also, research in the field seeks to uncover commonalities between the musical traditions of disparate cultures and possible cognitive "constraints" that limit these musical systems. Questions regarding musical innateness, and emotional responses to music are also major areas of research in the field.
Deaf people can experience music by feeling the vibrations in their body, a process which can be enhanced if the individual holds a resonant, hollow object. A well-known deaf musician is the composer Ludwig van Beethoven, who composed many famous works even after he had completely lost his hearing. Recent examples of deaf musicians include Evelyn Glennie, a highly acclaimed percussionist who has been deaf since age twelve, and Chris Buck, a virtuoso violinist who has lost his hearing. This is relevant because it indicates that music is a deeper cognitive process than unexamined phrases such as, "pleasing to the ear" would suggest. Much research in music cognition seeks to uncover these complex mental processes involved in listening to music, which may seem intuitively simple, yet are vastly intricate and complex.
Sociology
Music is experienced by individuals in a range of social settings ranging from being alone to attending a large concert. Musical performances take different forms in different cultures and socioeconomic milieus. In Europe and North America, there is often a divide between what types of music are viewed as a "high culture" and "low culture." "High culture" types of music typically include Western art music such as Baroque, Classical, Romantic, and modern-era symphonies, concertos, and solo works, and are typically heard in formal concerts in concert halls and churches, with the audience sitting quietly in seats.
Other types of music - including, but not limited to, jazz, blues, soul, and country - are often performed in bars, nightclubs, and theatres, where the audience may be able to drink, dance, and express themselves by cheering. Until the later 20th century, the division between "high" and "low" musical forms was widely accepted as a valid distinction that separated out better quality, more advanced "art music" from the popular styles of music heard in bars and dance halls.
However, in the 1980s and 1990s, musicologists studying this perceived divide between "high" and "low" musical genres argued that this distinction is not based on the musical value or quality of the different types of music.[citation needed] Rather, they argued that this distinction was based largely on the socioeconomic standing or social class of the performers or audience of the different types of music.[citation needed] For example, whereas the audience for Classical symphony concerts typically have above-average incomes, the audience for a rap concert in an inner-city area may have below-average incomes. Even though the performers, audience, or venue where non-"art" music is performed may have a lower socioeconomic status, the music that is performed, such as blues, rap, punk, funk, or ska may be very complex and sophisticated.
When composers introduce styles of music which break with convention, there can be a strong resistance from academic music experts and popular culture. Late-period Beethoven string quartets, Stravinsky ballet scores, serialism, bebop-era jazz, hip hop, punk rock, and electronica have all been considered non-music by some critics when they were first introduced.[citation needed]
Such themes are examined in the sociology of music. The sociological study of music, sometimes called sociomusicology, is often pursued in departments of sociology, media studies, or music, and is closely related to the field of ethnomusicology.
Media and technology
- Further information: Computer music
The music that composers make can be heard through several media; the most traditional way is to hear it live, in the presence, or as one of the musicians. Live music can also be broadcast over the radio, television or the Internet. Some musical styles focus on producing a sound for a performance, while others focus on producing a recording which mixes together sounds which were never played "live". Recording, even of styles which are essentially live, often uses the ability to edit and splice to produce recordings which are considered better than the actual performance.
As talking pictures emerged in the early 20th century, with their prerecorded musical tracks, an increasing number of moviehouse orchestra musicians found themselves out of work.[9] During the 1920s live musical performances by orchestras, pianists, and theater organists were common at first-run theaters.[10] With the coming of the talking motion pictures, those featured performances were largely eliminated. The American Federation of Musicians (AFM) took out newspaper advertisements protesting the replacement of live musicians with mechanical playing devices. One 1929 ad that appeared in the Pittsburgh Press features an image of a can labeled "Canned Music / Big Noise Brand / Guaranteed to Produce No Intellectual or Emotional Reaction Whatever"[11]
Since legislation introduced to help protect performers, composers, publishers and producers, including the Audio Home Recording Act of 1992 in the United States, and the 1979 revised Berne Convention for the Protection of Literary and Artistic Works in the United Kingdom, recordings and live performances have also become more accessible through computers, devices and Internet in a form that is commonly known as Music-On-Demand.
In many cultures, there is less distinction between performing and listening to music, since virtually everyone is involved in some sort of musical activity, often communal. In industrialized countries, listening to music through a recorded form, such as sound recording or watching a music video, became more common than experiencing live performance, roughly in the middle of the 20th century.
