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Articles 241 - 247 of 247
Full-Text Articles in Entire DC Network
"'Gi Dunu,' 'Nyekpadudo,' And The Study Of West African Rhythm", V. Kofi Agawu
"'Gi Dunu,' 'Nyekpadudo,' And The Study Of West African Rhythm", V. Kofi Agawu
Publications and Research
Rhythm has remained the focus of much study of West African music since the pioneering studies of Ward (1927), Hornbostel (1928), Waterman (1948), Brandel (1951), Cudjoe (1953), Merriam (1959), and Jones (1959).
Formal Structure In Popular Music As A Reflection Of Socio-Economic Change, Peter L. Manuel
Formal Structure In Popular Music As A Reflection Of Socio-Economic Change, Peter L. Manuel
Publications and Research
No abstract provided.
The Impact Of Language On Musical Composition In Ghana: An Introduction To The Musical Style Of Ephraim Amu, V. Kofi Agawu
The Impact Of Language On Musical Composition In Ghana: An Introduction To The Musical Style Of Ephraim Amu, V. Kofi Agawu
Publications and Research
In most cultures of the world, the creative act of composition may be defined simply as the transformation of pre-existing material into new, individualized structures. The precompositional resource may be a system such as the hierarchical arrangement of triads that forms the basis of Western tonality, a set of formulas that generates such genres as Gregorian chant and West African storytelling, or even a rigidly defined set of relationships such as those inherent in a twelve-tone row. In each case, the precompositional elements provide a framework for the analysis and interpretation of the composition.
The Concept Of Tala In Semi-Classical Music, Peter L. Manuel
The Concept Of Tala In Semi-Classical Music, Peter L. Manuel
Publications and Research
This article explores certain rhythmic features distinctive of the concept of tal in North Indian light-classical music, especially thumri. Particularly salient is the way that ambiguity of beat counts in tals called dipchandi, addha, and jat reflect how these tals are traditionally conceived in terms of drum strokes (dha dhin dha dha dhin etc.) instead of beat counts, which are in fact variable. Published in: National Centre for the Performing Arts: Quarterly Journal (Bombay) 12(4), December 1983. pp. 7-14.
The Musical Language Of Kindertotenlieder No. 2, V. Kofi Agawu
The Musical Language Of Kindertotenlieder No. 2, V. Kofi Agawu
Publications and Research
Three times during his compositional career, Mahler turned to the medium of the orchestral song cycle either to experiment with or to refine certain technical procedures. This resulted in a variety of methods for establishing large-scale tonal coherence, using song as a resource for later symphonic composition, and stylizing folk material, melodically and rhythmically. These compositional techniques are clearly exemplified in Mahler's three cycles, Lieder eines fahrenden Gesellen (1883-85), Kindertotenlieder (1901-04), and Das Lied von der Erde (1907-08).
The Relationship Between Prosodic And Musical Rhythms In Urdu Ghazal-Singing, Peter L. Manuel
The Relationship Between Prosodic And Musical Rhythms In Urdu Ghazal-Singing, Peter L. Manuel
Publications and Research
A study of how prosodic meter in Urdu ghazal is treated in light-classical singing
Radhagovind Sangitsar Of Maharaja Pratap Singh, Peter L. Manuel
Radhagovind Sangitsar Of Maharaja Pratap Singh, Peter L. Manuel
Publications and Research
The Radhagovind Sangitsār (or simply Sangitsār) completed in Jaipur around 1800, is a significant musical treatise regarding North Indian classical music. Its special importance lies in its status as one of the very few writings on Hindustani music in the nearly two centuries between the 16th-17th Sanskrit and Persian texts and the early modern writings commencing in the decades around 1900. In the interests of disseminating it to interested students and scholars I have digitized chapter seven, on rāga, which is the chapter that has proved to be of most use and interest to musicologists.