Sometimes, live performances incorporate prerecorded sounds. For example, a disc jockey uses disc records for scratching, and some 20th century works have a solo for an instrument or voice that is performed along with music that is prerecorded onto a tape. Computers and many keyboards can be programmed to produce and play Musical Instrument Digital Interface (MIDI) music. Audiences can also become performers by participating in karaoke, an activity of Japanese origin which centres around a device that plays voice-eliminated versions of well-known songs. Most karaoke machines also have video screens that show lyrics to songs being performed; performers can follow the lyrics as they sing over the instrumental tracks.
Friday, September 19, 2008
European Baroque
The first operas, written around 1600 and the rise of contrapuntal music define the end of the Renaissance and the beginning of the Baroqueera that lasted until roughly 1750, the year of the death of Johann Sebastian Bach.
German Baroque composers wrote for small ensembles including strings, brass, and woodwinds, as well aschoirs, pipe organ, harpsichord, and clavichord. During the Baroque period, several major music forms were defined that lasted into later periods when they were expanded and evolved further, including the fugue, theinvention, the sonata, and the concerto.[8]
European Classical
The music of the Classical period is characterized by homophonic texture, often featuring a prominent melody with accompaniment. These new melodies tended to be almost voice-like and singable. The now popular instrumental music was dominated by further evolution of musical forms initially defined in the Baroque period: the sonata, and the concerto, with the addition of the new form, the symphony. Joseph Haydn and Wolfgang Amadeus Mozart, well known even today, are among the central figures of the Classical period.
Romantic
Ludwig van Beethoven and Franz Schubert were transitional composers, leading into the Romantic period, with their expansion of existing genres, forms, and functions of music. In the Romantic period, the emotional and expressive qualities of music came to take precedence over the orientation towards technique and tradition. The late 19th century saw a dramatic expansion in the size of the orchestra, and in the role of concerts as part of urban society. Later Romantic composers created complex and often much longer musical works, merging and expanding traditional forms that had previously been used separately. For example, counterpoint, combined with harmonic structures to create more extended chords with increased use of dissonance and to create dramatic tension and resolution.
20th century
In the 20th century there was a vast increase in music listening as the radio gained popularity worldwide and new media and technologies were developed to record, capture, reproduce and distribute music. The focus of art music was characterized by exploration. Claude Debussy has become well-known and respected for his orientation towards colours and depictions in his compositional style. Igor Stravinsky, Arnold Schoenberg, and John Cage were all influential composers in 20th century art music. Jazz evolved and became a significant genre of music over the course of the 20th century, and during the second half of that century, rock music did the same.
History Of Music
The development of music among humans must have taken place against the backdrop of natural sounds such as birdsong and the sounds other animals use to communicate.[citation needed] Prehistoric music is the name which is given to all music produced in preliterate cultures.[citation needed][4]
Ancient
 | The examples and perspective in this article or section may not represent a worldwide view of the subject. Please improve this article or discuss the issue on the talk page. |
A range of paleolithic sites have yielded bones in which lateral holes have been pierced: these are usually identified as flutes,[5] blown at one end like the Japanese shakuhachi. The earliest written records of musical expression are to be found in the Samaveda of India and in 4,000 year old cuneiform from Ur.[citation needed] Instruments, such as the seven-holed flute and various types of stringed instruments have been recovered from the Indus Valley Civilization archaeological sites.[6] India has one of the oldest musical traditions in the world—references toIndian classical music (marga) can be found in the ancient scriptures of the Hindu tradition, the Vedas. The traditional art or court music of China has a history stretching for more than three thousand years. Music was an important part of cultural and social life in Ancient Greece: mixed-gender choruses performed for entertainment, celebration and spiritual ceremonies; musicians and singers had a prominent role inancient Greek theater
In the 9th century, al-Farabi wrote a notable book on music titled Kitab al-Musiqi al-Kabir ("Great Book of Music"). He played and invented a variety of musical instruments and devised the Arab tone system of pitch organisation, which is still used in Arabic music.[7]
Medieval and Renaissance Europe
While musical life in Europe was undoubtedly rich in the early Medieval era, as attested by artistic depictions of instruments, writings about music, and other records, the only European repertory which has survived from before about 800 is the monophonic liturgical plainsong of theRoman Catholic Church, the central tradition of which was called Gregorian chant. Several schools of liturgical polyphony flourished beginning in the 12th century. Alongside these traditions of sacred music, a vibrant tradition of secular song developed, exemplified by the music of thetroubadours, trouvères and Minnesänger.
Much of the surviving music of 14th century Europe is secular. By the middle of the 15th century, composers and singers used a smooth polyphony for sacred musical compositions such as the mass, the motet, and the laude, and secular forms such as the chanson and themadrigal. The introduction of commercial printing had an immense influence on the dissemination of musical styles.[citation needed]
Wednesday, September 17, 2008
Blue-eyed soul
For more details on this topic, see Blue-eyed soul.
Blue-eyed soul, (also known as white soul) is a term used to describe R&B or soul music performed by white artists. The term doesn't refer to a distinct style of music, and the meaning of blue-eyed soul has evolved over decades. Originally the term was associated with mid-1960s white artists who performed soul and R&B that was similar to the music released by Motown Records and Stax Records. The term continued to be used in the 1970s and 1980s, particularly by the British media to describe a new generation of singers who adopted elements of the Stax and Motown sounds. To a lesser extent, the term has been applied to singers in other music genres that are influenced by soul music. Notable blue-eyed soul artists include Amy Winehouse, Joss Stone, Christina Aguilera, Duffy, Dusty Springfield, George Michael, Hall & Oates, Robin Thicke, Righteous Brothers, Boy George, Big Brooklyn Red, The Action, The Rascals, Mitch Ryder & the Detroit Wheels, The Soul Survivors, Bobbie Gentry, Mina, Average White Band and B.J. Thomas
[edit] Neo soul
For more details on this topic, see Neo soul.
The term neo soul is a marketing phrase coined by producer and record label executive Kedar Massenburg to describe a musical blend of 1970s soul-style vocals and instrumentation with contemporary R&B sounds, hip hop beats and poetic interludes. The style was developed in the early to mid 1990s by artists such as Omar Lye-Fook, Maxwell, D'Angelo and Soul II Soul. Erykah Badu, Lauryn Hill, Jill Scott and Angie Stone helped popularize the sound.
Other notable performers include Rahsaan Patterson, Cody Chesnutt, Jaguar Wright, Eric Benet, Amel Larrieux, Adriana Evans, Raphael Saadiq, Dwele, India.Arie, Lalah Hathaway, Anthony Hamilton, Marlon Saunders, Musiq, Amp Fiddler, Alicia Keys, Joss Stone, Floetry, Vivian Green, Raheem DeVaughn, Leela James, Frank McComb, Goapele, and N'dambi, as well as newcomers Conya Doss, Ledisi, Maysa, Maya Azucena, Andreus, Rachael Bell and Eric Roberson. A key musical element in the Neo Soul artist/producer's arsenal is typically a heavy dose of Fender Rhodes or Wurlitzer electric piano pads over a mellow, grooving interplay between the drums (usually with a rim shot snare sound) and a muted, deep funky bass. The Fender Rhodes piano sound gives the music of this sub-genre a "vintage", warm, organic character, reminiscent of the 1970s-era recordings of Stevie Wonder and Donny Hathaway, as well as the work of Roy Ayers on his Mystic Voyage and Everybody Loves the Sunshine albums.
[edit] Northern soul and modern soul
Further information: Northern soul & Modern soul
The phrase northern soul was coined by journalist Dave Godin and popularised in 1970 through his column in Blues and Soul magazine.[3] The term refers to rare soul music that was played by DJs at nightclubs in northern England. The playlists originally consisted of obscure 1960s and early 1970s American soul recordings with an uptempo beat, such as those on Motown Records and more obscure labels such as Okeh Records. Modern soul developed when northern soul DJs began looking in record shops in the United States and United Kingdom for music that was more complex and contemporary. What emerged was a richer sound that was more advanced in terms of Hi-Fi and FM radio technology.
[edit] Nu-Jazz and Soulful Electronica
Further information: Nu jazz
Many artists in various genres of electronic music (such as House, Drum n bass, UK Garage, Downtempo, and others), such as London Elektricity, Landslide, Miguel Migs, Romina Johnson, Jazzanova, Burial, 4hero, King Kooba, J Boogie's Dubtronic Science, Mark Farina, Soulstice, DJ Zinc, Gemma Fox, Squarepusher, Todd Edwards, Grooverider, Fabio, DJ Spooky, Chuck Love, Nu:Tone, Jenna G, and Afro-Mystik, are heavily influenced by soul and have produced many soul-inspired compositions.
[edit] See also
* Easy listening
* List of soul musicians
* Spoken word soul
[edit] Audio samples
* (Italian) Soul music: listen to soul music from Porretta Soul festival on Magazzini-Sonori.
* Download sample of The Delfonics' "Ready or Not Here I Come (Can't Hide From Love)" from The Sound of Sexy Soul, one of the pioneering recordings of Philly soul
[edit] References
1. ^ a b c d Valter Ojakäär (1983). Popmuusikast. Eesti Raamat.
2. ^ Otis Redding
3. ^ For Dancers Only by Chris Hunt, Mojo. 2002]
[edit] Bibliography
* Miller, Jim (editor) (1976). The Rolling Stone Illustrated History of Rock & Roll. New York: Rolling Stone Press/Random House. ISBN 0-394-73238-3. (Chapter on "Soul," by Guralnick, Peter. pp. 194-197.
* Escott, Colin. Liner notes for The Essential James Carr. Razor and Tie Records
For more details on this topic, see Blue-eyed soul.
Blue-eyed soul, (also known as white soul) is a term used to describe R&B or soul music performed by white artists. The term doesn't refer to a distinct style of music, and the meaning of blue-eyed soul has evolved over decades. Originally the term was associated with mid-1960s white artists who performed soul and R&B that was similar to the music released by Motown Records and Stax Records. The term continued to be used in the 1970s and 1980s, particularly by the British media to describe a new generation of singers who adopted elements of the Stax and Motown sounds. To a lesser extent, the term has been applied to singers in other music genres that are influenced by soul music. Notable blue-eyed soul artists include Amy Winehouse, Joss Stone, Christina Aguilera, Duffy, Dusty Springfield, George Michael, Hall & Oates, Robin Thicke, Righteous Brothers, Boy George, Big Brooklyn Red, The Action, The Rascals, Mitch Ryder & the Detroit Wheels, The Soul Survivors, Bobbie Gentry, Mina, Average White Band and B.J. Thomas
[edit] Neo soul
For more details on this topic, see Neo soul.
The term neo soul is a marketing phrase coined by producer and record label executive Kedar Massenburg to describe a musical blend of 1970s soul-style vocals and instrumentation with contemporary R&B sounds, hip hop beats and poetic interludes. The style was developed in the early to mid 1990s by artists such as Omar Lye-Fook, Maxwell, D'Angelo and Soul II Soul. Erykah Badu, Lauryn Hill, Jill Scott and Angie Stone helped popularize the sound.
Other notable performers include Rahsaan Patterson, Cody Chesnutt, Jaguar Wright, Eric Benet, Amel Larrieux, Adriana Evans, Raphael Saadiq, Dwele, India.Arie, Lalah Hathaway, Anthony Hamilton, Marlon Saunders, Musiq, Amp Fiddler, Alicia Keys, Joss Stone, Floetry, Vivian Green, Raheem DeVaughn, Leela James, Frank McComb, Goapele, and N'dambi, as well as newcomers Conya Doss, Ledisi, Maysa, Maya Azucena, Andreus, Rachael Bell and Eric Roberson. A key musical element in the Neo Soul artist/producer's arsenal is typically a heavy dose of Fender Rhodes or Wurlitzer electric piano pads over a mellow, grooving interplay between the drums (usually with a rim shot snare sound) and a muted, deep funky bass. The Fender Rhodes piano sound gives the music of this sub-genre a "vintage", warm, organic character, reminiscent of the 1970s-era recordings of Stevie Wonder and Donny Hathaway, as well as the work of Roy Ayers on his Mystic Voyage and Everybody Loves the Sunshine albums.
[edit] Northern soul and modern soul
Further information: Northern soul & Modern soul
The phrase northern soul was coined by journalist Dave Godin and popularised in 1970 through his column in Blues and Soul magazine.[3] The term refers to rare soul music that was played by DJs at nightclubs in northern England. The playlists originally consisted of obscure 1960s and early 1970s American soul recordings with an uptempo beat, such as those on Motown Records and more obscure labels such as Okeh Records. Modern soul developed when northern soul DJs began looking in record shops in the United States and United Kingdom for music that was more complex and contemporary. What emerged was a richer sound that was more advanced in terms of Hi-Fi and FM radio technology.
[edit] Nu-Jazz and Soulful Electronica
Further information: Nu jazz
Many artists in various genres of electronic music (such as House, Drum n bass, UK Garage, Downtempo, and others), such as London Elektricity, Landslide, Miguel Migs, Romina Johnson, Jazzanova, Burial, 4hero, King Kooba, J Boogie's Dubtronic Science, Mark Farina, Soulstice, DJ Zinc, Gemma Fox, Squarepusher, Todd Edwards, Grooverider, Fabio, DJ Spooky, Chuck Love, Nu:Tone, Jenna G, and Afro-Mystik, are heavily influenced by soul and have produced many soul-inspired compositions.
[edit] See also
* Easy listening
* List of soul musicians
* Spoken word soul
[edit] Audio samples
* (Italian) Soul music: listen to soul music from Porretta Soul festival on Magazzini-Sonori.
* Download sample of The Delfonics' "Ready or Not Here I Come (Can't Hide From Love)" from The Sound of Sexy Soul, one of the pioneering recordings of Philly soul
[edit] References
1. ^ a b c d Valter Ojakäär (1983). Popmuusikast. Eesti Raamat.
2. ^ Otis Redding
3. ^ For Dancers Only by Chris Hunt, Mojo. 2002]
[edit] Bibliography
* Miller, Jim (editor) (1976). The Rolling Stone Illustrated History of Rock & Roll. New York: Rolling Stone Press/Random House. ISBN 0-394-73238-3. (Chapter on "Soul," by Guralnick, Peter. pp. 194-197.
* Escott, Colin. Liner notes for The Essential James Carr. Razor and Tie Records
Tuesday, September 16, 2008
Soul subgenres
Blue-eyed soul
- For more details on this topic, see Blue-eyed soul.
Blue-eyed soul, (also known as white soul) is a term used to describe R&B or soul music performed by white artists. The term doesn't refer to a distinct style of music, and the meaning of blue-eyed soul has evolved over decades. Originally the term was associated with mid-1960s white artists who performed soul and R&B that was similar to the music released by Motown Records and Stax Records. The term continued to be used in the 1970s and 1980s, particularly by the British media to describe a new generation of singers who adopted elements of the Stax and Motown sounds. To a lesser extent, the term has been applied to singers in other music genres that are influenced by soul music. Notable blue-eyed soul artists include Amy Winehouse, Joss Stone, Christina Aguilera, Duffy, Dusty Springfield, George Michael, Hall & Oates, Robin Thicke, Righteous Brothers, Boy George, Big Brooklyn Red, The Action, The Rascals, Mitch Ryder & the Detroit Wheels, The Soul Survivors, Bobbie Gentry, Mina, Average White Band and B.J. Thomas
[edit] Neo soul
- For more details on this topic, see Neo soul.
The term neo soul is a marketing phrase coined by producer and record label executive Kedar Massenburg to describe a musical blend of 1970s soul-style vocals and instrumentation with contemporary R&B sounds, hip hop beats and poetic interludes. The style was developed in the early to mid 1990s by artists such as Omar Lye-Fook, Maxwell, D'Angelo and Soul II Soul. Erykah Badu, Lauryn Hill, Jill Scott and Angie Stone helped popularize the sound.
Other notable performers include Rahsaan Patterson, Cody Chesnutt, Jaguar Wright, Eric Benet, Amel Larrieux, Adriana Evans, Raphael Saadiq, Dwele, India.Arie, Lalah Hathaway, Anthony Hamilton, Marlon Saunders, Musiq, Amp Fiddler, Alicia Keys, Joss Stone, Floetry, Vivian Green, Raheem DeVaughn, Leela James, Frank McComb, Goapele, and N'dambi, as well as newcomers Conya Doss, Ledisi, Maysa, Maya Azucena, Andreus, Rachael Bell and Eric Roberson. A key musical element in the Neo Soul artist/producer's arsenal is typically a heavy dose of Fender Rhodes or Wurlitzer electric piano pads over a mellow, grooving interplay between the drums (usually with a rim shot snare sound) and a muted, deep funky bass. The Fender Rhodes piano sound gives the music of this sub-genre a "vintage", warm, organic character, reminiscent of the 1970s-era recordings of Stevie Wonder and Donny Hathaway, as well as the work of Roy Ayers on his Mystic Voyage and Everybody Loves the Sunshine albums.
[edit] Northern soul and modern soul
- Further information: Northern soul & Modern soul
The phrase northern soul was coined by journalist Dave Godin and popularised in 1970 through his column in Blues and Soul magazine.[3] The term refers to rare soul music that was played by DJs at nightclubs in northern England. The playlists originally consisted of obscure 1960s and early 1970s American soul recordings with an uptempo beat, such as those on Motown Records and more obscure labels such as Okeh Records. Modern soul developed when northern soul DJs began looking in record shops in the United States and United Kingdom for music that was more complex and contemporary. What emerged was a richer sound that was more advanced in terms of Hi-Fi and FM radio technology.
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